00:00 Performance begins with piano and bass. Notice the signature motive played by the bass. The piano plays chords above the bass.
00:04 Head is played by the trumpet and saxophone. This is the first of three phrases that make up the head. The head uses a basic blues harmonic structure but it has a modal feel because of the repeating bass motive.
00:09 Notice how the piano answers each phrase with chords similar to the introduction. In contrast to the slow melody the drummer maintains a double time feel.
00:12 Second phrase.
00:20 Third phrase.
00:29 Head is repeated. Notice the static harmony that is a trademark of modal jazz. You can hear this best in the bass which only breaks its motivic pattern in the third phrase of each chorus.
00:52 Trumpet solo begins. The solos follow the same harmonic and phrase structure as the head. The fragmented melodic style is a trademark of Davis' playing.
01:03 Second phrase.
01:10 Third phrase. Notice the bass still uses the same motive but breaks it up occasionally to play a double-time feel in the third phrase in each chorus.
01:19 Second chorus for the trumpet solo.
01:43 Third chorus for the trumpet solo. It begins with the trumpet picking up the short notes the piano played at the end of the previous chorus. After a short interchange the trumpet begins to raise the energy of the solo by moving into the upper range.
02:07 Fourth chorus. Solo takes on a double-time melodic style
02:30 Fifth chorus. Energy is increased with trills and continued faster melodic phrases
02:53 Sixth chorus. Davis continues to build energy with faster melodic phrases. Notice the building support in the drums.
03:10 Seventh chorus. Davis now uses short fragments to build his melody.
03:34 Eighth chorus. Long slurred notes contrast with the earlier choruses. Notice the responses in the piano. The energy is relaxed as the solo is brought to a close.
03:58 Solo ends with a piano transition to a return to the head.
04:23 Head is repeated.
04:45 Texture thins as the performance comes to a close. Notice how the bass motive straightens out anticipating the ending.
05:11 End
