key: E aeolian/E blues
mode: E aeolian — E F# G A B C D E; or E blues — E F# G A A# B D E or other possibilites.
melody: d r m s l’
form: 12-bar blues/strophic
meter: duple
English function names: tonic subdominant
Tagg (modified): home counterpoise (away)
Riemann: t7 s7
Scale degrees: i7 iv7
Chords: Em7 Am7
Em7
|/ / / / |/ / / / |/ / / / |/ / / / |
Am7 Em7
|/ / / / |/ / / / |/ / / / |/ / / / |
Am7 Em7
|/ / / / |/ / / / |/ / / / |/ / / / |
Don’t let the beautiful big band orchestration scare you with its gorgeous polytonal parallel harmonizations, it’s still just a two-chord song. The tango feel is a little more prominent in the Gary Burton version at first, then it ventures into a chill rock vibe. It would have been nice to fill out the set with another rocksteady tune, but then maybe this is an opportunity for someone to transform this song into a rocksteady tune. Any takers?1
Interestingly, it’s a twelve-bar blues form, but only with tonic and subdominant. Basic 12-bar blues, for those not in-the-know, usually also has a dominant chord in the ninth measure, but there are many, many, many variations in chord progressions when it comes to 12-bar blues. The first phrase is just Em and the second and third phrases are a subdominant-tonic shuttle.
The 12-bar blues does not just affect the harmonic rhythm of the piece, but also the melodic form. When there are lyrics, the words (and melody) usually follow an AAB pattern. Here, it's an ABB pattern, but the melodic shape for each phrase is the same, making it more AA'A'. The melody, as in Big Mistake, is la-based pentatonic minor, and uses even fewer pitches, five in total. It’s a fantastic tune to use with beginners to jazz, but it clearly appeals to the professionals, too. Hat tip to Darcy James Argue for the suggestion.
Let's talk about aeolian vs. blues vs dorian. Wait, why would there be dorian in a song that has no C# in the melody or harmony??? That said, jazz folks use a dorian over m7 chord; that's pretty standard. The trombone solo in the Gil Evans recording starts right in with harmonic minor. You hear an occasional C# in the guitar comping and in the guitar solo in Burton's recording. I'm not hearing blues so much in most of the recordings, despite the fact it's a 12-bar blues in form, anyway. This is part of the move in the 1960s toward a different way of thinking about what melodic materials to use over different harmonies. You can hear how this change in thinking has progressed over the years as you listen to the different versions below.
other recordings:
Gary Burton, Good Vibes, Rhino. E minor.
Nels Cline Trio, Silencer, Enja Records. E minor.
Meg Okura, Las Vegas Tango, self-released. E minor. Heavier tango feel, and exploration of Asian ideas, but also the most use of blues.
Pavel Hrubý, Between the Lines, Amplion. D minor. Hrubý overdubs on bass clarinet and saxes; it may be the most interesting take on the tune in this list.
I suppose you'd also have to change the title into "Rocksteady, Las Vegas." This is the kind of thing where you know who your friends are: the ones who think this is a good idea and the ones who think this is a terrible idea.