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just fantastic, great great great! the bass solo suddenly was like a cross between Tokyo Dream and Havona (Weather Report)

Thanks, that blew up for me. never thought of it that way.

What an awesome video!

The other way (or more precisely, one of many other ways) to consider some of what you are hearing here is simple triad movement. Eb- to F major triad, then simply move thru the upper extensions of those. Yes it can be considered a simplification, but it helps get beginners to play appropriate choices.

Not bad,I'm also hearing (in the song) MD going into Em7 and Fm7 over the Dm7/Ebm7,the whole thing is very interesting, but I think u might be right about this,because these guys are master class ,and these are good reasons why modal jazz is special, it give everyone more liberties, with the suspension of tonality, great analysis mate,👍

Hey Danny! Just stumbled on this. My 2 cents - PC is thinking of the bridge as Db major rather than Eb minor. In the first measure of the bridge you can think of those first 2 quarter notes as approaching the Db (tonic) on beat 3. That's what it sounds like to me. Cheers, man.

Parental Warning! - Explicit Learning

Gold!!!…

Modal jazz,,,to neutralize tonality, but still speak to it,using dom 7s,I think ur right in this listen, the half step is the cadence, this is actually sophisticated stuff,using only two chords ,classic cuts,great video 👍

Miles told his musicians it was just the white and black keys. P.C. is just making sense of that with passing tones.

Very nice! The E natural at the end of the Ebm7 sound to me like a subV of Ebm7, like this note makes a lot of sense when going out of a Bb7alt. I think they were in a mood of just let the chords come from nowhere, so this also makes sense to me, like "I'm leading to an Ebm7, but watch out, here's the Dm7".

Maybe the E natural(bt 4, ms 8) is simply a leading tone implying a ii-V back to the d minor.......(but no, you're not talking crap here...)

2:05 I just see that as blues scale.

Appreciate the analysis on a deep topic. When you had the piano play the implied chords, it reminded me a bit of the Sound Marcus Roberts and Veal had.

Beautiful job interpreting this incredible tune by the grand master; it's good to know there are people with the chops and sensitivity to take it on and do it justice!

So What's opening bassline and walking line is based on Bohemia After Dark by Oscar Pettiford. Studying Bohemia After Dark will help to understand Chambers' bassline even better -- OP was his hero. Pettiford even wrote a response to So What -- entitled Why Not? That's What!

E natural in ms 8 might be leading back to Dm7 by implying 5th of A7 ?

thumbs up man!!!

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When I see those analysis I always questioned if He was really conscious of this when he created that line or he just played what he was felling? I think he was giving a shit about what the theory behind what how as doing, however I love to be able to understand what is happening lol. Very nice video by the way.

Thanks so much Danny.

the recording from those sessions were all improv's ....

So What...if your analysis is too deep.

sometimes I just think that they don't really think about all this theory as its not a very musical approach, and really just have good ears, and go with whatever sounds good in the moment, is it just me?

Subscribed! Great video. Pardon my ignorance but why exactly would the V of Ebm7 need a flattened 9th? I've recently started getting into jazz theory and I didn't understand that part of your video. Thanks.

This is so interesting! Thanks!

WAY too much Theoretical trampoline.....i'm outta here...just LISEN admire and PLAY it..THAT'S why God gave us EARS. !!

Which version did you transcribe? Those are not the notes he plays in his walking bassline, during Miles' solo from the original 1959 studio album Kind of Blue.

I think the the 4th beat of m. 8 is a shart Eb. I also think that the B naturals in m. 4 are flat C naturals. That would make m. 4 an allusion to Ab7 (the V of Db.).

Gold!!!... Thanks...

Great stuff, more of this kind of interesting walking analysis please!

Chambers’ scroll was a carved face, like a viola da gamba.

What an absolutely brilliant analysis, Danny. Thanks so much for sharing! Serious Respect to you!

Frigggin' awsome breakdown!

Very interesting analysis. Makes sense.

Now you know.

Ehhh... no.

Finally ! I'm glad a bass player finally said it !

I like your analysis! Your analysis is very good, and very meaningful! Ok, now that “try to scam the teacher” approach didn’t work for me, yeah I like what you showed here. I’ll have to apply that to my triad pairs approach the next time I play this.

I seen a interview with Jimmy Heath and he said that Miles told him that every musician that was not in his band played so what wrong because there was no chords. Just the white keys on the piano and the bridge was the black keys. Mind blowingly simple right.

This is awesome!

I'm convinced that we jazz guys like to talk about this stuff to show off how much we know...🤣

I'm sorry man but I think there is a mistake. Last note on 4th bar ( minute 2.38) is not a B, is a C. I've listened many times and saw lots of transcriptions. Is not a B, is a C. So is a major 9. On measure 6 we have, instead of Cb-C ; Bb-C. So is not a flat 7 of Db, is a major 6 and, well, this change everything. Where did you find the transcription?

Good stuff.

Nice. If you look at the other bridges, there's more. I think he emphasizes an Ab7 at one point.

i like this

Great analysis

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