Style:

Swing, typically played at up tempos.

Form:

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

Arrangements:

On the original recording from Clifford Brown & Max Roach,  the final A section of the head includes an additional 4 bars. In practice this arrangement is oftentimes used, although it is also common to simply treat the final A section as another 8 bar section. During  the head there are also several orchestrated shots that feature slightly different harmonies than in the solo sections. To finish the performance, a brief 3 bar drum break is included before the final passage.

Key:

Eb Major

Harmony/Overview:

The  harmony of this composition is very bop-oriented, revolving mainly around various II - V's. While this composition is in a Major key it  leans heavily on the tonic minor; the initial melody spells out a  IminMaj7 sound and the harmony also resolves to Imi in the 5th bar. The A  sections begin with a II - V of bVII which leads to a II - V of  bVIMaj7. A II - V then resolves to the tonic minor before a bVI7 - V7 turnaround finally resolves to the tonic Major. The bridge is very  conventional, consisting of just a II - V of IVMaj7 before a II - V of  bIIIMaj7. The melody as heard on the original recording also features a two-part horn arrangement that is commonly used in performances.

Recordings:

This song has been recorded over 85 times to date. It was first recorded on the album Clifford Brown & Max Roach in 1954, and Brown would also record another rendition of the tune just a week later on the album Jazz Immortal.  It remains as one of Clifford Brown's most popular compositions and it  has been recorded by many notable jazz musicians from the likes of  Phineas Newborn Jr., Oscar Peterson, and Red Garland to name a few.

JGC Top Picks:

Phineas Newborn Jr., Here Is Phineas, 1956

Arturo Sandoval, I Remember Clifford, 1992

Yotam Silberstein, Resonance, 2010