minimalist guitar. Sinatra's interpretation runs from placid to profligate. "Dancing on the Ceiling" is among the songs recorded with only a small group. It is a rarity among Riddle arrangements; he rarely created scores for small jazz ensembles. "Deep in a Dream" is identified by critic Will Friedwald as an example of Sinatra's ability to interpret songs in that the song could easily be delivered as "detached" or "hysterical", but Sinatra finds the perfect balance. The song was considered for inclusion in Trilogy: Past Present Future but did not make the final cut. "Glad to Be Unhappy" was a forgotten song until Sinatra brought it into popular consciousness. In this album it receives small-group jazz treatment. "I Get Along Without You Very Well" is an "exquisitely ironic" piece written by Hoagy Carmichael with lyrics based on a poem by Jane Brown Thompson. Although Sinatra's relationship with Gardner ended badly, author James Kaplan suggests this song set the album's mood of "capitulation, not retaliation". "I See Your Face Before Me" was Nelson Riddle's favorite and was the first song he arranged: he created a setting for it while at Ridgefield High School. The arrangement for "I'll Be Around" is a musical pun in that the celesta plays a circular riff. "I'll Never Be the Same" uses a "wind chime" motif, which came from Riddle's appreciation of French impressionist music. He uses this same mini-theme briefly in "It Never Entered My Mind" and in "Gone With the Wind" from the 1958 album Frank Sinatra Sings for Only the Lonely. "Ill Wind" features extended jazz solos by Harry Edison and Skeets Herfurt. The title track came about by happenstance. Composers Bob Hilliard and David Mann were in New York City to visit a publisher. They spotted Sinatra and Riddle and decided to show them their new composition "In the Wee Small Hours of the Morning." Sinatra liked the song and wanted to use it immediately. Sinatra recorded "It Never Entered My Mind" in 1947 for Columbia. It was part of the Rodgers and Hart Broadway show Higher and Higher. Ironically, this song, which was a long-time resident in Sinatra's repertoire, was cut from the film version, Sinatra's cinematic debut. Recorded nearly a year before all other selections, "Last Night When We Were Young" was difficult, according to Riddle, because about thirty takes were used. The recording uses a "low-key" coda, emphasizing strings and