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This tune is harmonically interesting. You can think of the entire piece as being in Bb major, or regard the A and C sections as being in G minor and the B section in Bb major. 

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The first four measures of this tune feature a classic minor descending chromatic line in Gm from the root (G) to the sixth (E). Johnny Smith extends this line by accentuating the root of the following chord Ebmaj7.
Chord Substitutions
The chord progression uses “tritone subs” in measures 30 and 39. In measure 30 the Gb7 and E7 are tritone subs for C7 and Bb7. For these two measures Johnny is thinking Gm / C7 / Fm / Bb7. For example, he plays a C7 voicing over the Gb7 in measure 39. So when the band plays a Gb against Johnny’s C7 chord it produces an altered sound as Gb is the b5 note of the C7 chord.