We got here a 16 bar Blues which is an odd number of bars - usually we have twelve bars in Blues. The melody is bluesy, so this is quite common. Notice the 2nds in bar 7: it's Monk influenced. The dissonance dissolves to a minor 3rd in the next step. Harmony is not common for Blues changes. Well, using a dominant 7th chords is the standard way of course, but it's not the common way of the progression of the degrees. I repeat the same four chord progression throughout the form. It's phrigian mode is like sound. Solos are taken over the four chords progression regardless to the form. This piece was performed a few times in concerts but is not recorded yet.

"Mr. R.C."
Mr. R.C. is of course Mr. Ron Carter, one of the greatest bass players of all times and a major influence for me. The composition is a 12 bar Blues. The melody is played by the bass. I recommend that it'll be played with another instrument (piano, sax) in unison. The melody is bass line oriented, therefore it can't be played by treble clef instruments. Mr. Carter got a few pieces that are bass line based, like "Railway Crossing" from an album with Red Garland and Philly Joe Jones. Harmony is not exactly what you expect from a Blues. I use here a few tricks of Mr Carter (bars 7-8).