Style:

Bossa Nova.

Form:

A1-A2-B-A1 (64 Bars) [16-16-16-16]

Key:

Gb Major

Harmony/Overview:

While the harmony of this composition is mainly conventional, it can prove to be rather difficult due to the uncommon key signature of Gb Major, the  extended form, and also the extensive use of secondary-dominants and tri-tone substitutions. The A sections begin simply enough with the common progression of IMaj7 – bII7#11. The harmony then uses a tri-tone substitution to resolve to bVIMaj7 in the 7th bar, and uses another to  resolve to bIIMaj7 in the 9th bar. However, instead of it functioning as  bIIMaj7 it is instead acting as IVMaj7 of bVI; the key center in which  the next several bars take place. It is then followed by a III – VI – II  – V to bVI before a final II – V which uses tri-tone substitution resolves finally back to the tonic. The B section begins in bV Major and  spends the second half in bIII Major, resulting in key centers which  move downwards in minor 3rds; C – A – Gb. Freddie Hubbard’s arrangement as heard on the Art Blakey album Free For All has proved to be massively influential in the way generations of musicians  have approached the tune since, and the shots and figures heard on the recording are frequently included in performances.

Recordings:

This song has been recorded over 60 times to date and is one of Clare Fischer's most popular compositions. It was first introduced on his album Bossa Nova Jazz Samba alongside Bud Shank, and he would record it on several other occasions throughout his career. It has been recorded  by a wide variety of artists including Hubert Laws, Bill Evans, and  Cedar Walton to name a few. However, Art Blakey's rendition from Free For All was arguably one of the most highly influential recordings of the tune and it very much serves as a template for how the tune is most commonly approached.

JGC Top Picks:

Freddie Hubbard, Hot Horn, 1969

Bill Evans, Crosscurrents, 1977

Benny Green, The Place To Be, 1994