Origin:

Introduced by the Wayne King Orchestra in 1931, also featured in the 1932 film The Mummy.

Style:

Introduced as a waltz, it is most commonly played in 4/4.

Form:

A-B1-A-B2 (32 Bars) [8-8-8-8]

Verse:

A1-A2-B (24 Bars) [8-8-8]

Very rarely ever included in performances, it can be heard on Lewis James' recording from 1931.

Key:

Most commonly played in D minor.

Harmony/Overview:

The  harmony of this composition is very functional and remains almost  entirely diatonic. It takes place primarily in the relative minor and is  made up of mostly II - V - I's. The A sections begin with a minor II - V  to Imi and continue with a II - V to the relative Major. The B sections  are very similar to one another however both have slightly different  endings. Both B sections begin with Imi7 - IVmi7 - bVI7 - V7, although  B1 ends with Imi7 - IV7 - IIm7b5 - V7 while B2 finishes the form with a  Imi - VImi7b5 - bVI7 - V7 turnaround back to Imi.

Recordings:

This  song has been recorded over 250 times to date. It was first introduced  in 1931 by Wayne King and his Orchestra, and it was also featured in the  1932 Universal Studios film The Mummy.  It wouldn't be until the 1950's that jazz musicians started to include  the piece in their repertoire more frequently, with recordings from the  likes of Benny Carter, Anita O'Day, and George Shearing. Bill Evan's  recording from his 1961 album Explorations was a particularly influential rendition.

JGC Top Picks:

Anita O'Day, Anita, 1955

Bill Evans, Explorations, 1961

Adam Rogers, Sight, 2007