Origin:

Introduced in the Broadway Musical No, No, Nanette.

Style:

Swing, usually taken at medium-up tempos.

Form:

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

Verse:

A-B-C (16 Bars) [8-4-4]

Sometimes included included in performances, early recordings from the likes of  Helen Clark & Lewis James as well as Marion Harris include it. It has even been recorded by Thelonious Monk.

Key:

Most commonly played in Ab Major.

Harmony/Overview:

The harmony of this composition is very functional and is made up almost entirely of II -V's. The A section begins with a repeated IImi7 - V7 while the initial theme is stated. It then continues with a IMaj7 - IV7 -  IIImi7 - VI7 turnaround to return back to IImi7 before stating the main theme once more. The B section is an exact transposition of A, only up a Major 3rd. The C section begins by briefly tonicizing IImi7, and  passing diminished chords are often used to add movement in the harmony.  It then continues with IV - IVmi before one last turnaround finishes off the form.

Recordings:

This song has been recorded over 430 times to date. The first recording comes form Helen Clark and Lewis James in 1924, and it has since been recorded by many of the greats spanning several generations past. It  continues to be performed frequently to this day and it remains a widely popular standard in the repertoire.

JGC Top Picks:

Art Tatum, 1933

Ella Fitzgerald & Count Basie, Ella and Basie!, 1963

Thelonious Monk, Criss-Cross, 1963