What I want to do when I write a tune, among
other things, is come up with a more perfected version of what I would like to be doing when
I’m playing. The melody and harmony are kind of two expressions of the same thing. Now,
an F-13 chord is a very familiar sound. But this time I’m using it over a 1st inversion.
Having a bassline happen basically whenever this wasn’t happening, so that you could have
that kind of rhythmic bounce effect. Try to find something that has enough openness that
it can become a vehicle for not just your own improvisation, but for a band to work
with. You know, maybe you’re pushing them a little bit more. The C goes to the top and
the B goes to the bottom. I took that sound and turned it sort of horizontalized it and
turned it into a melody. Most of the time when we’re playing in 5, we hear 5 quarter
notes. I wanted to hear 5 half notes. Now, because the 5 is longer, I’ve got sort of
more options that I can get into. So, here I’m actually exploring 3 over 5. I want things
to be unexpected and I want them to take the listener on a journey that they might not
have been on before, but I want there to be a reason for everything that happens, so that
you can feel the tune.