The very best players compress enormous inventiveness into that four-bar mbaqangathing. It can also be an eight-bar sequence in which the melody sits only over the third beat of the first bar to the first beat of the second bar. That same bit of melody might happen in a 16-bar sequence, you see. You’d get people working all the options with fascinating results. There were people, like those in the band led by “Cups and Saucers,” 3 working with a really great sensitivity to this kind of structuring, and very cleverly, too.