This 12-bar blues takes a fairly elaborate route through the form, with several colour chords and passing movements that make it feel more harmonically active than a basic blues. The early shift in bar 2 to the diminished seventh on the sharp 5/flat 6, followed by bar 3’s move to the minor 7th on the 5, gives the opening a more chromatic, descending character before bar 4 turns back toward the tonic with a 7♭9 and a II–V pointing to the 4 chord. Bars 5 and 6 are especially distinctive, moving from a major 7th on the 4 to a minor 7th on the 4, while bars 7 to 10 continue with brisk harmonic motion through the 3, 6, 2 and flat 6/5 areas. For soloists, this means less open space than in a simpler blues, but plenty of opportunity to trace the changing harmony. The final two bars settle into a repeated minor-9 tonic to suspended 4 dominant gesture, giving the turnaround a modern, distinctly jazz-leaning colour.