Stanford Jazz Workshop

Stanford Jazz Festival 2007
2008 Festival At A Glance
June 27   Terence Blanchard Quintet
June 28   Early Bird featuring Crosspulse Percussion Ensemble
June 28   Mary Stallings
June 29   3 Cohens
July 5   John Calloway Quintet
July 6   Everything you Wanted to Know About Jazz (But Were Afraid to Ask)
July 6   Sony Holland Plus Five
July 11   Mulgrew Miller
July 12   Early Bird with Jim Nadel
July 12   Kenny Burrell Quartet
July 13   Mel Martin and the Benny Carter Tribute Band
July 18   Gary Bartz Quartet featuring George Cables
July 19   The Whole Drum Truth
July 20   Yosvany Terry: Yedégbé—The Afro-Caribbean Legacy
July 21   Sandy Cressman and Homenagem Brasileira
July 22   Dayna Stephens Quartet
July 23   Andrew Speight's Bebop Night
July 24   Victor Lin and Friends
July 26   Geoffrey Keezer Quartet wtih special guest Joe Locke
July 27   Taylor Eigsti / Julian Lage Duo
July 28   Sylvia Cuenca Trio
July 29   Ruth Davies' Blues Night featuring Henry Butler
July 30   Ambrose and Friends
July 31   Tia Fuller and Healing Space
Aug 2   Dena DeRose Trio with special guest Donald Bailey
Aug 3   The Agosto Trio: Scofield / Grenadier / Stewart
Aug 4   Barry Harris / Charles McPherson Quartet
Aug 5   Jason Moran / Larry Grenadier / Richard Davis / Jeff Ballard
Aug 6   Delfeayo Marsalis & the Stanford Jazz Workshop Sextet
Aug 8   Stanford Jazz Workshop All-Star Jam Session
Aug 9   Fly + 1 with special guest Joshua Redman
36th Season
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Harris/McPherson picture

Barry Harris / Charles McPherson Quartet
Barry Harris, piano; Charles McPherson, alto saxophone; Richard Davis, bass; Donald Bailey, drums, plus special guests

Take 5!Monday, August 4 | 8 pm | Dinkelspiel Auditorium
Tickets: $32 general | $16 students

Online: Ticketweb
By phone: 650.725.ARTS (2787); In Person: Stanford Ticket Office
For more information, go to our Ticketing Information Page

Program Notes

“Barry Harris is one of the world’s most respected jazz piano players and teachers, considered by many to be the foremost interpreter of the music of Bud Powell, Tadd Dameron and Thelonious Monk.” – AllAboutJazz

“The craft and sincerity, the discipline and passion that Charles McPherson brings to the alto saxophone is a tribute to the beauty of jazz…” – The Village Voice

Pianist Barry Harris and alto saxophonist Charles McPherson, two undisputed masters of bop, both started their careers in Detroit. Harris was a cornerstone of the thriving Detroit scene of the 1950s that included artists like Tommy Flanagan, Thad Jones, Paul Chambers, and Joe Henderson, and McPherson was one of his up-and-coming students. In the 1960s they collaborated frequently in New York, where Harris was among the city’s most in-demand pianists and McPherson had an ongoing collaboration with Charles Mingus. Harris is a successor to the traditions of Bud Powell, Thelonious Monk, and Charlie Parker, and has been one of the major forces in the evolution of bebop. McPherson’s passionate, expressive playing combines blazing bop, an adventurous sensibility, and a strong sense of the blues. Both men embody the finest in mainstream jazz with energetic swing, daring improvisation, and true feeling, and the chemistry they have developed during their years of creative association creates a captivating synergy.

INSIDE JAZZ:
You Can Never Have Too Much Bebop
Speaker: Michael Burman
7 pm, free with concert ticket

Supported in part by Bruce Powell

Web Sites
Barry Harris
Charles McPherson

Music Links
Barry Harris
Charles McPherson


Q&A with Barry Harris and Charles McPherson

What is the first recording you remember hearing as a child?
BH: “Web City” by Bud Powell.
CM: A Nat King Cole recording of “I Love You For Sentimental Reasons.”

Who is your favorite jazz musician under the age of 30?
BH: Luigi & Pasquali Grasso, from Italy.

What job would you have if you weren’t a jazz musician?
BH: I’d be a math teacher.
CM: Astronomer.

What’s the strangest experience you’ve ever had on the bandstand?
BH: Once while playing with Wes Montgomery, when I soloed suddenly I felt all these different presences – like Art Tatum, Charlie Parker. I remember feeling like I was watching myself play. When I came off the bandstand, somebody walked by and said I haven’t heard anything like that since 1947 – it was Slide Hampton (whom I didn’t know at that time).

What’s your favorite food?
BH: 1) turkey with dressing, collard greens & candied yams; 2) Sushi
CM: Chocolate cake with vanilla ice cream.

What’s the most exotic place you’ve traveled to as a musician?
BH: Seoul, Korea
CM: Tunisia, for a night.

What’s the last book you’ve read?
BH: The Dictionary.
CM: “Genesis Revisited” by Zecharia Sitchin.

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
BH: Fats Navarro & Don Byas.
CM: Louis Armstrong; he embodies the true spirit of jazz.

What’s your favorite tune?
BH: “All God’s Chillun Got Rhythm.”

What’s your favorite thing about being a Stanford Jazz Workshop faculty member?
BH: 1). At last I have no time conflict & can come. 2). Having the chance to meet some new young people and to give them my ideas of music.

Who is your greatest musical influence?
BH: Charlie Parker & Bud Powell.
CM: Charlie Parker.

What’s your favorite jazz venue?
BH: The Village Vanguard in NYC.

If you were stranded on a desert island and could only have three recordings with you, what would they be?
BH: 1) Donna Lee 2) Buzzy 3) Chasing the Bird. The recordings I’m thinking of have Bud Powell accompanying Charlie Parker – this is truly the way to accompany a horn player.
CM: Bartok, “Mandarin Suite,” Charlie Parker, “My Old Flame” & Art Tatum, “Humoresque.”

How much do you practice each week?
BH: I practice more on the piano in my head – which I highly recommend people do more of.
CM: Around 30 hours a week, as much as possible.

What hobbies do you have?
BH: Scrabble, bowling, playing cards.
CM: Reading about ancient civilizations.

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
BH: I became interested in music at the age of 4. My mother (a church pianist), played a song for me and I sat down and learned it. It was a church song, I think it was in B flat. I’m one of those people who knew what they wanted to do at age 4.

If you were to describe your music as a color, what color would it be and why?
BH: A beautiful sky blue.
CM: My music is purple.

Stanford Jazz Workshop \ P.O. Box 20454 Stanford, CA 94309 \ Tel: 650.736.0324 \ info@stanfordjazz.org
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