Style:

Usually played swung, is it taken at a wide variety of tempos.

Form:

A-A-B-A (32 Bars) [8-8-8-8]

Arrangements:

This song features an 8 bar introduction which moves from I - bII7, and is typically played with a straight feel. It can be heard on the original Bud Powell recording from the album Jazz Giant. It also features a coda which is used as a send-off after the head-in before the solos begin, and also after the head-out as an ending. The coda is however not included in the solo form.

Key:

Bb Major

Harmony/Overview:

This composition is essentially a rhythm changes, albeit with some reharmonizations and a slightly different harmonic rhythm. Instead of the A sections being centered solely around a I - VI - II - V, the harmony slowly inches upward with IMaj7 - IImi7b5 - IIImi7 before arriving at a II - V of bIII in the 4th bar. The A sections then finish with the turnaround of IIImi7 - bIII7 - IImi7 - bII7 (tri-tone substitution). Instead of strictly cycling through Dominants in the bridge the harmony begins with a minor II - V to VImi before the usual II7 - V7. The melody also contains a wealth of musical language, making use of many different bebop concepts and melodic devices.

Recordings:

This composition has been recorded over 50 times to date. The first recording comes from Bud Powell's 1949 album Jazz Giant. Interestingly enough, Powell cut this recording while on temporary release from Creedmoor State Hospital where he was receiving psychiatric treatment at the time. Since then it has become one of the most cherished bebop compositions in the repertoire, having been recorded by the likes of Phineas Newborn Jr., Kenny Kirkland, and Chick Corea to name a few.

JGC Top Picks:

Phineas Newborn Jr., Here Is Phineas, 1956

Kenny Kirkland, Kenny Kirkland, 1991

Paul Motian, Flight of the Blue Jay, 1996