The Jazz Real Book

Ben Allison Interview Ben Allison is an American jazz bassist, composer, bandleader, and educator known for bringing a distinctive contemporary voice to the acoustic bass. Born in New Haven, Connecticut, in 1966, Allison studied jazz at New York University before becoming an important figure in New York’s downtown jazz scene. In 1992, he co-founded the Jazz Composers Collective, an influential organization that provided musicians with opportunities to perform and develop original music outside the traditional jazz-club system.As a bandleader, Allison blends jazz with rock, funk, folk, and contemporary classical influences. His playing emphasizes groove, melodic invention, and interaction rather than simply serving as a traditional rhythm-section foundation. He has recorded numerous albums, including Buzz, Cowboy Justice, Little Things Run the World, and Action-Refraction. Allison has also championed the music of overlooked jazz composer Herbie Nichols. His work demonstrates how the modern bassist can function equally as accompanist, composer, bandleader, and musical innovator.

“Golden Lady” and Stevie Wonder Stevie Wonder’s “Golden Lady,” from his landmark 1973 album Innervisions, represents everything that makes Wonder such an extraordinary musician. On the surface, it is a warm and uplifting love song, but underneath it is a sophisticated mixture of soul, funk, pop, rock, and jazz influences. Wonder’s inventive harmonies, memorable melodies, rhythmic feel, and use of keyboards and synthesizers give the song a sound that remains remarkably fresh.“Golden Lady” also demonstrates Wonder’s strong connection to jazz. Although he has never been primarily considered a jazz musician, jazz harmony, improvisation, and musical experimentation have always been important parts of his work. That connection began early with The Jazz Soul of Little Stevie and continued throughout his career, including collaborations with major jazz artists. More than fifty years later, “Golden Lady” remains a great example of Wonder’s genius: sophisticated music that never sounds complicated, combining remarkable musicianship with an immediately memorable song.Stevie Wonder SouliveThe Jazz Real Book Playlist Vol 2

Boris Kozlov Interview Boris Kozlov’s connection to Charles Mingus runs far deeper than simply directing the Mingus Big Band. Growing up in the Soviet Union, Kozlov first encountered Mingus through photocopied music, playing “Pussy Cat Dues” before he had even heard Mingus’s recordings. After moving to New York, hearing Mingus Ah Um proved transformative—Kozlov describes it as such a perfect recording that it could be sent into space as a representation of “what human jazz is.”Kozlov joined the Mingus Big Band in 1998 as a last-minute substitute and quickly earned Sue Mingus’s confidence. Within weeks, she entrusted him with creating what became Charles Mingus: More Than a Play-Along. Now the band’s frequent musical director, Kozlov brings that nearly three-decade relationship to the group. His philosophy remains wonderfully Mingus-like: don’t imitate the master—use his music to find your own voice.

T.S. Monk Interview T.S. Monk has built a remarkable career both as a musician and as the steward of his father Thelonious Monk’s extraordinary legacy. A respected drummer, bandleader, composer, and recording artist, he performed with his father as a young musician before establishing his own career, eventually devoting significant energy to preserving and expanding awareness of Monk’s music.Today, T.S. Monk is helping lead an important new chapter through the Thelonious Monk Estate and Rhythm-A-Ning Entertainment. The newly unearthed and fully restored Monk Live in Paris, 1967 Volume One represents the first official release from the Monk Estate and launches a series devoted to reclaiming rare and previously unauthorized archival recordings.The Paris recording captures Monk with Charlie Rouse, Larry Gales, and Ben Riley, joined by guests including Phil Woods, Jimmy Cleveland, Ray Copeland, and Johnny Griffin. Volume Two, featuring Clark Terry, is scheduled for October 9, 2026. For T.S. Monk, these releases are about more than rediscovery—they represent preserving, protecting, and reintroducing his father’s revolutionary music for future generations.

