Stephen Holden's 1997 liner notes inside The Very Best of Frank Sinatra claim he recorded this title for the first time for Reprise ) though there's an original "wartime" recording by the singer in the forties released on Columbia/Legacy's The V Tapes:The Columbia Years 1943-1945. This three minute and twenty-two second Nelson Riddle arrangement was put to tape in a Los Angeles recording studio, January 27, 1964.
Riddle certainly had more than a grasp of what Frank Sinatra needed in accompaniment and the voice glides over the subdued but stunningly beautiful orchestration effortlessly. Covered by so many from Fred Astaire to Art Blakely and Dave Brubeck, there's more than just the cache of being in the Frank Sinatra repertoire for a song, it's the everyman charm he brings a title, vocalizing with an ease that makes common folk think they can copy him when they dare not approach the skills of a Nina Simone or an Ella Fitzgerald. But that's where Sinatra surprises because his unique style is more difficult than it sounds to those singing along, and the instrumentation is always worth a million bucks. A Linda Ronstadt's work with Nelson Riddle is a good singer re-creating memories. Frank Sinatra sets a different standard, the bassline creating a foundation for him to start the song off nonchalantly while building a full bodied vocal workout. It's not the passion of Cole Porter's"Night And Day", it's more a recognition of the sublime and tender acknowledgment of the object of one's affection. Nelson Riddle accurately sets the tone and that's all Sinatra needs to make his point with this Jerome Kern and Dorothy Fields composition.