most famous jazz version is by trumpeter Miles Davis on Someday My Prince Will Come (1961). "Prelude to a Kiss" is a jazz ballad composed by Duke Ellington with lyrics by Irving Mills and Mack Gordon. It was first recorded as an instrumental by the Duke Ellington Orchestra featuring Johnny Hodges, who later recorded it with his own orchestra and vocalist Mary McHugh. The composition was based on a melody by Ellington's saxophonist Otto Hardwick. "September Song" was introduced by Walter Huston in the Broadway musical Knickerbocker Holiday. It was composed by Kurt Weill with lyrics by Maxwell Anderson. Later hit recordings were made by Frank Sinatra in 1946 and Sarah Vaughan in 1954. Artie Shaw recorded it in 1945 with a big band featuring saxophonist Chuck Gentry. Don Byas made a 1946 recording with his quartet. Guitarist Django Reinhardt recorded the song four times, starting in 1947. Thanks for the Memory was introduced in the film The Big Broadcast of 1938 which earned the Academy Award for Best Original Song of 1938. It was composed by Ralph Rainger with lyrics by Leo Robin and performed in the film by Bob Hope and Shirley Ross. Hit recordings were made by Shep Fields and his Rippling Rhythm Orchestra and by Bob Hope himself who adopted the composition as his signature song at the close of his USO tours in Europe during World War II. Over the decades the song was frequently recorded and remains a standard in the jazz repertoire to this day. "You Go to My Head" was written by composer J. Fred Coots and lyricist Haven Gillespie and introduced by Glen Gray and the Casa Loma Orchestra, who charted at number nine in 1938. Teddy Wilson with vocalist Nan Wynn charted with it in 1938, as did Larry Clinton and His Orchestra with Bea Wain. The song's harmonic sophistication has been praised by critics, who often describe Coots as a "one-hit wonder" despite his "Santa Claus Is Coming to Town" being even more popular in terms of mass appeal. 1939 "All the Things You Are" is a song from Jerome Kern and Oscar Hammerstein II's Broadway musical Very Warm for May. Kern first felt the song, with its constantly shifting tonal centers, was too complex for mass appeal. However, it has enjoyed lasting popularity since then and is now one of the most recorded standards. The song's chord progression