Style:

Introduced as a ballad, it is commonly played at a slow swing.

Form:

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

Arrangements:

The final II - V back to the tonic is often used as a tag ending to finish the performance.

Key:

Db Major

Harmony/Overview:

The harmony of this composition is rather unique, and while mostly functional it contains many unconventional elements. The main theme is centered around a Maj7 arpeggio descending from the 7th, and the contour of this motif is used as a recurring theme throughout the piece. The A sections begin on IMaj7 and continue with the seemingly illogical  progression of VIMaj7 - VI7 to resolve momentarily to II7. It then  continues with a bVIMaj7 - V13b9 turnaround back to the tonic. The B section consists of straightforward minor II -V's and finishes with the turnaround of IIIMaj7 - bIIIMaj7 - IIMaj7 - bIIMaj7. A2 begins identically to A1, although it ends on I7#11. The C section begins with  an auxiliary diminished chord moving from IVdim7 - IVMaj7 before a  series of Secondary Dominants leads to the final II7 - V7 which  concludes the form.

Recordings:

This song has been recorded over 130 times to date. The first recording comes from Duke Ellington's 1967 album Far East Suite. Although it is one of the more obscure and lesser known Ellington/Strayhorn collaborations, it is a distinctly original composition in the repertoire that continues to be performed and  recorded frequently to this day.

JGC Top Picks:

Joe Henderson, Billy Strayhorn: The Music of Billy Strayhorn, 1991

Donny McCaslin, Recommended Tools, 2008

Mike Murley, Looking back, 2014