Head In, Solo x7, Head Out
Up Tempo Swing 240 BPM
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Some notes about the composition as found on
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Composer: George Shearing
Year: 1947
Origin: Introduced on a 1949 session for MGM Records.
Style: Swing, usually played at up tempos.
Form: A-A-B-A (44 Bars) [12-12-8-12]
Key: Db Major
Harmony/Overview: The harmony of this composition is rather complex, containing a fair amount of chromaticism. The A sections begin with a minor II - V to IMaj7 and continue with the iconic root movement of I - bVII - bVI - V. The chord sequence however is not so conventional, moving from DbMaj7 - Bmi7 - AMaj7 - Ab7. The A sections then continue with a II - V of IV7 before a V7 of VI resolves to VI7 in the 7th bar. Bars 7-8 are made up of Dom7 chords descending in semi-tones, and this tends to be a point of difficulty for many soloists when navigating the changes. The A sections then finish with a brief stay in bIII Major before returning back to the tonic. The bridge takes place in bIII Major and is also made up mostly of II - V's. Miles Davis' arrangement has become a popular way to approach the tune, and it features a new melody for the second half of the composition along with several pedal points throughout the form. It also lengthens the final section with an additional 2 bars.
Recordings: This song has been recorded over 40 times to date and is a widely popular standard among instrumentalists. George Shearing first recorded it with his Quintet on a 1949 session for MGM Records, and it has since been recorded by many leading artists of the day. Miles Davis' arrangement of the tune has also become very popular, having been recorded by the likes of Bill Evans and Chet Baker.
JGC Top Picks:
Bill Evans, New Jazz Conceptions, 1956
Art Blakey's Jazz Messengers, Ugetsu, 1963
Kurt Rosenwinkel, Intuit, 1998
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