I-IV9b7-bVII-bIII-bVI-bII-I: what is this final-cadence called?

Question

I remember this “cadence“ on the final melody note: a trombone solo Speak, my Lord arranged by Eric Leidzen.

Instead of remaining on the tonic or a plagal cadence he is passing from Bb to F7 Eb9 Ab7 Db9 Gb7 Cb9 -> Bb.

This is fully identical with the final chord progression of the take 6 song.

Actually this is the answer to the question of ketchup:

What is this Chord Progression

Compare with this: He never sleeps (Take 6)

Maybe this is a special feature of Gospelsongs, I wonder if this passage (ending) has a special name like fifth fall sequence e.g. circle of fifths cadence or extended cadence because this is I - IV .... V (TS) = Bb - Eb7 .... Cb7 - Bb (final 4 measures).

Maybe someone could also tell us which composer (or when?) this technique used the first time. Maybe Gershwin?

For me this is the Erik Leidzen cadence. Other ideas?

Answer 1

These are circle of fifths progressions ending, as indicated in the OP, with the bII (i.e., tritone substitution for V) moving to I.

The sequence is characterized by the bass movement, and in its broadest form goes back at least to the Baroque era. The use of a sequence of dominant seventh chords moving to a tritone substitution cadence is a characteristic ending in jazz.

It's closely related to the "Montgomery-Ward Bridge". Also could be called the "Ragtime Progression".

A classic example comes from the end of Charlie Parker's recording of Thelonious Monk's "'Round Midnight".