Barry Greene Video Lessons

Working on your fine lesson on My Funny Valentine and played Evans/Hall version, my CD was a reissue with an outtake, and was blown away by JH's comping during Evans' solo. An Addendum to the Chord Melody on comping this tune, and to the extent, you have decoded JH's above-mentioned comping, might be a good add to your great series.

An off the run suggestion for a lesson, Nealization by Soulive with Scofield guest soloist:

Not sure this has ever shown up on your radar; I hear M/m movement in head, chromatic descending ii/V7s...your kind of stuff, but a jam band jazz vibe.

A video on in-the-moment substitutions would be great. I know you talk about subs all the time (comping on the blues, comping on turnarounds and many others). Many subs sound good only if the bass player plays the "right" note.

Turnaround to Bb7: Bb7 - Db7sus4 - Gbmaj7 - B7. If the bass player plays a G on the Db7sus4 it would sound really bad. How do the great players do this in the moment?

It would be great if you talk about stuff like this in a video. A video about playing with people in general would also be great.

I understand what you’re saying Tommy although I disagree slightly. If you’re playing voicings that contain a bass note then it’s more likely for there to be problems. There is no way to telegraph subs to a bass player or any other musician for that matter. It’s more about using your ear and having an expectation that that same chord substitution will happen again. Even if it doesn’t. It’s OK. It’s just a moment of dissonance that passes almost immediately. in most cases in my experience when substitutions are made the rest of musicians adjust and the new chord becomes part of the arrangement. -barry

Thanks for the quick reply. Subs have always amazed me, but I can rearly get them to sound good when playing with other people. I'm talking about voicings without a bass note. Dominant tritonesubs always sound good because it's basically the same. But when trying other chord qualities it sounds sort of wrong, as in the example in my first post. I guess great ears, experience and knowing the other musicians well is the key.

I get that it's impossible to know what the other musician is going to play the next second. There's a recording with J. Scofield with Brad Mehldau playing a tune on the There Will N. B. A. Y. changes. Scofield plays his solo sort of straight ahead. On Brads solo he and the bass player reharmonize the whole thing. It's sounds like they are playing another song. It's really amazing. I guess they have great ears.

Aha, the bass player is playing the changes! I guess I never really listened to the bass. That solo is amazing. Thank you so much for the insight.

Hi Barry! I hope you are doing well. I would love to see a lesson on the tune "Old Folks" (Willard Robison - 1938) . It would make for a killer chord solo version, I imagine.

Hi Barry.

I've loved your website so far and I think I'll join long term. I was hoping if you could do a lesson for Recorda Me, Someday my Prince will come and Round midnight?

Hi Barry,

One tune I would love to see a lesson on is Nancy (With the Laughing Face) as played by Grant Green on The Complete Quartets with Sonny Clark.

Barry, I know you've redone some of your older videos like Bolivia and added on with a second go at Invitation. I just watched your 2013 video on "In Your Own Sweet Way" which is jam-packed with good stuff. But I'm spoiled now by your substantial transcriptions that you've done for many years. The pdf on this one is brief. Wondering if you would think about re-doing this. I know there are lots of other good tunes that you haven't done, but this is one of your favorites to play, right?

I was just watching the Pat Martino Live session. I really enjoy you talking about Pat’s personality and his approach to playing. I know that you also met and played with Larry Coryell (love that video of you two). I’d love to hear a Larry Coryell specific lesson with any stories you might have of him and your impressions of his style and approach.

Hey Barry, I don't know if this has been requested before, but I'd love to see you break down Yardbird Suite.

Hi Barry, I'm new to this forum. It would be good if you can cover Nuages in your tune-based lessons.

Thank you.

Hello Barry,

I recently fell in love with the tune called After You've Gone, maybe you can cover it someday.

Love your lessons!

Thank you.

Hello Barry, it would be awesome if you could check out Ugetsu, it’s an amazing song! It would be amazing to see a lesson on Ugetsu

Hey Barry. It has been awhile since I made a comment or placed a request for a song/lesson. I haven't been idle. Still trying to keep up with your amazing lessons, concepts and ideas. So thankful for all you put into each lesson. I know it has to be much more then most of us realize. After being with you for almost three years I am beginning to see the influence of thes lessons steadily creap into my playing. I play gigs 2-4 times a week and in the past six months I have noticed more freedom in my playing and definitely more tasteful and melodic soloing. Maybe it was all that practice I got after covid vanquished my gig schedule the previous year or so. LOL. So again, thanks for all you do. It has been a great help!

Here are two suggestions for lessons: 1. A chord solo arrangement of "When Sunny Gets Blue". I play this song but would love to see how you would approach it. 2. Tune Based: "Flamenco Sketches" by Miles Davis. Maybe some insights on the modal approach to improvising to this interesting piece.

Quick question. Since I am just an hour north of you, will you be playing anywhere in the area in the comming months where I can come hear you live?