Origin:

First recorded by Richard Davis and Roland Hanna on the album Muses for Richard Davis.

Style:

Almost always performed as a waltz, typically taken at a slow tempo.

Form:

A1-B-A2-C (30 Bars) [8-8-8-6]

Arrangements:

The recurring IMaj7 - IVmi vamp is often used as an introduction and also as an ending.

Key:

Most commonly played in Bb Major.

Harmony/Overview:

The  harmony of this composition is functional. The main theme revolves around the constant borrowing of sub-dominant minor sounds to resolve  back to the tonic, and the IMaj7 - IVmi vamp is a constant meditation throughout the entire piece. During the A sections the tonic is also commonly used as a pedal while moving between I and IVmi. The melody in  both A1 and B begin identically, although both sections are reharmonized  with different sets of changes. The final C section is only 6 bars long and uses the ascending root motion to help bring the form to a  close.

Recordings:

This  song has been recorded over 480 times to date. It was first recorded by Richard Davis and Roland Hanna in 1969 on the album Muses for Richard Davis. Thad Jones would first record it himself on the album Consummation, and he would also record it on several other occasions throughout his career. Alec Wilder would soon after add lyrics to the composition,  helping open it up to vocalists.

JGC Top Picks:

Bill Evans, Quintessence, 1976

Stanley Turrentine, Straight Ahead, 1984

Joe Lovano, Joyous Encounter, 2004