Drums, piano, and bass all remain strictly rhythmic elements of this piece, though the latter two also provide melodic and harmonic support to this smooth yet snappy piece that is not quite a ballad yet is not nearly up-tempo enough to be considered be-bop. Johnson drives with his sticks on the drums with some liberal symbol use, and Brown keeps a steady bass line moving underneath the melody and solos provided by Gillespie and Stitt. Levy's piano is again subdued, and seems to be the weaker element of the piece and arguably of the quintet as a whole; the chords are strong and softly discordant at times in a pleasing way that all but defines jazz, yet there does not appear to be a great deal of imagination or risk in the playing. When Gillespie and Stitt sing a final verse of the popular tune, though, any detriments of the...
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