1.

0:53-0:56

This is a solid ii-V-I lick that outlines the changes quite nicely. The interesting
part of this lick is the Dmin7 arpeggio he outlines over the Cmaj7. The F natural
gives it a suspended sound for a brief moment.

2. 1:11-1:15

Another great ii-V-I lick, this time with the classic turn-around at the end. I find
it interesting the way he phrases. In particular how he anticipated the A natural
going into bar 2. Dexter Gordon is known for playing behind the beat, and this
could be an example of that.
3. 1:16-1:22

This is the first 5 bars of the song form. I’ve included this one because of the
way Dexter uses long tones to express these changes. It’s very melodic and
transitions nicely into the Fmin7-Bb7. This time there is a quarter note
anticipation before the Cmaj7, which can throw you off if you don’t listen close
enough.

4.1:59-2:04

In this progression, the band is adding a chromatic ii-V that is not there in the
original music. This is a great example both of how to approach a chromatic ii-V
like this, and how to take an idea and translate it into a different key. Bar 2 is
just a slight variation from Bar 1, a half step down, and with an eighth note
anticipation into bar 3.