Here it is:

| E°  F- | Bb7  Eb- | Ab7  Db | Ab-  Db7 | % | F#  C° |

First some justification/analysis of it all, then a little hint on how to play it sweet.

Analysis:

This is the way I would describe it.  The E diminished is the same as "F flat diminished" which is just stupid.  But either way it is one way of expressing the lowered mediant of the key of Db;  a very nice lead into the actual mediant of the key, which is the next chord, F minor.  From here, you want maybe a nice ii-V-I, because the mediant can function as a substitution for the tonic, which pretty much (in jazz) takes you straight to the ii-V-I.  So here we have a little bit of secondary dominant action.  The Bb7 is the dominant chord in the key of Eb harmonic minor.  So why not use it to lead into the Eb- (the supertonic in the key of Db).  Good deal!  We've arrived at the ii chord!  Well now all that's left is to go "V-I".  Go.  Done.  Now we're safely at the Db.  But what, who wants a booooooring single key progression like this.  Oh, oh, I know.  Let's bring it down a little bit.  Oh well look at that, we could just play a little ii-V-I in F#, thats a nice sound now isn't it.  Beautiful.  I guess the only thing left is to get back to the beginning.  Well hmmmmmmm... hey, C° is the vii° chord in Db!  And well done, we've made a circular progression.  Yayyyyyy.

Now a couple hints on making it sound nice.

This is undoubtedly a jazzy progression.  Play it clean, some good, relatively flat equalization.  Use all the appropriate embellishments/tensions.  My version consists of a lot of chromaticism in the voice leading.  If you do it right, you can get a very nice movement of the upper voice just going straight down from the E° all the way to the Db, and if you're really good, beyond.

UP, UP, AND A AWAY!