José Feliciano’s Feliciano! (RCA-Victor)Released June 1968Bonus: Season Corrections and Omissions José Feliciano’s Feliciano! is a remarkable example of how a great interpreter can completely reinvent familiar material. Released in 1968, the album consists entirely of covers, but Feliciano transforms them through his distinctive combination of classical guitar, jazz, Latin rhythms, folk, blues, and soul. His versions of “California Dreamin’” and especially “Light My Fire” are the centerpieces, demonstrating his ability to make established songs sound completely new. The musicianship is exceptional, with jazz legend Ray Brown on bass, Milt Holland on percussion, and Jim Horn on flute and woodwinds supporting Feliciano’s extraordinary guitar playing and soulful vocals.The album reached No. 2 in America, while “Light My Fire” reached No. 3, helping Feliciano earn two Grammy Awards.  Feliciano! is a masterclass in interpretation—proof that covering someone else’s music can become an original artistic statement. (S5-EP30)

Blood, Sweat & Tears- Self Titled (Columbia Records) Release Date: December 11, 1968 Blood, Sweat & Tears’ self-titled 1968 album proved that sophisticated, horn-driven jazz-rock could also be enormously commercial. With David Clayton-Thomas replacing Al Kooper as the band’s focal point, BS&T combined jazz, soul, blues, classical music, Latin rhythms, and rock with remarkably tight arrangements and musicianship. Three singles—“Spinning Wheel,” “And When I Die,” and “You’ve Made Me So Very Happy”—reached No. 2, while the album topped the charts and eventually won the Grammy for Album of the Year. The album has been certified quadruple platinum with sales of more than four million units in the U.S.  Beyond the hits, tracks such as “Smiling Phases” and the brilliant reinvention of Billie Holiday’s “God Bless the Child” demonstrate the band’s authentic connection to jazz and willingness to experiment with changing time feels, improvisation, and complex horn writing. Producer James William Guercio helped give the record precision without sacrificing energy. It remains a masterful achievement and proof that advanced musicianship could compete with the psychedelic studio experimentation dominating late-1960s rock. (S5-EP29)

Melissa Kozlowski serves as curator of the Bruce Springsteen Center for American Music at Monmouth University, bringing extensive experience as a historian, archivist, educator, and curator. The center’s roots date to a fan-created collection established in 2001. It moved to Monmouth University in 2011 and became the official repository for Bruce Springsteen’s archival materials in 2017. Today, its mission extends well beyond Springsteen, using exhibitions, concerts, lectures, films, workshops, educational programs, and archival research to explore the diversity and cultural importance of American music across genres and generations. The center entered an exciting new era with the public opening of its new home on June 13, 2026, on the campus of Monmouth University. The approximately 32,000-square-foot, $50 million facility, and includes exhibition galleries, research archives, immersive and interactive experiences, and a performance theater. Visitors can explore Springsteen’s career and creative process, experience a new film narrated by Springsteen, and discover exhibitions examining the much broader history of American music.

Susan Fenster is a historian, journalist, and nonfiction author whose work focuses on preserving the history of Western New York. A graduate of Buffalo State College with degrees in History and Journalism, she has spent more than three decades researching regional history through archival documents, newspapers, photographs, and firsthand accounts. Fenster is an active member of the Williamsville Historical Preservation Commission and the Williamsville Historical Society, where she has helped document and preserve the area's cultural heritage. Harry Altman: Buffalo's Master Showman is her fourth nonfiction book and represents one of her most ambitious historical projects.Published in 2025, Harry Altman: Buffalo's Master Showman chronicles the remarkable life of Harry Altman, the son of Russian Jewish immigrants who rose from poverty to become one of the most influential nightclub promoters in Western New York. Through the Glen Casino and Town Casino, Altman presented legendary entertainers including Sammy Davis Jr., Vic Damone, Jayne Mansfield, Johnnie Ray, and countless others, helping transform Buffalo into a nationally recognized entertainment destination during the 1940s and 1950s. Drawing upon years of meticulous research, Fenster not only reconstructs Altman's fascinating career but also examines the changing landscape of American entertainment, the impact of television and Las Vegas on live nightlife, and the ways important local figures can fade from public memory despite their enormous cultural contributions. The result is both a compelling biography and an important work of regional and American entertainment history

