Today’s ii-V comes courtesy of Oscar Peterson from his Au Privave solo from his Nigerian Marketplace album, recorded live at the 1981 Montreux Jazz Festival.
The ii-V starts with a 3-note pickup of a descending A Major triad, the dominant of Dmin7. Once we’re in the Dmin7 measure. We have scalar motion from the root to the 5th which then jumps down to the 3rd and moves back down the scale. In the G7 measure, we start with an extended enclosure. The line is descending by half steps on beats 1 and 2, landing on the 3rd of the chord (B) on beat 3. We then have an appoggiatura (B>G>F) which is followed by an enclosure resolving on beat 1 of the CMaj7 measure on the 3rd (E). The first measure of CMaj7 consists of two diatonic 7th chords. (The first one might not be very obvious, but if you drop the E down an octave you’ll see what I mean.) The second measure has an enclosure that starts on the G and ends on the E on beat 3. C6 is then outlined on beats 3 and 4. The last measure has a 1-5-7-1 figure, it very firmly establishes the tonic sound.
This ii-V comes from the last 4 bars of a 12-bar blues form and the phrase extends into the first bar of the next chorus. If you’re working on these with a play-along recording and the line is too long for the recording or if your recording has a turnaround on the VI7b9 (A7b9 in C) to get back to the ii. You can always trim off some of the line to fit your needs. If you do that, I would suggest ending the line on beats 1 or 3 of either of the CMaj7 measures. I played around with this a little myself to check and the line will sound fine ending in any of those places.
For saxophone players, as you can see, the line as written is too low to play on the horn. By raising the line an octave, beginning with the G on the “and” of 1 in the 3rd measure through the rest of the line, you can fix this.
Au Privave is a 12-bar blues usually in F. I have a few recordings (Hank Mobley, Tete Montoliu) that are in Bb.
Click to enlarge.