Style:

Swing, usually played at medium-up tempos.

Form:

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

Arrangements:

An  introduction is sometimes included which is also sometimes used as an  outro. It stems from Dizzy Gillespie's 1946 recording, although a later  rendition from the album The Bop Session gives a clear demonstration of how it has come to be approached as an 8 bar arrangement.

Key:

F Major

Harmony/Overview:

The  harmony of this composition is very functional, made up almost entirely  of II - V-I's. The changes in the A sections begin similarly to a 'Bird  Blues'. starting on IMaj7 before a IImi7b5 - V7 of VI that is followed  by a III - VI - II - V of IV. Instead of following the 12 bar blues  format however the piece makes its way back to the tonic within the  first 8 bars. The bridge begins with a II - V of IVMaj7, and is followed  by a II - V of bVIMaj7 before finishing with a II - V back to tonic.  The melody is a bop line that contains a wealth of knowledge in modern  jazz phrasing. John Coltrane would later use this piece as the basis for  his composition "26-2".

Recordings:

This  song has been recorded over 160 times to date. Dizzy Gillespie was the  first to record it in 1946 on a session for Dial Records in which  Charlie Parker was not present, and in 1947 the duo recorded the piece  live at Carnegie Hall. Charlie Parker would finally record the  composition in the studio for Mercury Records in 1953. Several other  live recordings also survive of Parker performing the tune, all of which  capture particularly inspired performances.

JGC Top Picks:

Art Blakey, A Night at Birdland, 1954

Chick Corea, Three Quartets, 1981

Billy Hart, Quartet, 2005