Style:

Ballad

Form:

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

Key:

Most commonly played in F Major.

Harmony/Overview:

The  harmony of this composition is very functional. The A sections begin with a minor II - V to the tonic and are followed by a IIImi7 - VI7b9 - IImi7b5 - V7b9 progression. The harmony then arrives back to the tonic  in the 4th bar before becoming Dominant; acting as a secondary Dominant to set up the following IV chord. It is very common to use tri-tone substitution in this instance, instead opting for bV7 to precede the IV.  The 5th bar resolves to IVmi7 before the common progression of IIImi7 -  bIIIdim7 - IImi7 - V7 returns back to the tonic one last time. The B section abruptly modulates to bVI Major, and begins on IImi7 before  cycling through a IImi7 - V7 - IMaj7 - VI7 progression. Bar 5 begins on the tonic minor, and it is very common for the harmony to be approached with the minor cliché line of min - min# 5 - min6 - min7. After a brief  stay on IVmi7 a II - V of I is used to conclude the section.

Recordings:

This song has been recorded over 130 times to date. It was first recorded by Claude Thornhill and his Orchestra in 1957. Billie Holiday's legendary  recording from 1958 was highly influential in establishing this song as a standard, and since it has been recorded by countless notable jazz musicians, both vocalists and instrumentalists alike.

JGC Top Picks:

Bill Evans, Trio 64, 1964

Elvin Jones, Puttin' It Together, 1968

Eric Alexander, Mode for Mabes, 1998