Wayne Shorter’s “Fall”: Analysis of Jazz Covers

Wayne Shorter, a towering figure in jazz composition, penned the enigmatic and enduring masterpiece “Fall”.

Its haunting melody and complex harmonic structure have inspired countless artists, leading to a fascinating array of interpretations.

Join us as we delve into some of the most remarkable jazz covers of “Fall”, exploring renditions by Miles Davis, Gilad Hekselman, Jesse Fischer, and others.

Miles Davis’ “Fall”, Nefertiti (1968)

The Miles Davis Quintet‘s original recording of “Fall” is a thing of beauty – Miles’ trumpet, Wayne Shorter‘s sax, Herbie Hancock‘s piano, Ron Carter‘s bass, and Tony Williams‘ drums create an unforgettable tapestry. The piece, one of three Shorter compositions on the iconic Nefertiti album, opens with Miles’ haunting trumpet melody woven against Hancock’s piano triplets and Williams’ steady ride cymbal.

Stop-start chords introduce a spotlight on Miles’ trumpet, punctuated by unison lines between trumpet and sax. Carter’s bass and Williams’ subtle snare accents add depth, Miles’ tone soaring powerfully. Hancock takes the lead with a piano solo that ebbs and flows, gaining intensity, driven by Williams’ shifting hi-hat work. The horns weave in support, underscoring the solo’s beauty.

Shorter’s sax takes center stage, the piano and trumpet providing a harmonic foundation. Carter’s bass solo emerges after a graceful breakdown, his lines supported by Williams’ brushwork and delicate interplay from the horns. Williams subtly builds the intensity until Miles’ long, sustained trumpet note brings the piece to a close, the bass offering a poignant last word.

This arrangement is striking – each solo is meticulously supported by both the rhythm section and harmonic statements from the other horns, keeping the melody at the forefront throughout.

Jesse Fischer’s “Fall”, Flipped II (2018)

Jesse Fischer‘s Flipped II offers a synth-driven reimagining of “Fall”, showcasing his production prowess. Joined by Sly5thAve on flute, sax, and clarinet, and Clint Yerkes on trumpet and flugelhorn, this version demands a good pair of headphones to fully appreciate its nuances. Spacy, pulsing synths set the stage before guitar and flute introduce the melody, accompanied by gradually intensifying percussion and synths.

The full groove kicks in, referencing the stop-start chords of the Miles Davis version. Sly5thAve’s flute shimmers with a cool delay effect as the woodwinds continue the original melody, subtly supported by guitar chords. Otherworldly drum machine tones rise above pulsing cymbals, leading back into the driving groove and stop-start chords.

The woodwinds offer a captivating melody over the pulsing cymbals, followed by a synth solo that spirals back into those iconic chords. Sly5thAve’s layered woodwinds shine with delay effects, creating a perfectly executed breakdown. The groove returns for the finale.

While radically different in feel, this version remains faithful to the melody and harmonies of Wayne Shorter’s composition. Fischer’s electronic textures blend seamlessly with Sly5thAve’s rich woodwind contributions, resulting in a fascinating tribute to the original.

Gilad Hekselman’s “Stumble”, Ask for Chaos (2018)

Gilad Hekselman offers a unique take on “Fall” with his piece “Stumble” on the album Ask for Chaos. While not a direct cover, Hekselman builds an original melody upon the chord changes of Shorter’s composition. His ZuperOctave trio features Aaron Parks on keys and Kush Abadey on drums.

The piece opens with interwoven Rhodes piano and Hekselman’s guitar, followed by slow, spacious drums. A synth-like bassline emerges, a hallmark of the trio’s creative use of pedals and shared bass duties. Stop-start chords reminiscent of both previous “Fall” versions lead into descending guitar lines, foreshadowing a later motif.

Parks delivers a patient, evocative keyboard solo with resonant chords and Hekselman’s subtle bass support. More active guitar comping adds drive, followed by the melody played in unison between guitar and keys, underpinned by Parks’ rich chords.

The drums break down as Hekselman introduces arpeggiated lines, building in intensity and looping. This layered loop continues against solid drumming and Rhodes chords, gaining momentum. Around the 6-minute mark, a heavier synth bass joins the mix as cymbals steadily crash.

A solid groove emerges under the cascading guitar loops, followed by a dramatic dropout. The piece concludes with a heavily processed effect on the loops. Hekselman’s trio showcases their remarkable interplay, and although the connection to “Fall” might be subtle, its harmonic influence subtly infuses the structure of “Stumble”.

Conclusion

Fifty years on, “Fall” remains a vibrant source of inspiration, a testament to the enduring power of great jazz compositions.

While the versions explored here are exceptional, they represent just a small glimpse into the tune’s vast potential.

As new generations of musicians emerge, each with their unique perspectives, we can expect even more innovative and unexpected reimaginings of “Fall” in the years to come.

Though rooted in Wayne Shorter and Miles Davis‘ original masterpiece, artists like Jesse Fischer and Gilad Hekselman boldly infuse the composition with their own voices, proving that “Fall” possesses a timeless quality that fuels ongoing musical exploration.

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