Style:

Swing, typically played at fast tempos.

Form:

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

Coda:

A  brief coda finishes off the piece, beginning in the 2nd last bar of the form on the head out. Instead of resolving back to the tonic the coda begins with a IIImi7 - VI7b9 - IImi7 - V7b9 and proceeds to cycle  through a combination of Maj7 and Altered Dominant chords. This ending can be heard of Coltrane's original recording from Blue Train, and is often included in performances.

Key:

G Major

Harmony/Overview:

The  harmony of this composition is rather intense, with II - V's occurring in almost every single bar. The piece begins with a II - V of I which doesn't resolve, and is instead followed by a II - V of bIII in the 2nd  bar. It yet again does not resolve, and proceeds with another II - V of  bVI which resolves to bVI Maj7 in the 5th bar. Finally, a II - V resolves back to the tonic at the end of the section. The first A section finishes with a chromatic II - V from below to anticipate the  following A section. The bridge begins with II - V of IIMaj7 and uses a  chromatic II - V from above to anticipate the following II - V to the  tonic. The B section also uses a chromatic II - V from below to anticipate the start of the final A section.

Recordings:

This song has been recorded over 60 times to date. It was first introduced on Coltrane's album Blue Train in  1958. An alternate take from the original session was also later released on the 1997 CD reissue. This piece, along with all of the other Coltrane originals from the album, have gone on to become standards. It  continues to be performed frequently to this day and is one of  Coltrane's most cherished compositions from his 'post-bop' era of playing.

JGC Top Picks:

McCoy Tyner, Blues for Coltrane: A Tribute to John Coltrane, 1987

Kurt Rosenwinkel, East Coast Love Affair, 1996

David Kikoski, Phoenix Rising, 2019