A laid-back medium swinger with a classic funky hard-bop sound. The A sections of this 32-measure song begin with a stop-time call-and-response figure similar to
Bobby Timmons' Moanin', though the melody "call" pickups are rather simpler. The rhythm section goes to a 4-feel on beat 2 of the fifth measure. The changes are quite obvious and simple throughout, with the classic "walk up" from B♭7 to Bdim7 occurring in the second pair of stop-time hits, as well as twice in the bridge. The melody on the sixth measure of the A and C sections is written with dotted eighth note/sixteenth note rhythms; though Griffin also exaggerates the swing elsewhere, the phrase here really emphasizes the repeated notes on the beat, with the offbeats being essentially embellishments.
On the recording, the head is taken out from the bridge, after which a slight variation of the A section is played at least twice; the recording fades out during the second repeat. There is no reason, however, not to play the head out from the top if you want —or to play the last eight measures only once.
Johnny Griffin's visit to California in 1962 produced this album and two others, both recorded at the Tsubo Club in Berkeley on successive days. On June 25th, Johnny performed there with Wes Montgomery, Wynton Kelly,
Paul Chambers, and Jimmy Cobb; the recording from this concert was issued as Wes' album "Full House." Then on June 26th, Johnny played in the same venue with
Buddy Montgomery and his brother Monk, as well as Art Taylor; this was actually a "studio" recording in the club while it was closed, with no audience, and was released with the album title "Do Nothin' Till You Hear From Me." This latter album has the exact opposite situation of Paul Chambers' "
Go", which was recorded in front of a live audience in a studio.
