Style:

Swing, usually played at an up tempo.

Form:

A-B (18 Bars) [10-8]

Arrangements:

The head is commonly played twice through on the way in and out. There are many orchestrated shots used in the arrangement, particularly in the B section. It is also common for the bass to double the melody at least once through the form during the head.

Coda:

The coda is played roughly half way through the final B section during the head out. It continues in a similar manner as the rest of the tune, with  many specifically orchestrated shots and unconventional harmonic  movement.

Key:

Eb Major

Harmony/Overview:

The harmony of this composition is especially modern and not very functional, the chords move mainly in parallel motion and the melody is  far from diatonic. The main theme begins with the progression of IMaj7 -  VIIMaj7 - bIIIMaj7 - IIMaj7. A common reharmonization that is often used is to continue with the Maj7 chords descending in semi-tones while the roots remain the same: Ebmaj7 - Dmaj7 - Dbmaj7/Gb - Cmaj7/F. This  results in upper structures in the 3rd and 4th bars that convey a  distinctly Lydian sound (VMaj7/I). The B section also continues with parallel motion, moving min7 chords exclusively in minor 3rds.

Recordings:

This composition has been recorded over 50 times to date. It was first introduced on Chick Corea's 1978 album The Mad Hatter, and he would go on to perform and record it many more times throughout his career.  It is a a particularly challenging tune to navigate and it has found favor in jazz circles as well as fusion settings over the years.

JGC Top Picks:

Mark Varney Project, Truth In Shredding, 1990

Chick Corea Akoustic, Live From Blue Note Tokyo, 1992

Esperanza Spalding, Junjo, 2005