Style:

Swing, typically played at fast tempos.

Form:

A-A-B-A (64 Bars) [16-16-16-16]

Coda:

A short repeated phrase on the head out which begins 4 bars before the  end of the form. Although it was not composed by Noble it has become synonymous with the tune.

Key:

Bb Major

Harmony/Overview:

The  harmony of this composition is very functional, and the A sections in  particular are very much in line with other leading standards of its  day. The A sections begin on IMaj7 before a II - V of IV leads to IVMaj7  - bVII7. It then finishes in a predictable manner with a momentary stay  on II7 before a final II - V returns back to the tonic. The bridge  however was very sophisticated for its time, being made up almost  exclusively of II - V - I's resolving down in whole steps. The constant  modulation of tonal centers in this way was revolutionary as it  presented a challenge to the soloist that was unlike anything that had  come before it. Charlie Parker left behind many legendary recordings of  the tune, and he would also use the changes for the solo form of his  composition "Ko-Ko".

Recordings:

This  song has been recorded over 400 times. Ray Noble first recorded it with  his Orchestra in 1938 as the first of five movements in his Indian Suite.  The Count Basie Orchestra recorded it the following year and their  rendition helped to anticipate what would come of the composition. Ultimately, it was Charlie Parker’s innovations with the tune that  solidified its lasting influence amongst generations of jazz musicians  and it has remained very closely associated with his legacy.

JGC Top Picks:

Bud Powell, Jazz Giant, 1950

Clifford Brown, Study in Brown, 1955

Christian McBride, Live at the Village Vanguard, 2014