This Quincy Jones arrangement was recorded by Ella Fitzgerald on her 1963 collaboration with the Count Basie Orchestra, 'Ella and Basie!' Both Fitzgerald's and the Basie band's performance of this wonderful chart serve as a definitive treatment of one of jazz's most unique and endearing ballads. The arrangement's introduction involves a dramatic dynamic swell into the third measure, where a held chord in the muted trumpets and a low key flowing line in the tenor saxophones sets up the entrance of the vocalist at measure 5. Although the ensemble should remain in a supportive role underneath the vocalist, Jones' arrangement features several moments of surprisingly intricate and complex ensemble portions that should be executed with razor-sharp precision. Jones was a master at creating shout choruses that, while lasting a brief time, were nothing short of exhilarating. This particular one only lasts for four measures beginning at measure 37. The brief trumpet solo that leads into this section should serve to build up the excitement and lead into the full band blast. This shout does an outstanding job of providing a creative and exciting variation on the main melody before the vocalist returns in measure 41. Once again, the backgrounds should be underneath the vocalist, but precise execution will naturally allow Jones' creative writing to stand out on its own. The arrangement comes to a conclusion by repeating the arrangement's introduction figure. If possible, the ending should be even more dramatic than the beginning, evoking an atmosphere that resembles something that one would expect to hear in a film or musical soundtrack. As the final held note is fairly long on its own, it is advised to remind your trumpet section to take a large breath in order to avoid fading out too soon. The vocal key is Db throughout. This arrangement is written for jazz big band with vocal soloist. It has been prepared from the original set of parts used during the recording session - it is not a transcription.