You prefer an ordinary life. Beeing calm when things go wrong is your natural ability.
Over the years, I have been fortunate to have worked with, in various settings, both Ron Carter and Herbie Hancock, but there has never been enough leisure time to sit and question them about my own curiosities regarding the great recordings, and the circumstances surrounding them.
I have, at times, tried to read some of the historical and biographical accounts of those sessions but, I have never really uncovered the answers to my questions. I know that Ron has stated, and many times, that during his tenure with the band, they only rehearsed once or twice.
Well, I am about to conjecture about something, and I would imagine that some of you might find it interesting, and others might dismiss it out of hand as lunacy.
The most obvious example would be the title track itself, Miles and Wayne Shorter simply state and re-state, and re-state again the melody as if they were familiarizing themselves with it. On each successive go-round, the rhythm section of Herbie, Ron, and Tony Williams becomes looser and looser, exploring all that is possible in the art of accompaniment.
As mystical and spectacular as this version is, it seems possible that it was just a long 'run-through' that happened to be recorded. It was as if Miles was 'auditioning' tunes for future live work or recordings.
But, under these circumstances, because Columbia is paying for the musicians, Miles doesn't have to pay for a rehearsal. And, he might get a recording out of it. And this is what we've been hearing all these years. Other possible examples of this are the performance of "Riot" which is strange at best, and has many errors.
And then, we can point to Wayne Shorter's "Pinocchio" as another example of what sounds more like a practice performance, because the solos are so short, and it is almost as if Miles cues the melody as an 'interlude' based upon where he 'feels' it should go, rather than after a true completion of the bar form.
Perhaps the best example of this comes right at the end of Herbie Hancock's 2-chorus solo, because it appears that Herbie might be about to begin a 3rd chorus, and is, in fact, two bars into it, when Miles and Wayne return with the head.
It is also interesting to note that, at that top of the tune, they play the head four times 4x instead of the traditional two times. Were they also just treating it as a run-through? Of course, I am only openly speculating here, but I do believe that it's interesting to think about, especially if you are a huge fan of the music as am I.
As much as any of Wayne Shorter's tunes from this period, "Pinocchio" has a most enigmatic set of changes. After spending a great deal of time listening to and studying how Herbie colors the melody, I have a pretty good sense of how he is relating to the changes.
But, because of Ron Carter's walking bass lines, in certain bars, it remains difficult to determine just what was written as the 'real' chord change. I recall reading an interview with Herbie Hancock many years ago, where he said that Miles had told him a couple of things that he wanted.
One of them was to lay out and to not 'comp' behind the horn solos. This is perhaps why there is such an atmospheric and free sense when Miles or Wayne are soloing, and, on a tune such as this, it is possible that only Ron Carter is truly following the changes.
But, because of the complex harmony, and the nature of his walking bass style, it is not easy to pick them up, even if one knows the tune and its form a bit. Herbie also stated that, at times, Miles had also told him to just use his right-hand when soloing, and to not add in the harmony from his left-hand.
As we will see here, Herbie's solo on "Pinocchio" is not an example of Herbie following that particular edict. It is for this reason that Herbie's solo, for the traditionalist, makes the most sense, relative to the composition and its changes.
After purchasing and really studying the fascinating 'alternate take' version of "Pinocchio" I finally feel as though I understand what the 'real' written chord changes must have been. If you are going to buy into my theories, this 'performance' which, to me, is more like a run-through that simply got recorded, you get to hear the group practicing the 'new' piece at a tempo well below what I would describe as a 'medium bounce.
Given the slow tempo, there is simply more time to determine just where Ron Carter is placing the harmonic emphasis of each harmonic area. And, certain 'mystery' notes in the melody also become totally clear. A perfect example of this occurs in bar 5 where the melody, over Bm9 maj7descends from an A down to F and to C and not D-natural as it is often written.
When students have raised questions about this tune, there have been harmonic aspects which have really challenged my capacity to hear certain things. The best examples of this are what happens during bars and bars During the statement of the melody, the key voicing in bar 1 is, spelling up: This voicing could be a part of any number of chords, depending upon what note is placed in the bass.
Again, after listening carefully to the 'alternate take' version, I am certain that, based upon what Ron Carter is playing that the chord is, in fact, an Ebm9 6even though the melodic notes seem to outline F minor pentatonic F, Ab, Bb, C, Eb. The pivotal note in the melody which dictates everything is the presence of that 'C'-natural.
But, in bar 2, when the melody passes over a B-natural, as opposed to the Bb in bar 1, Herbie colors this one note with a voicing which is something like this, spelling up: F -A-E-G-B, what that could be depends upon the bass note.
And, this where, on the 1st chorus of the 'alternate take' you clearly hear Ron play his open 'A'-string each time.
But, after repeated listenings, I hear Ron playing C or Db too many times on or near the downbeat of each bar 3 to make me believe that this could really be Emaj7 4 as I had first suspected based upon what Herbie is playing.
Yet, when I listen to Herbie's piano solo, based upon what he is playing, I still wonder if the chord is not, in fact, Emaj7 4?Here’s Herbie!” with absolutely no care in the world, and it was this kind of confidence Mike wanted to possess.
Herbie then walked straight up to the front window of the train, with a plastic steering wheel and started “steering” the train, as if it was nothing. Watch video · Here's Herbie is about teenage Mike trapped at home in the web of his mother's mental illness and Mike's meeting with Herbie whose own disability has been turned into a joyful life/10(11).
Here Herbie's origins are explained: an elderly German engineer named Dr. Gustav Stumpfel was building Herbie when a picture of his deceased wife fell into a vat of molten metal; Stumpfel's love for her animating Herbie. Analysis of here’s Herbie This short story by Mike Feder, is about his own life as a discouraged teen in the 70’s society.
When Mike was a young boy he was in a constant state of teenage depression, and one of the major reasons why, was his mother’s both mental and physical illness.
Herbie Character Analysis of Meaning Here is the characteristics of Herbie in details. This name causes you to be somewhat too concerned with the personalities, problems, and activities of other people. This became Hancock's second major compilation of work since the Columbia-only The Herbie Hancock Box, which was released at first in a plastic 4 × 4 cube then re-released in in a long box set.