12:04 can you elaborate on why the Db9 in measure 10 is "ii-V"-ish? In such an analysis, are you imaging certain substitutions or added chords?
I believe he reinterpreted it a second or two later as the bVII of the EbM7 I chord. You just get very instinctively tuned to see any sort of A-to-D as a II V cadence, even though it is not a V chord that resolves to any diatonic chord in Eb.
So the easiest interpretation is that it's a bVII of Eb.
And if you overthink it, and follow the white rabbit down the hole.... you can consult wikipedia and you'll see it as a so-called "backdoor dominant" cadence -- which, to me, doesn't help very much ... because when you look at the melody there, the G F G Ab Bb, suggests, at least to me, anyway, an Eb7 resolving to EbM7.
And that's a lot of overthinking for 1 bar of a chord that probably just sounds nice with the melody at that point.... when we really should be looking up a reference recording and hear how it sounds in a real musical context.