I havent really studied this tune (for standards this requires going to
the sheet music and for jazz tunes this means transcribing recordings of
the original artist at least).

The fake books give (essentially):

Bb  Ab7  | G7    | C7  F7  | Bb F7  |
Bb  Ab7  | G7    | C7      | F7     |
Bb7      |       | Eb7     | Edim   |
Bb  Ab7  | G7    | C7  F7  | Bb F7  |

I talked to Richard Hindman (pianist extrodinaire, former pianist for
Stan Getz, Richie Cole and others) and he was very familiar with this
tune and offered  a different take on the tune, which I have added to
and hopefully will convey the essential message.

Dick thinks of the tune as basically a blues for blowing purposes though
his changes are somewhat different.

For the first four he uses:

Bb7 Eb7  | D7 G7  | C7  F7  | Bb7 F7  |

Now this to me suggests in fact a common intro (which I in fact use
but didnt see here) for a blues as well as a turnaround used in
the middle of the blues.

I frequently use:

Bb7  | A7  | Ab7    | G7   |
C7   | F7  | Bb7 G7 |C7 F7 |

This is essentially the turaround I frequently used for the last 
six bars of the blues.

Blues in Bb:

Bb7  | Eb7     | Bb7    |  Bb7   |
Eb7  | (Edim7) | Bb7 A7 | Ab7 G7 |
C7   | F7      | Bb7 G7 | C7 F7  |

Anyway, you see the walk down from Bb7 which really fits this tune.
Then when you look at the bridge it is the same as bars 3-6 of the
blues.

Anyway, not to runnoff theoretically, you can see that basically
the tune is just a blues shifted over a few bars. Thus a basic
blues in Bb approach will work over the tune.

So in total:

Bb7  A7   | Ab7 G7 | C7  F7  | Bb7 F7 |
Bb7  A7   | Ab7 G7 | C7      | F7     |
Bb7       |        | Eb7     | Edim7  |
Bb7  A7   | Ab7 G7 | C7  F7  | Bb7 F7 |

or

Bb7  Eb7  | D7  G7 | C7  F7  | Bb7 F7 |
Bb7  Eb7  | D7  G7 | C7      | F7     |
Bb7       |        | Eb7     | Edim7  |
Bb7  Eb7  | D7  G7 | C7  F7  | Bb7 F7 |

An interesting bass line suggested by dick is:

Bb D Eb E | F F# G B |.......

reed