"God Bless The Child" and Grant Green (133) "God Bless the Child," written by Billie Holiday and Arthur Herzog Jr., is one of the most enduring songs in the Great American Songbook. Inspired by Holiday's reflections on poverty, independence, and self-reliance, the tune combines a soulful, blues-infused melody with sophisticated harmonies and an unusual 38-bar form. Its rich sequence of ii–V progressions and expressive chord-quality changes have made it a favorite vehicle for jazz improvisers, while its timeless message has led to memorable recordings by artists ranging from Ella Fitzgerald and Sarah Vaughan to Sonny Rollins and Tony Bennett.Grant Green (1935–1979) was one of Blue Note Records' most influential guitarists, celebrated for his warm tone, lyrical single-note lines, and deep blues feeling. Recording with legends including Herbie Hancock, Joe Henderson, Lee Morgan, Hank Mobley, and McCoy Tyner, Green helped define the sound of modern jazz guitar. His interpretation of "God Bless the Child" is a masterclass in melodic improvisation, presenting the melody with sensitivity before moving into a relaxed double-time feel alongside pianist Kenny Drew, creating one of the tune's most soulful instrumental performances.Billie Holiday Grant Green The Jazz Real Book Podcast Playslist t Vol. 2Grant Green Jr. Interview 

Vinny Valentino is an acclaimed jazz guitarist, composer, educator, and internet pioneer whose career has successfully bridged performance, technology, and music education. Raised in Northern Virginia, he studied at Northern Virginia Community College, George Mason University, and Howard University, where he earned his degree in jazz. Inspired by guitar legends Wes Montgomery, Joe Pass, Pat Martino, and George Benson, Valentino developed a lyrical, modern style that earned Benson's personal endorsement and praise. Throughout his career he has performed and recorded with Chick Corea, Steve Smith, Steve Gadd, Randy Brecker, Tom Scott, Gary Bartz, Russell Ferrante, Dennis Chambers, Jimmy McGriff, John Patitucci, John Benitez, and Tom Coster. As one of the first musicians to embrace the internet, he launched Vinny.com, offering online lessons, clinics, and performances while creating the innovative Play Along Jazz educational platform. He also serves as Music Director of Drum Fantasy Camp, where he oversees the camp's musical programming, directs concerts and jam sessions, teaches groove classes, and mentors drummers on musical interaction and ensemble performance.

"Gloria’s Step" and Paul Motion (132) Scott LaFaro's "Gloria's Step" is one of the defining compositions of modern jazz and a lasting testament to his brilliance as both a bassist and composer. Introduced on the landmark 1961 album Sunday at the Village Vanguard, the tune departs from conventional jazz forms through its asymmetrical 20-bar structure, shifting major-seventh harmonies, and absence of a clearly defined key center. These qualities create a floating, conversational framework that mirrors the trio's remarkable interplay. Drummer Paul Motian was essential to the performance's success. Rather than marking time conventionally, Motian painted the music with subtle brushwork, shifting textures, and elastic rhythms that allowed Bill Evans and LaFaro complete freedom. His sensitive, interactive approach helped redefine the role of the jazz drummer, making the trio an ensemble of equal voices rather than a piano-led group. Together, LaFaro's innovative composition and Motian's understated artistry helped create one of the most influential recordings in jazz history.Bill Evans Trio Chick CoreaThe Jazz Real Book Vol.2 

Steve Swallow is one of the most influential electric bassists and composers in jazz history. Born in Fair Lawn, New Jersey, in 1940, he began on acoustic bass before pioneering the use of electric bass in a jazz context, developing his signature pick technique and lyrical improvisational style. Throughout his remarkable career, he has collaborated with artists including Carla Bley, Gary Burton, John Scofield, Pat Metheny, Jimmy Giuffre, Stan Getz, Chick Corea, and John Abercrombie. His compositions, including "Falling Grace," "Eiderdown," and "Chelsea Bells," have become modern jazz standards. Swallow also played a significant role in the creation of The Real Book while teaching at Berklee College of Music, contributing compositions and helping shape one of jazz education's most influential publications. His latest ECM release, Winter Songs (2026), features Gil Goldstein, Chris Cheek, Steve Cardenas, Mike Rodriguez, and Adam Nussbaum, presenting nine lyrical originals that reaffirm Swallow's enduring creativity and unmistakable voice.

