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Thanks ca, much appreciated. I have a chart somewhere around here..if I can dig it up....



My pleasure. I remember when he showed me that, God it must've been almost 30 years ago now. It was like this new harmonic revelation came over me....
One of the most under-rated cats in Jazz history for sure. He was a walking encyclopedia of tunes and alternate changes.

The melody voices real nice with those chords too.

Ahh alternate changes on bar 17-20, nice Dave.

I must confess that I love the Dsus13 going to Db13(b5) [two bars each] which I play with my trio.

But your suggestion Dave got me experimenting, so next rehearsal I'll give these a try.
| F#m7 | F13(#11) | D7(#5, #9) | Db13(b5) |
Hmm maybe I can have both my choices . . . one chorus head play original, repeat head and play new changes . . . .


I spent an evening with Jimmy Rowles when I was 22, I knew Red Mitchell [he was a sort of mentor for me then] and he invited me to have dinner with them. So there I was, me and two jazz giants, they ate, jammed a bit, talked jazz and . . man the stories! Both were really nice to the shy and dumbstruck person that was me. At that time I was so into the whole fusion thing that this "old" thing called Standard Jazz (what you mean, play an 'old' song??!!?? with II V I??!!! Boring! Bring me a mini-moog with a Rhodes and a distortion box and I'll show you a solo!! - ah well - little did I know . . . ) was really far from my thoughts, but I really dug Jimmy's sense of swing and his chord changes.

Hi Dave F
That's very nice of you. No rush, whenever you have time. Thanks again !

Dave,

Interesting accompaniment on "Whisper Not".
What's the secret to your left hand playing there?

J+

On Footprints, there is a biography of Wayne Shorter called Footprints. There is a photograph in there of Wayne's original handwritten chart for the tune, which:
1. Has an introduction that's never played (and isn't anything too exciting).
2. In the measures discussed above, his chords are F#-(b5), F7(b5), E7(#9#11), A7(can't remember the alts, but #9 makes sense).
3. Most curiously, in the very last measure, the base line is altered to play E natural, making it C Maj for that one measure. Wayne does not appear to play it this way on his own recording on Adam's Apple, although it actually sounds kinda cool.

This is what's shown on my iRealB app so I've been using this recently. It appears on the app as

| F#-7b5 F7#11 | E7Alt A7Alt |

Although my teacher said it should be thought of as 2 ii/V's. But we didn't have time to discuss what the actual changes were.

Now I don't know which is the best sounding one. May have to play with voicings here.

But the neat part from listening to Herbie is the chromatic movements on C-11 and F-11. For example on the F-11 section, I would do a chromatic | F-11 | E-11 | Eb-11 | D-11 | although I don't stick to the bars.

On the C-11 sections, I go up and down a half step. But I made of mistake of trying this during the head and it sounded bad...:)

This tune has a lot more potential than I ever imagined and my bass player loves this as a groove tune.

I was just doing an arrangement of Embraceable you which I though I would post for your perusal


http://soundcloud.com/david-beebee/em-braceable-nord-stage-2mp-3/s-LKc50



I tried to not do the usual head-solo-head thing and rather interspersed the bits of melody with some freeish improvisation

comments welcomed

Beeboss, link doesn't work...

sorry bad link
try this one ...


http://soundcloud.com/david-beebee/em-braceable-nord-stage-2mp-3/s-LKc50

Hi Dave
I'm ashamed to admit that I don't know Embraceable You but I listened to your Tenderly. Your head, improv, comping and last chorus sound wonderful. It's great how you tackle hard songs such as this and Very Early in such a cool way.

Hi Custard
there are so many hundreds of jazz tunes that no one can know them all, even pros. It is good news that there are always more wonderful tunes left to discover.
Tenderly is one of my fave tunes but I have played it a few too many times now.

Really ? That's very encouraging for me. Thanks Dave B.

Nice Beeboss!

Just from a quick listen, I was surprised that came from a Nord Stage 2. And you seem to have good dynamic control from a DP. It sounded great. Like your grand.

That was excellent !! What a great sound. I love the harmonies.....I think I told you that already though..

Well thanks again Dave

I finally got a chance to really listen.

I will admit too that I didn't know Embraceable You so I had to listen to the original first to understand what you were doing.

What a mind blowing concept!

It sounded like you 'zoomed in' to a medium swing tune and built the solo around the head.

What was your thought process as you did this? Did you plan out the framework? Or did you just go with the flow?

Amazing.

I was just learning to play the tune - like you it is one I have neglected for too long - and then I got into writing some new harmonies for it. I always try to do that every now and again as really thinking about the voicing and harmonic movement helps develop me harmonically - I discover some new voicing and chord motions every time. Once I had done a reharm I played around with it trying to find out how to play it in a way that worked. First I tried just playing the head and solo in a more usual way with the rearm tagged on the end but it didn't really work. Then as I played it a few more times this structure seemed to jump out.
The hard bit is making the improvisation flow into and out of the written harmony bits, and trying to make them have something to do with the tune. I still have some way to go there.
I listen to quite a lot of Martial Solal and he uses this idea a lot, going off in tangents and improvising on phrases from the head before bringing the head back in.

Glad you liked it.

I just a new version up on youtube
http://www.youtube.com/watch?v=WeK8VfFlZRk

Beeboss, I'm interested to hear your thought process when coming up with those harmonic bits. For example, the tune starts out

| Gmaj7 | BbMaj7 | A-7 | D7 |
and it sounded like you you made the first chord a relative minor and then a passing chord in between. Then you just implied the ii-V. Not sure but that's what it sounded like.

I'm not so advanced in the reharm side. I just know a little bit. Maybe some voicing changes. Some diminished cycle subs. Maybe some major-minor subs on ii-V's. I'd be interested in glimpses of approaches to harmonic development.

The first thing I did was to completely forget about the original sequence. Then I pieced together different voicings and root movements that sounded good to me.
Actually, now I think about it, I can't have completely forgotten about it, but more or less.

I did a part before so I have uploaded it if you want to look at it. I did change a few notes after writing it but it is more or less what I played


http://www.divshare.com/download/15656939-798


http://www.divshare.com/download/15656945-e35

Thanks Beeboss. I learned a little bit from the thought process.