When you're playing these types of voicings, it's all about the voice leading. Take note of the ascending line in the 3rd and 4th measures, going up perfectly into the IV chord change. But rather than going back down to the standard IV chord shape (Eb9/Bb) on the 6th fret, we'll grab the Eb7 on the 11th fret. When you uncover these different possibilities, it really helps you become more fluid with your comping—one of the primary goals of this piece.
This piece also features a great ascending/descending move in the 7th and 8th measure leading into the II - V turnaround. We'll bring it home with a final I - VI - II - V in the 11th and 12th measures, where we make our way back down the neck to the 1st fret. If all the theory is a little overwhelming at first, just get the piece under your fingers and you'll begin to hear the possibilities.