Style:

Swing, played at a wide variety of tempos.

Form:

A-B (16 Bars) [8-8]

Key:

C Major

Harmony/Overview:

The harmony of this composition is mostly functional, being predominantly made up of II - V's. The A section begins on IMaj7 before a II - V of  bIII. Instead of resolving to bIII however it returns back to IMaj7  before a II - V sets up bVIMaj7. The B section begins on bVIMaj7 and also moves through various II - V's. The final turnaround of the piece  (I Maj7 - bIII Maj7 - bVI Maj7 - bII Maj7) has become massively influential, being used frequently among improvisers, arrangers, and  composers alike. Miles Davis would use the changes of this piece as the basis of his composition "Half Nelson", and iconic turnaround can also  be heard on the Kenny Dorham blues "An Oscar For Oscar".

Recordings:

This song has been recorded over 90 times to date and is one of the many Tadd Dameron compositions to become a standard. Tadd Dameron first recorded it himself with his Sextet on a 1948 session for Blue Note  Records, and he would also record it the following year with Miles Davis. It continues to be performed frequently to this day and is a jam  session mainstay.

JGC Top Picks:

Tadd Dameron (with Miles Davis), Live at Salle Pleyel, 1949

The Jazz Messengers, The Jazz Messengers at the Café Bohemia, 1955

Dexter Gordon, More Power!, 1969