Style:

Swing, usually taken at a medium slow tempo.

Form:

A1-A2-B-C (34 Bars) [8-8-8-10]

Arrangements:

Early  recordings by Benny Golson feature a new melody for A1 and A2 on the  head out, although this arrangement is oftentimes not included in  performances.

Key:

Ab Major

Harmony/Overview:

The  harmony of this composition while unconventional is mainly functional,  revolving primarily around II - V's. There are orchestrated shots that  are played by the rhythm section throughout the head that are integral  to the piece, helping to punctuate the melody. A1 begins by approaching  IImi7 from a semi-tone below on the '&' of 4, and continues with a  II - V of bII which deceptively resolves back to IImi7. It continues  with a II - V that finally resolves to bIIMaj7 in the 5th bar, and  proceeds with modulate downwards with secondary Dominants. A2 begins  identically to A1 only transposed down a Major 3rd. The remainder of the  song continues with various II - V's and the final C section adds on an  additional 2 bars to what would have been another 8 bar section.

Recordings:

This  song has been recorded over 50 times to date and is one of Benny  Golson's most well known compositions. It was first introduced on the  album Art Blakey and the Jazz Messengers in 1958. Jon Hendricks would later pen lyrics to the composition,  helping to open up the tune to vocalists. It continues to be performed  frequently to this day and many iconic musicians have recorded it.

JGC Top Picks:

Donny McCaslin, Exile and Discovery, 1997

Ethan Iverson, The Purity of the Turf, 2016

George Coleman, The Quartet, 2019