This 12-bar minor blues keeps things fairly spacious through the opening, sitting on the i minor 7 chord for the first four bars before moving to the iv minor 7 in bars 5 and 6, then returning to i in bars 7 and 8. That long stay on the tonic gives players plenty of room to establish the melody or develop ideas without having to track fast harmonic movement. The main point of contrast comes in bar 9, where the progression turns to a dominant chord on the ♯5/♭6, possibly as a loose substitution for the ii min7, before dropping to the familar V7 in bar 10 and back to i in bar 11. Bar 12 begins on the tonic and then shifts up to the V, creating a turnaround with a II–V flavour in the ♭7 area. Overall, it’s a relatively accessible minor blues form with one notably distinctive change that can give soloists and accompanists something a little different to respond to.