This 12-bar blues leans clearly toward a jazz-blues sound, with more frequent harmonic movement than a basic form and several colourful passing ii–V ideas. The opening is immediately more involved than usual, moving in bar 2 through a half-diminished chord on the 7 into a ii–V of the 6, then continuing through the 6, ♭6, and 5 before returning toward the tonic with a ii–V of the 4. Bar 5 gives the familiar move to the IV area, while bar 6 settles briefly on iv minor, offering a slightly darker shade. From bar 7 onward, the sequence becomes quite mobile, passing through ii–V motion toward the 2, then an unusual ii–V toward ♭2 in bar 8, before the more familiar jazz-blues move to ii in bar 9 and V-related motion in bar 10. The final bars round things off with Imaj7 to VI, then II to an altered V, giving soloists plenty of harmonic contours to outline rather than long static spaces, and giving the whole progression a sophisticated, chromatic character.