Cohn On The Cob – Joe Cohn

This song is a window into the world of melodic and harmonic trickery that is Joe Cohn. Based on blues changes, it travels to many unexpected places within the 12-measure form, with two chords in each measure. Though the melody doesn't go outside the changes, there is a lot of contrary and contrasting motion between the melodic and harmonic elements. The melody begins with an arpeggiated sequence, descending from a C major triad to B and the tonic B♭, followed by a simple chromatic ascent. While this is happening, the changes move mostly in fourths and then descend in whole steps while the melody is rising in half steps. The fifth measure melody is repeated down a half step in the following measure, but the changes (again moving in fourths) transpose a major third down instead. This modulates the key to A in the seventh measure replacing the expected B♭. Cm7 in the ninth measure is reached by chromatic descending root motion: E♭7 to Dmaj7, followed by the latter chord with C♯ in the bass—an unexpected substitute for the function of a VII chord. The last four measures are more recognizably bebop-ish, though again contrasting chromatic descending melodic motion with fourth-based harmonic motion. The last two measures are a variant of the "Tadd Dameron" turnaround. Despite all this complexity, there's plenty of breathing space in the melody, and it really swings. It's obvious a lot of thought went into writing this song. The solo changes are the head changes.

This recording begins with only tenor sax and guitar, playing the melody in unison. The drums fill in the last two measures, and the second chorus brings in the piano and bass. Everyone plays both choruses of the head out. In this version, trills are added to the ascending notes in the third and fourth measures.