Origin:

Introduced in the Musical Revue Ziegfeld Follies of 1936.

Style:

Usually performed as a ballad.

Form:

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

Key:

Most commonly played in C Major.

Harmony/Overview:

The  harmony of this composition is very functional. The main theme revolves around a I - VI - II - V, and this makes up the majority of the song.  In bars 3-4 of the A sections it is very common to hear descending II -  V's as opposed to simply a III - VI - II- V. As early as Dizzy  Gillespie's recording from 1945 musicians were beginning on III7 in the  3rd bar and descending in semi-tones every 2 beats (an exercise in  tri-tone substitution). This would eventually evolve into the descending II - V's that have become synonymous with the way many musicians approach the tune. This commonly used reharmonization can be heard on  recordings from the likes of Sonny Rollins, Charles Mingus, and Sonny Stitt to name a few. The bridge continues in a very simplistic manner,  beginning with a II - V to IIMaj7 before making its way back to the  tonic once again.

Recordings:

This song has been recorded over 250 times. It was first introduced by Bob Hope and Eve Arden in the 1936 Musical Revue Ziegfeld Follies of 1936, and was first recorded by Red McKenzie and His Rhythm Kings in 1936. Many legendary artists have left behind recordings of this standard and it continues to be one of the most popular and widely known ballads in the  repertoire.

JGC Top Picks:

Billie Holiday, 1938

Sonny Rollins, A Night at the Village Vanguard, 1957

Charles Mingus, Jazz Portraits: Mingus in Wonderland, 1959