[{"data":1,"prerenderedAt":4},["ShallowReactive",2],{"chart:basin-street-blues":3},"title: Basin Street Blues\nsubtitle: Slow swing, the solo form (B and C)\ncomposer: Spencer Williams\nstyle: Medium\nkey: Bb\nform: BC\nrecording: Louis Armstrong; The Louis Armstrong Story, Volume III: Louis Armstrong and Earl Hines; Columbia; 1951\nyoutube: Yy2zkftILrI\n# analysis: 2026-10-19, rules v2; Bb\n# recording: recorded 1928-12-04, Chicago, with Fred Robinson, Jimmy Strong, Earl Hines (piano, celeste), Mancy Carr, Zutty Singleton; first issued on 78 (OKeh 8690); first LP Columbia ML 4385 (1951, later CL 853), its opening track; the recording that made the song a standard, over Miles Davis's on Seven Steps to Heaven (Columbia, 1963) (Discogs, Wikipedia, Phil Schaap); video: \"Provided to YouTube by Columbia\u002FLegacy\", Portrait Of The Artist As A Young Man 1923-1934, the same take\n\n# bar | chord | scale\n# the head's call-and-response A section is left out; solos are on B and C\n\nsection: B\n1 | BbMaj7  # tonic: the 4th is in the key\n2 | Am7     # ii of D7: Dorian\n2 | D7      # extended dominant: V7 of G7\n3 | G7      # VI7 in Bb, not resolving: the b13 is in the key\n4 | Ab7     # tritone substitute: resolves down a half step to G7\n4 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n5 | C7      # V7 of V7: the dominant of the dominant: natural tensions\n6 | F7      # V7 in Bb, not resolving: natural tensions\n7 | Dm7     # iii: Phrygian, the key's own notes (the ♭2 is a passing note)\n7 | Dbdim7  # passing diminished: C7♭9 without its C, the F7's dominant (Cm7 its ii)\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n\nsection: C\n1 | BbMaj7  # tonic: the 4th is in the key\n2 | Am7     # ii of D7: Dorian\n2 | D7      # extended dominant: V7 of G7\n3 | G7      # VI7 in Bb, not resolving: the b13 is in the key\n4 | Ab7     # tritone substitute: resolves down a half step to G7\n4 | G7      # extended dominant: each one falls a fifth into the next: natural tensions\n5 | C7      # V7 of V7: the dominant of the dominant: natural tensions\n6 | F7      # V7 of Bb: natural tensions\n7 | BbMaj7  # tonic: the 4th is in the key\n8 | Cm7     # ii of the ii–V to Bb\n8 | F7      # V7 of Bb: natural tensions\n",1793484797903]