Style:

Typically played straight or swung, or a combination of the two. Taken at a variety of tempos.

Form:

A-A-B-A (64 Bars) [16-16-16-16]

Verse:

A1-B1-A2-B2 (20 Bars) [6-4-6-4]

Rarely played. The first recording from Waring’s Pennsylvanians in 1930 includes an instrumental rendition of the verse, and Libby Holman’s recording from 1931 features a vocal treatment of it.

Arrangements:

It is common to play the A sections straight with the B section swung.

Key:

Most commonly played in Bb minor.

Harmony/Overview:

This  composition provides an incredibly fresh set of changes to play over, especially considering that it was composed in 1930. The harmony used while the main theme is stated moves between IV and I and it is usually approached as IVMaj7 - Imi7, although sometimes both are treated as Dominant chords instead. The bridge changes keys to bIII Major and  begins by cycling through a II – V – I - VI. The final A section is nearly identical to the others except for the melody, which continues to climb upward until the final phrase is stated an octave higher than it  was previously.

Recordings:

This song has been recorded over 670 times to date. It was first recorded by Waring's Pennsylvanians in 1930. The lyrics initially inhibited the song from achieving mass appeal because they were scandalous at the  time, however the tune would eventually go on to become an immensely popular standard. Many notable musicians have recorded the tune since  and it continues to be performed frequently.

JGC Top Picks:

Miles Davis, Circle In The Round, 1958

Buddy Rich, Big Swing Face, 1967

Peter Bernstein, Somethin’s Burnin’, 1992