Night and Day (D) - JOE HENDERSON ARRANGEMENT || BACKING TRACK

16 Bar Intro, Head In, Solo x6, Head Out, Outro Fade
Up Tempo Swing 230 BPM
Inspired by Joe Henderson's recording from Inner Urge!

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Some notes about the composition as found on
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Composer: Cole Porter

Year: 1932

Origin: Introduced in the Broadway Musical Gay Divorce.

Style: Usually played either straight or swung, or a combination of the two.

Form: A-B-A-B-C-B (48 Bars) [8-8-8-8-8-8]
It is very common to change feels for different sections. For instance, on Joe Henderson’s rendition from the album Inner Urge, the band plays the entire tune swung with only the C section straight. On the album Stan Getz & Bill Evans, the band alternates between straight and swing feels every 8 bars.

Verse: A-B (16 Bars) [8-8]
Not usually included, the original recording from Leo Reisman with Fred Astaire features it.

Key: Fred Astaire originally performed this composition in Eb Major. This has become a common key, although it often takes many varying keys. 

Harmony/Overview:  This harmony in this composition is mainly functional, although rather unconventional for a popular song from early 1930's. The harmony in the A sections from the original recording use a bVIMaj7 – V7 turnaround. While these changes are commonly used, many musicians oftentimes opt for a minor II - V instead. The B section consists of # IVmi7b5 - IVmi - IIImi7 - bIIIdim7 before a final II - V returns to the tonic. The C section begins on bIIIMaj7 before returning to IMaj7, and this happens twice. The parallel Maj7 chards moving repeatedly in minor 3rd's was a very unconventional sound at the time and it helps give the piece a particularly unique character.

Recordings: This song has been recorded over 720 times to date and is one of the top ten ASCAP-revenue producing songs of all time. The first recording comes from Leo Reisman with Fred Astaire in 1932. It was first introduced in the 1932 musical The Gay Divorce which was later adapted to film in 1934. It is a very versatile tune that has taken a wide variety of treatments throughout a nearly a centuries worth of performances, and it has been recorded by virtually every prominent jazz musician.

JGC Top Picks:
Stan Getz & Bill Evans, 1964
Joe Henderson, Inner Urge, 1964
Kenny Garrett, Trilogy, 1995

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