00:00 Introduction: An "out of time" call and response between the piano and bass.  This interplay is a preview of the "head" itself which also has a call and response between the bass and the ensemble.
00:33 (A) The bass introduces the defining motive for the piece and establishes "time."  Notice how the interplay in the introduction is formalized here as first the drums and then the horns join in.
01:02 (B) The chord (mode) changes.  Typical of modal jazz the harmonies move very slowly.  This creates a major structural point in the piece.
01:18 (A) The chord (mode) switches back to the original.
01:30 (A) Trumpet solo begins.  The bass begins to walk here.  Miles plays in his signature relaxed "cool" style made up of melodic fragments.
02:00 Chord (mode) change.
02:14 (A) Return to the original mode.
02:29 (A) Trumpet solo continues on to a second chorus.  Notice the economical "comping" by the piano.
02:58 (B) Change of chord (mode).  Notice how the whole ensemble has increased the energy level throughout the solo.
03:11 (A) Return to original solo.
03:26 (A) Tenor sax solo begins.  Notice how Coltrane's style differs from Miles' in both the length of phrases and the pace of melodic activity.
03:53 (B) Chord change.  Sax begins to use a higher range.
04:06 (A) Return to original mode.  Notice how Coltrane explores a melodic motive and carries it from the low to high register as he develops it.
04:21 (A) Tenor solo continues on to a second chorus.
04:35 (B) Chord change.
04:49 (A) Return to original mode.  Notice the increase in melodic activity.
05:17 (A) Alto sax solo begins.  Adderley's style is more bebop.  He also makes use of some blues idioms as well.
05:45 (B) Notice the blend of both bop and blues as this section concludes.
05:57 (A)
06:12 Adderley begins a second solo chorus.  The form remains the same -- A (repeated), B, A.
07:06 The horns play the two note motive from the head to signal the beginning of the piano solo.  Notice the harmonically based solo.  The rich chords used here is an Evans signature.
07:20 Solo becomes more melodic.
07:36 Returns to chordal punctuations.
08:03 Bass animates his walking pattern briefly as a transiton back to the head.
08:18 (A) Return to the original bass motive with horn responses.
08:31 (B)
08:44 (A)
08:57 Bass and piano repeat the motive and fade out.
09:24 End
