The melody of this song is full of Lucky's personality, being built around his unique phrasing. After the intro, the first four measures spiral downward over an octave and a fifth, while the second four measures rise with a bluesy figure; the rhythms are syncopated in a distinctively Lucky-esque way. The changes are close to "rhythm changes," with a different bridge that establishes D and F major tonalities. Both this bridge and the intro (which reappears as a coda) have fanfare-like ensemble figures that are harmonized with a different chord on each important note; these harmonizations are also classic Lucky in their voice leading.
An interlude sets up the first soloist, starting after seven measures of the C section and holding out some unexpected minor 11th chords while the soloist begins. The solo changes are standard rhythm changes.
In this arrangement the saxes play the A section melody; brass figures that interject at the ends of the A sections are also notated. On the recording the head out is played from the bridge, but the A section could also be used to begin the out head.
This song is a classic example of the twelve large ensemble compositions and arrangements that Lucky recorded over three sessions in Paris in March, April, and May 1956. Many of these have similar fanfare-like intros. For more information on, and another song from, Lucky's trip to Paris, check out
To A Mornin' Sunrise.
As mentioned in Noal Cohen's discography of
Lucky Thompson, the instrumentation of this session is slightly confused. Michel de Villers is credited as playing alto and baritone sax, but it is not certain which instrument he plays on which song. It is possible that not all songs from this session have four saxophones; the other two of Lucky Thompson's Paris large ensemble sessions have only three. Aural evidence suggests that if there is a fourth saxophone on
Easy Going, it is a second baritone and not a second alto.
