Style:

Swing, typically played at slower tempos.

Form:

A-A-B-A (32 Bars) [8-8-8-8]

Key:

Db Major

Harmony/Overview:

The harmony of this composition is while unconventional is mainly functional, and is impressionistic in a style that is more akin to classical composers such as Claude Debussy rather than Duke Ellington. Many lead sheets will include Eb7#11 - Db7#11 as the beginning changes in the A sections, however Billy Strayhorn himself played BbmiMaj7 - AbmiMaj7. It is worth noting that both sets of changes are essentially interchangeable, as both are derived from the melodic minor scale. BbmiMaj7 comes from Bb melodic minor and Eb7#11 comes from Eb Lydian Dominant, which is also derived from Bb melodic minor. The bridge begins in bIII Major, and modulates through a few new key centers before returning back to the main theme once again.

Recordings:

This song has been recorded over 230 times. It was first recorded by Duke Ellington and his Orchestra in 1941, and the tenor saxophonist of the ensemble Ben Webster would have a close association with the tune well throughout his career recording it on several occasions. Lyrics were later added by Bill Comstock in 1958, however it has proved to be more popular among instrumentalists.

JGC Top Picks:

Joe Lovano, Rush Hour, 1994

Joe Henderson, Big Band, 1997

Joel Frahm Qaurtet, Live at Smalls, 2011