Style:

Usually swung, played at a wide variety of tempos.

Form:

A1-A2-B-A3 (32 Bars) [8-8-8-8]

Arrangements:

A common arrangement for the head is to play the A sections with a straight feel, and the B sections swung.

Key:

Most commonly played in F Major.

Harmony/Overview:

The  harmony of this composition is functional, however the melody is rather unconventional with its wide intervallic leaps; it is one of the only  compositions to begin with the descending interval of a Maj7. The A sections begin with a minor II - V to IMaj7 before a Major II - V returns to the tonic again. Each A section is slightly different, and A2 continues with a II - V of III which resolves to III Maj7 in the 5th  bar. The bridge is relatively straightforward with a II - V to IMaj7  followed by a III - VI - II - V.

Recordings:

This song has been recorded over 300 times. It was first introduced by Wilbur Evans in the 1944 Musical Mexican Hayride, and the first recording was made by Paul Weston and his Orchestra later that year. The piece managed to find its way into the repertoire of many leading jazz artists of the day and several iconic recordings were made, specifically during the 1950's. Recordings from the likes of Bill Evans, John Coltrane, and Jackie Mclean helped to solidify the  composition as a viable jazz vehicle, and it continues to be an exceptionally popular standard to this day.

JGC Top Picks:

Julie London, Julie Is Her Name, 1955

Bill Evans, New Jazz Conception, 1956

John Coltrane, Lush Life, 1957