The pianist’s addition of long, full modal chords in a broad interpretation of the meter and the drummer’s wash of cross-currents tapped out on cymbal complete the airy atmosphere against which Shorter’s tune is projected. This is an original melody in three segments in a-a’-b or a-a’-a” form, contrasting a flat line with a descending one, whose first two segments end on the upbeat. The tune is in twelve measures, divided into three groups of four, the first group staying on the tonic, the second moving from iv to i, and the third from V to IV to i. If many of these features sound like those of the twelve-bar blues, its no accident. The piece is cast very much as the blues, and similarities to as well as differences from conventional format are among its most intriguing aspects.
Photo(s): Nasa.gov — Mars Rovers
Song: ‘Footprints’ by Wayne Shorter on ‘Miles Smiles,’* 1966.
Song: ‘Footprints’ by Wayne Shorter on ‘Adam’s Apple,’** 1966.
Excerpt: Jeremy Yudkin. Miles Davis, Miles Smiles, and the Invention of Post Bop. 2008.
The two versions of ‘Footprints’ presented here were released eight months apart. The earlier recording, the second, is taught and deliberate. The later, presented first, was performed by a band lead by Miles Davis. It saunters through the parts and at times the performances — especially from Davis and Shorter — are flippant and loose with the melody.
While I enjoy both of these takes on the same tune, I find the performance on Miles Smiles elevates to a higher level of artisan ship. Its sexier and conflicted, lacking the self-assurance keeps the earlier performance so tight.
For the those that are new to jazz, pay special attention to the piano parts in each. The solos from Hancock reflect the tones I’ve described above, but also highlight the vastness of worlds that can be created via improvisation.
Why the photos of Mars? The red planet has been on my mind a lot recently as I’m reading KSR’s The Martians and thinking about how casting a story on a virgin planet allows for vast possibility for reshaping how humans live and interact.
* Miles Davis, trumpet | Wayne Shorter, tenor saxophone | Herbie Hancock, piano | Ron Carter, bass | Tony Williams, drums
** Wayne Shorter, tenor saxophone | Herbie Hancock, piano | Reggie Workman, bass | Joe Chambers, drums