“The Girl From Ipanema” and the album Francis Albert Sinatra & Antônio Carlos Jobim (131) “The Girl from Ipanema” one of the most performed and beloved jazz standards reached its definitive artistic expression through two landmark recordings. The 1964 Verve release Getz/Gilberto introduced bossa nova to an international audience, pairing Stan Getz’s lyrical tenor saxophone with João Gilberto’s understated guitar and vocals, Antônio Carlos Jobim’s elegant piano, and Astrud Gilberto’s unforgettable English-language debut. The album became a historic success, winning the 1965 Grammy Award for Album of the Year while the single earned Record of the Year, firmly establishing Brazilian music within the jazz mainstream. Three years later, Francis Albert Sinatra & Antonio Carlos Jobim presented a more intimate and orchestrated interpretation. Claus Ogerman’s lush yet restrained arrangements allowed Sinatra’s relaxed phrasing to blend seamlessly with Jobim’s nylon-string guitar and piano. The performance becomes especially memorable when Jobim sings in Portuguese before the two artists trade lines in both languages, creating a graceful musical dialogue that remains one of the finest cross-cultural collaborations in jazz history.Getz/Gilberto Sinatra/Jobim The Jazz Real Book Vol 2 

“Giant Steps” and the album John Coltrane Giant Steps (131) Released in 1960, Giant Steps is one of the defining albums in jazz history, showcasing John Coltrane's extraordinary growth as both a composer and improviser. The title track introduced the revolutionary harmonic system now known as the "Coltrane Changes," cycling through the distant key centers of B, G, and E-flat major with unprecedented speed and precision. Its angular melody outlines each chord through arpeggios and guide tones, making the complex harmony surprisingly clear while presenting one of jazz's greatest improvisational challenges. The remainder of the album reveals Coltrane's remarkable versatility, balancing the harmonic intensity of "Giant Steps" and "Countdown" with the bluesy warmth of "Cousin Mary," the lyrical beauty of "Naima," and the driving minor blues "Mr. P.C." Together, the album bridges hard bop and the more adventurous musical directions Coltrane would soon pursue, establishing a new vocabulary that continues to shape jazz performance, composition, and education today.John Coltrane Pat Metheny The Jazz Real Book Playlist Vol. 2 

“Gemini” and Jimmy Heath (130) “Gemini” is one of Jimmy Heath’s finest and most enduring compositions, a graceful 24-bar waltz that reflects his gift for memorable melodies and sophisticated harmony. Built around a spacious, lyrical theme and unexpected harmonic movement, the tune combines bebop vocabulary with Heath’s unmistakable melodic elegance. Since its debut on the 1962 album Triple Threat, “Gemini” has become a favorite among jazz musicians, admired for its flowing melody, subtle use of harmonic tension, and improvisational possibilities. The composition perfectly illustrates Heath’s ability to write music that is intellectually engaging while remaining highly singable.Born in Philadelphia in 1926, Jimmy Heath became one of the most respected tenor saxophonists, composers, arrangers, and educators in jazz history. A member of the legendary Heath musical family with brothers Percy and Albert “Tootie” Heath, he overcame personal setbacks to build a remarkable career spanning more than seven decades. His compositions, including “Gingerbread Boy,” “CTA,” “For Minors Only,” and “Gemini,” have become modern jazz standards. As a performer, bandleader, and longtime professor at Queens College, Heath influenced generations of musicians with his lyrical playing, masterful writing, and deep commitment to preserving and advancing the jazz tradition.Jimmy Heath Small Group Version Jimmy Heath Big Band The Jazz Real Book Playlist Vol.2 

Al MacSween continues to emerge as one of the most creative voices in London's contemporary jazz scene with Where Rivers Meet, a remarkable collaboration between his collective Your Brother's Keeper and legendary saxophonist Gary Bartz. As pianist, synthesist, composer, and producer, MacSween creates a rich sonic landscape that blends acoustic jazz with modular synthesis and live electronics, allowing Bartz's iconic saxophone to interact with modern textures while preserving its emotional depth. Originally developing through collaborations in Maisha, the project reflects years of shared performance and musical trust. McSween's vision places collective improvisation at the center, bringing together trumpeter Axel Kaner-Lidstrom, bassist Twm Dylan, percussionist Tim Doyle, and saxophonist Chelsea Carmichael. Rather than simply accompanying a jazz legend, Your Brother's Keeper engages Bartz in a genuine artistic dialogue, demonstrating MacSween's gift for connecting generations while pushing the boundaries of spiritual and contemporary jazz.

