Iris

[BWV]

Yes the book says Db13sus at that point in Wayne’s solo.

I tend to see these chords as a typical Herbie Hancock move, i.e. the chords during the theme are Db7(#11) to Amaj/Db. If you think of it as some sort of Dbsus followed by Amaj triad over Db, it is a lot like those chords he does at the end of Dolphin Dance, i.e. the upper notes just move down a whole tone while the pedal bass note is unchanged.

Naming these chords can can be a bit tricky as it doesn’t necessarily capture the precise piano voicings very well, and I think they are quite important.

and its another whole level of error mapping these symbols to the guitar while trying to preserve the melody line on top. Db is about the worst pedal note you can find for the instrument

[christianm77]

Interesting psychology. It wasn't a validation, I just meant I thought it sounded good and suited what you did. To my ear, anyhow.

it was funny the way you put it, made me chuckle.

[ragman1]

it was funny the way you put it, made me chuckle.

Sorry, I was probably talking to myself - 6 instead of M7, I get it. I suppose it did sound pompous.

But I wouldn't deign to bestow seals of approval. Seal of disapproval, maybe :-)

[christianm77]

The carrot and the stick :-)

[BWV]

Any usefulness in looking at the repeated AbM7 - Db7 changes as backdoor II-Vs? This would imply, of course, an Eb tonality (while the Waters book has it in an obscured Fm and Shorter’s original lead sheet was prominently in Fm)

interesting though that this appears to be one piece of Wayne’s that Miles did change up a bit, when notably he generally did not alter Shorter’s compositions

[greveost]

Interesting! In all these years, never thought of it as something else than a regular AbM7#5

However, when I listened to it now, it actually is a nat 5 in there as well. Really cool! You can hear Ron play it as well