Contains much more energy than the head-in. This is very common.
Cyrille is changing a few more pitches to provide a slightly more diverse performance of the head, but is still close to the head-in. She in particular changes the melody to fit the reharmonized A section dominant chords.
Tag and Ending (7:51)
It seemed like there was a little back and forth indecision for a second on how the song would tag. Once it was established what the trio wanted to do, Cyrille kept firm with her melody and it propelled the group to the end.
Cyrille, I think, expected an earlier ending, and Emmet tagged another segment. As brilliant as the ending was, I thought it was the only part of the performance where the trio pushed Cyrille a little. They were fully accompanying until that last 5 seconds.
These endings are inspirational but “dangerous”. A lot of reward if executed, but a big risk factor when done on the fly. It helps that the trio is very intuitive and has experience together.
TIP: Besides fluctuation in energy in comparison to the Head-in, there can also be differences in tempo, pitch, and groove. Even though the goal is to be near the original, established parameters of the song, don’t be overly critical. The most important factors were what was expressed by the soloists, was there a ‘story told’ and did it groove? Some of the best music has an organic, breathing quality to it. Obsession leads to regression.
TIP: In ending a song, realize that you must lead the rhythm section. They will offer something up if you don’t but there aren’t limitless options: tag or not, false ending, and a few other common ‘jazz’ endings. Take note of endings, catalog your favorites and try to apply them to other tunes of the same tone and tempo. Those last two words are very important when choosing an ending.
Tag and ending The last few bars tagged with an ending