It is the third piece of ‘Fuchsia Swing Song‘, debut album by saxophonist Sam Rivers for the Blue Note label in 1964.
The 16 compasses theme introduces two quick loops of minor chords that draw the diminished arpeggio with its bass: the first time going up and the second time going down. Between these two ‘cyclic episodes’ harmony goes through a progression with altered dominants. In the last four compasses there is a small pedal point before returning to the beginning with two new minor chords moving by thirds.
The melody is composed of ‘concise meanders’ that traverse the chords very effectively. The rhythm is deliciously syncopated. The advantage that is taken from the motif of two notes that he carries by opening three large interval corners at the center of the piece attracts a lot of attention.
In the harmonization of Abe Rábade -in the rubato of the beginning-, there are winks to his very admired Herbie Hancock and McCoy Tyner, the great renovators – along with Chick Corea– of harmonic vocabulary in jazz. They began, precisely in the decade of the 60s, to treat the disposition of voices more coloristically (giving priority to fourth and second intervals, together with the traditional third ones). Then he exposes the melody already in time and goes to a single on the structure, to return to a reexposure of the theme, again rubato.