“Full House” and Johnny Griffin (129)  Johnny Griffin’s appearance on Wes Montgomery’s “Full House” remains one of the great examples of hard bop improvisation captured live. Recorded on June 25, 1962, at Tsubo in Berkeley, California, the performance features Montgomery with an extraordinary rhythm section of Wynton Kelly, Paul Chambers, and Jimmy Cobb, along with Griffin on tenor saxophone. The tune itself, a bluesy jazz waltz in F minor composed by Montgomery, combines a Latin-flavored introduction, a memorable AABA melody, and extended solo sections that allow each musician to stretch out. Montgomery’s warm thumb-picked lines and signature octave passages are complemented perfectly by Griffin’s explosive tenor work. Nicknamed “The Little Giant,” Johnny Griffin was one of the most technically dazzling saxophonists of the hard bop era. His powerful tone, breathtaking speed, and deep bebop vocabulary made him a favorite collaborator of Thelonious Monk, Art Blakey, and many others. On “Full House,” Griffin’s soulful, swinging improvisation helps elevate the performance into one of the finest live recordings in jazz history.Wes Montgomery Christian McBride Jazz Real Book Playlist Vol 2

Chris van Voorst van Beest’s Bye Design brings together jazz improvisation and classical structure in a deeply personal and compelling statement. Joined by pianist Zach Lapidus and drummer Nathan Ellman-Bell, the New York-based bassist and composer creates music that balances intricate written passages with fluid, highly interactive improvisation. A student of Pulitzer Prize-winning composer David Del Tredici, van Voorst van Beest draws inspiration from classical forms, contrapuntal writing, and modern harmony while maintaining the spontaneity of jazz. Highlights include the suite-like sequence “The Long Line,” “Interludio,” and “Pastiche,” which showcases the trio’s remarkable sensitivity and shared musical language. Influenced by artists ranging from Charles Mingus to Eivind Opsvik, van Voorst van Beest has developed a distinctive compositional voice that avoids cliché and embraces originality. Bye Design is an elegant and adventurous debut that establishes him as one of the most thoughtful emerging voices in New York’s progressive jazz scene.

“Gee Baby, Ain’t I Good To You” and Sonny Clark “Gee Baby, Ain’t I Good to You” is one of the most enduring standards in the jazz repertoire. Written in 1929 by composer Don Redman and lyricist Andy Razaf, the tune combines a blues-infused harmonic structure with a warm, conversational melody that has attracted generations of performers. Unlike many songs of its era that focused on heartbreak, the lyric is playful and affectionate, with the singer reminding a loved one of the devotion and generosity they have shown. The melody is memorable for its simple shape, blues inflections, and rhythmic use of triplets, while the harmony cleverly delays resolution to the tonic, creating a relaxed sense of tension and release. The tune became a favorite of artists such as Nat King Cole, Louis Armstrong, Count Basie, and Billie Holiday.Sonny Clark’s interpretation reveals why he remains one of the most admired pianists of the hard bop era. His performance is relaxed, bluesy, and deeply melodic, emphasizing lyricism and swing rather than technical display. Clark treats the melody with great respect while subtly embellishing it through tasteful phrasing and inventive harmonic touches. Supported by a sensitive rhythm section, he transforms the familiar standard into an intimate statement filled with warmth, elegance, and emotional depth. The recording perfectly captures Clark’s gift for combining sophistication with accessibility, qualities that continue to make his music influential more than sixty years after his passing.Sonny Clark Billie Holiday Jazz Real Book Podcast Playslist 

Peter Bernstein is widely regarded as one of the premier jazz guitarists of his generation, celebrated for his warm tone, lyrical improvisations, and deep mastery of the bebop and straight-ahead jazz traditions. Born in New York City, Bernstein began on piano before switching to guitar at age thirteen, learning largely by ear. He later studied at Rutgers University with legendary educators Ted Dunbar and Kenny Barron, refining the musical vocabulary that would become the hallmark of his style.While attending The New School in New York, Bernstein attracted the attention of guitar icon Jim Hall, who invited him to perform at the 1990 JVC Jazz Festival. Since then, he has built an impressive career performing and recording with artists including Lou Donaldson, Diana Krall, Joshua Redman, Lee Konitz, Jimmy Cobb, Tom Harrell, Dr. Lonnie Smith, and Larry Goldings. His long-running trio with organist Larry Goldings and drummer Bill Stewart has become one of the most admired small groups in modern jazz, known for its telepathic interplay, swinging grooves, and inventive improvisation.Now, Goldings, Bernstein, and Stewart reunite for Rhombus, their first trio recording in more than two decades, scheduled for release on August 7, 2026, on Smoke Sessions Records. The album showcases the group's remarkable chemistry and enduring musical connection while reaffirming why they remain one of jazz's most beloved and influential ensembles. Bernstein continues to balance tradition and innovation, making him an ideal guest for The Jazz Real Book as he discusses the creation of Rhombus, his celebrated career, and the enduring legacy of this extraordinary trio.

