The set's most technically demanding moment arrives with Miles Davis's bebop contrafact, taken at a scorching 280 BPM. Built on the chord changes of the standard Indiana, the tune's angular melody requires precision at any tempo, and this version pushes well into virtuoso territory. Lefkowitz-Brown delivers the longest solo of the entire recording — twelve choruses of tenor saxophone over the 32-bar AB form, spanning nearly five and a half minutes at breakneck speed. Feifke follows with six choruses on piano, and drummer Bryan Carter takes a rare featured spot with a two-chorus drum solo, his only solo appearance in the set. The performance runs nearly eleven minutes total, making it the longest segment in the session. Coming after the relaxed funk groove of Watermelon Man, the abrupt leap in tempo and complexity creates the sharpest contrast in the program. Davis composed the piece in 1947 during the early bebop era, and it has remained a proving ground for instrumentalists ever since.
