WAYNE SHORTER - Footprints Bass Cover and Analysis || Reggie Workman | Bass Tab

[@trailblazers740]

You look like a young, better-looking, jazz playing Nick cage

[@bustabass9025]

One of the greatest compositions to ever come out of the Golden Age of Blue Note Jazz. Reggie Workman's take on this timeless standard is a non pareil.

[@iamjwc]

“Wayne Shorter tunes frighten and confuse me” same...

[@bassafterdark7186]

thanks for a great breakdown of the excellent bassline from this classic tune. Love that low slide from the F# to the G and then back to the C. Never really figured that out quite right. RIP to Wayne Shorter, one of the all time greats.

[@patrickrushton]

Very helpful! By the way in the video you say F#m7b5 but your PDF chart has Fm7b5

[@blee3621]

Just noticed too. The first note there is F# so it’s just a typo in the chord chart. It should say F#ø. Great video btw.

[@jeffreyphillips1234]

I like your style kid!! Also like how you break down the songs. Your ability to achieve a "hair mute" on the dbl bass is like no other.....😎 You are fun to watch. Keep up the good work.

[@classicbasslines]

thank you!

[@bustabass9025]

Excellent analysis. I remember the first time I played this tune in a community college jazz band. It was almost life changing from the standpoint of a bassist, as it opened the door for myriad variations on soloing. Like So What, it's bass driven and it gives us a real sense of empowerment in conveying the soul of a peace, when we're performing. I like Wayne's original version here many times over, compared to the Miles Quintet version with Ron. Reggie definitely out Work(s) The "Man" on this one. 😂

[@ErnstJanBraakman]

Great vid!! Many thanks for showing the tones (i play by ear). And I agree that you could play it at both neck positions and even switch during the song. It sound simpel but it is hard to play it right and you nailed it ;)

[@miguel4cuerdas]

Excellent analysis, very useful for teaching. A like for you. Please stop making quotation marks with your fingers.

[@MikeNichols50]

Your "turnaround changes" are accurate... I prefer that turnaround. The Real Book [D7 - D-flat 7] changes are incorrect [unfortunately, the Real Book has many of those problems]. You have to use your own ears to verify the Real Book - it's work, but that work makes you stronger... For many of the tunes they indicate the recording they used as a guide for their charts...that can give you a clue as to which versions to check out [or not check out]...

[@Tanauan]

awesome, thankyou!

[@peterbarratt2415]

Can't get enough of this stuff Dave.

[@classicbasslines]

Hey thanks for the encouragement Peter. I’m glad you have diverse tastes

[@ranzio477]

love your content dude, keep it up!

[@dojomania]

thank you so much ! could you do a video about how Workman does a walking bass later on in the tune ?

[@patrickmcintosh3698]

Would be nice to have an analysis of St Thomas - particularly the sped up section after the drum solo

[@BassSouthwest]

You should do the entire lesson on Double Bass

[@senny4405]

This is great. Thank you for helping to save Western Civilization.

[@classicbasslines]

lol thank you

[@ARCoventry]

Woah your left pinky is cattywompus

[@bezuglich]

What I want to know is . . . on Miles' version, whose idea was it to play the turnaround in 4/4?

[@foppe2000]

if you really wanna know, you should email Marcus Miller

[@guillermobarrionuevo8878]

Habla demasiado