The full story is that herbie actually misheard miles! Miles actually told herbie not to play the BOTTOM notes (the white keys), but herbie still found meaning in the gibberish.
I've always heard that "bottom notes" referred to the low end of the piano, so that those notes wouldn't clash with the bassist's playing in that lower range
Truth be told, I've been trying to solo omitting the 3rd and the 7th for quite some time now, but it's close to impossible to make it sound organic. There's a chance that Herbie is the only one who's able to do that properly.
I love Miles but I appreciate him "backwards". I love more his later stuff because that's what Hancock meant. Even though Mile's sound was funky but so interesting and entertaining. Those unexpected notes and melodies from his songs like in Hannibal were not the usual expected notes you hear in jazz songs. Even though unexpected they were beautiful and opened your mind. Those notes and melodies fit like a glove into the overall song.
Interesting. For me it's the late 60s Miles sound that amazes me. The complete silent way sessions with sessions like "the ghetto walk" or the album Miles in the Sky or Nefertiti. The catalogue of his is so vast.
Maybe I haven't opened my mind enough yet but the late 50s stuff is my favorite, particularly the Relaxin' album it has the perfect blend of melody and improv along with a vibe that the album name articulates very suitably
I have always thought of the black keys to be the butter notes because they make chords and combos that actually sound good. I find it funny Miles' definition is the opposite, as the white keys are just that to most people who have learned piano normally. It's good advice he gave, it really makes a difference. Opens up more space between octaves, you can easily switch key with playing the same melody when you get the hang of both.
He actually said "Don't play the BETTER notes"...cause at that time Herbie was outshining Miles when they played improvisational type arrangements...he wanted Hancock to play a more minimalist type "comping" similar to Bill Evans.
JAZZ PLAYERS ARE GREAT PLAYERS BUT I'VE FOUND BY WORKING WITH THEM, many of them Overthink Music. My oldest Brother is a Musician and he Told me years ago there are 4 types of Musicians & they are as Follows: 1. SONGWRITER 2. STUDIO 3. LIVE 4. KARAOKE A Great Player with no Catalog is just That a Great Player with no Catalog. A musical genius is the Player that also Has a Catalog full of mostly hits.
And when creating improvisations, borrowing into what you know and translating it into your own style makes it all sound more professional and actually forces you to grow musically.
@@stanleybroniszewsky8538 Over Thinking isn't good it takes to Long to get things accomplished. Adding to what we already know makes Us better players no Doubt.
