I've become reacquainted with and subsequently fascinated by this track, which first appeared in the early 70's. It's a masterful combination of simple writing by Billy Cobham and majestic performances by George Duke on electric piano (rhodes) and Michael Brecker, tenor sax.
Musicians will be interested in the harmonic structure, 4 modes starting in F minor: F aeolian, F dorian, Gb lydian and F mixolydian (implied) - of course, F minor pentatonic works over the whole thing. George Duke states the melody simply and beautifully (@1:08 on a modulated Fender Rhodes (probably a suitcase model given the stereo vibrato) and then (@ 3:30) the skies open when Brecker delivers his tenor sax solo in one first-take performance, which according to Billy Cobham was his best, even though Brecker tried to best himself with several more. Thanks Billy for stopping him.
There are several magical moments in this - the constant structures in the piano voicings (under the melody), the way Brecker "hears" and waits for what's happening in the piano part and responds (listen at the 4:00 mark). Brecker was quite fond of how blues guitarists would often bend towards a note and not quite hit it - he uses that to great effect throughout this solo, but there's one spot where he uses it to accentuate the change from F major to minor (before the last chorus) that's simply brilliant. Those terrific counter melodies Duke plays under the main melody around the 7:00 mark were phrased differently each time, another little gem.
As simple as it gets in the jazz world, but a good example of open writing and the freedom it affords great musicians to do their thing - this track is almost 40 years old, yet it sounds fresh and clean - timeless.http://www.youtube.com/watch?v=lZd4BdSpG9g