Another Herbie solo for you, this one from the Miles Davis record, THE SORCERER, on the song “Prince Of Darkness”. another cut that had me saying to myself, “more, more!”
HERBIE HANCOCK
Here’s a transcription of Herbie Hancock’s solo on the song “Delores” from the Miles Davis record, MILES SMILES, which along with his other recordings from middle and late 60’s, set a standard for post bop jazz that few have matched. the rhythms in the music are similar to styles that preceded these recordings, but most everything else- the group’s approach to melody, harmony, ensemble playing, improvising, etc. has been sublimated. the connections are there but they’re expertly disguised. not quite in but not totally out, this group successfully walked the fine line between order and the void. because of this, these recordings, 50 years later, still taste fresh and creamy. my only gripe about these records is that the horns, almost without fail, step on Herbie’s right hand forays to bring back the melody. i always find myself mumbling, “let him blow, Miles, let him blow…”
HERBIE HANCOCK
SOLO FROM DELORES (mp3)
I received a request from a friend here in tokyo for a transcription of Hancock’s song “Oliloqui Valley”, which comes from the his record, EMPYREAN ISLES. it features many of the same personnel from his more well known date, MAIDEN VOYAGE (Tony Williams, Freddie Hubbard, Ron Carter). this is a great recording that features what seem to be general sketches that the musicians are able to expand upon. it’s an excellent example of the post bop attitude- musicians who were willing and able to reference traditional styles as well as work at the boundaries of free playing with confidence and authority. what i love most about this record is how relaxed and assured it sounds… “Oliloqui Valley” is built off of a vamping bassline under a piano figure and a simple four note melody by Hubbard. the song then moves into a short improvised passage. the whole passage is repeated before it moves into the blowing section. the chords are related by color more than anything else. Hancock plays a great solo, the right hand of which is transcribed below…
HERBIE HANCOCK- “OLILOQUI VALLEY” (mp3)
I’m currently reading a book called THE LIFE AND WORK OF WAYNE SHORTER by Michelle Mercer, which is on loan from a friend of mine here in Tokyo. anyone with a desire to know more about this giant of 20th century music is well advised to take a look at this book. many interesting anecdotes about his thought process, relationships with friends and fellow musicians, his home life, his spiritual convictions, his numerous misfortunes and triumphs, and his long journey stepping out from the shadows. NATIVE DANCER is, with the exception of SPEAK NO EVIL, my favorite Wayne Shorter record. it’s hard to believe that only ten years had passed between the recording of these two albums. they are vastly different. but Shorter’s sublime lyricism and compositional prowess are the threads that connect them. accompanying Shorter’s horn is the haunting voice of Milton Nascimiento. “DIANA”, written by Shorter, is a ballad played in a rubato style. it is essentially a duet between Shorter and Herbie Hancock with some electric bass accompaniment and overdubbed effects. there are three sections: the main melody, a restatement of the melody and a short coda. it comes off like a prelude to a larger piece of music or like the opening chapter of a fairytale, and conjures up vivid imagery when i listen to it. a barefoot woman in a soft dress walking through a field of high grass which is still moist from the night before, and the sun just broaching the horizon. perhaps she’s leaving someone or something behind. i wonder what she sees off in the distance. what a powerful melody. Wayne Shorter is definitely the man… i wrote out the shell of the song- the melody and bass voices. the chords are of course open to interpretation and the way i formatted the song is my own solution. listen to “DIANA” below and decide for yourself…
WAYNE SHORTER- “DIANA“ (mp3)
TRANSCRIPTION OF “DIANA“ (pdf)
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