Barry Harris masterclass on "and"

Barry Harris:

It’s time for a renaissance. Now, the way the renaissance’s supposed to start is right here, at this school. There are no other schools like this, believe me—not with these kinds of hip teachers. No, no. So, the renaissance here: you must know about Ands — you must know things that others don’t know. 

And you really must, if I am going to consider you my school. Otherwise, I’ll keep looking. I’ve been to about thirty schools, and I’ve tried to get each one to be my school. I want you to be my school. 

We’re going to learn real simple chords, without that E next to that F. And that A next to that B-flat in the G-minor seventh, you know. And with that E-flat minor seventh you gotta put that F next to the G-flat — no, no, no. No—oh: you know, somebody’ll come and play those things and people’ll say, “Uh, we don’t allow that in this school.” 

Everybody’s supposed to know what Ands. are. A singer—a singer—now, take a singer, for instance. Now, the bass player’s doing 1-2-3-4. They’re doing 1-2-3-4. A singer should know how to come in on the And. 

Now, look. Play, uh … play Misty, man. And put that cigarette out. You’re too young to be smoking.