Origin:

Introduced in the 1936 film Rose of the Rancho.

Style:

Usually played swung, taken at a variety of tempos.

Form:

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

Verse:

A-B-C (24 Bars) [8-8-8]

Very rarely heard. An obscure 1936 recording of Bing Crosby performing the tune includes it.

Key:

Most commonly played in either Bb Major or F Major.

Harmony/Overview:

The  harmony of this composition is very functional. The A section begins on VImi and uses a IImi7b5 - V7 back to VImi to generate some movement  before a II - V of IV leads to IVMaj7 in the 5th bar. It is common to  treat the VImi in the 3rd bar of the A sections as the III in a III - VI  - II - V of IV to provide some additional harmonic activity. The B section begins with a II - V to the tonic Major and continues with a  IImi7b5 - V7 of VImi before ending in a predictable fashion with a II - V  of V that is then followed by a minor II - V returning back to the relative minor. The C section begins similarly to B, although it  continues with a III - VI in the 3rd and 4th bars before a final II - V  to the tonic finishes the form. The melody of this composition is unique  and has a very strong motivic sensibility. The contour that is used in  the melody while the initial theme is stated is carried out throughout  the entire piece, helping build to the climax while also providing a  strong sense of cohesiveness.

Recordings:

This song has been recorded over 280 times to date. The first recording comes from Richard Himber and his Orchestra in 1935, although the  composition was first introduced to audiences in the 1936 film Rose of the Rancho. Since then many musicians have left behind seminal recordings, from the likes of Charlie Parker, Hank Mobley, and even Frank Sinatra.

JGC Top Picks:

Hank Mobley, Soul Station, 1960

Roy Haynes, Out of the Afternoon, 1962

Kurt Rosenwinkel, Deep Song, 2005