“Freedom Jazz Dance” and Eddie Harris “Freedom Jazz Dance” is one of the most influential jazz compositions of the 1960s. Written by Eddie Harris and first recorded on his 1965 album The In Sound, the 16-bar tune combines the earthy groove of soul jazz with an angular, highly memorable melody. Built largely around a B♭7 harmony, the composition places emphasis on rhythm, phrasing, and melodic invention rather than complex chord changes. Its syncopated theme and open structure have made it a favorite vehicle for improvisers. The tune gained even greater prominence when Miles Davis and his Second Great Quintet transformed it into a post-bop masterpiece on Miles Smiles (1967).Eddie Harris (1934–1996) was one of jazz’s most innovative saxophonists, composers, and musical experimenters. A Chicago native, he blended jazz, blues, soul, funk, and technology throughout his career. Beyond “Freedom Jazz Dance,” Harris composed standards such as “Listen Here” and achieved commercial success with Exodus to Jazz, leaving a lasting impact on modern jazz.Eddie Harris Mile Davis The Jazz Real Book Podcast Playlist Vol. 2

Rahsaan Roland Kirk-The Inflated Tear (Atlantic) Release date: June 1968Released in 1968, The Inflated Tear stands as Rahsaan Roland Kirk’s masterpiece and one of the most original jazz albums of the decade. The album captures Kirk at the height of his creative powers, blending blues, gospel, post-bop, spirituals, and avant-garde elements into a deeply personal artistic statement. The title track remains one of the most remarkable performances in jazz history, featuring Kirk’s famous ability to play multiple horns simultaneously while never losing sight of emotional expression. Throughout the album, compositions such as “The Black and Crazy Blues,” “Fingers in the Wind,” and “A Laugh for Rory” reveal a musician equally capable of tenderness, humor, and innovation. The album’s impact has only grown with time. Once admired primarily for Kirk’s technical brilliance, it is now recognized as a landmark recording that challenged traditional ideas about jazz performance and composition. The Inflated Tear helped cement Kirk’s legacy as one of the most visionary artists of the 1960s and remains an enduring influence on jazz, experimental music, and creative improvisation. (S5-Ep22)

Gracinha Leporace (The Sergio Mendes Band) For more than five decades, Gracinha Leporace  was far more than a vocalist in Sergio Mendes’ bands—she was his musical partner, collaborator, and eventually his wife. Born in Brazil, Leporace joined Mendes’ musical world after being discovered as a young singer at age 18 and officially became part of his group by 1970. Her warm voice became an essential part of the Sergio Mendes sound, helping carry forward the blend of Brazilian rhythms, jazz sophistication, and pop accessibility that made the band internationally famous. She and Mendes married in 1974 and remained together for fifty years, building both a family and a remarkable musical legacy.Today, Leporace continues that legacy with the Sergio Mendes Band, featuring many musicians who performed with Mendes during the final decade of his career. New Jersey audiences will have the opportunity to celebrate the music of Brasil ’66 and beyond when the group performs at Mayo Performing Arts Center on June 11 and at Bergen Performing Arts Center on June 14. These performances honor the 60th anniversary of Herb Alpert Presents Sergio Mendes & Brasil '66, one of the most influential crossover albums of the 1960s.https://www.sergiomendesmusic.com/

“Freddie Freeloader” and Wynton Kelly (126)“Freddie Freeloader” is one of the most celebrated tracks from Miles Davis’ 1959 masterpiece Kind of Blue. A relaxed 12-bar blues in B-flat, the tune demonstrates how simplicity, swing, and space can create timeless jazz. Miles Davis, John Coltrane, Cannonball Adderley, Paul Chambers, and Jimmy Cobb all contribute memorable performances, but the track is especially famous for featuring pianist Wynton Kelly rather than Bill Evans who is featured on the rest of the record. The performance is a masterclass in restraint, groove, and melodic improvisation.Wynton Kelly (1931–1971) was one of the great hard-bop pianists, known for his jazz blues feeling, rhythmic drive, and effortless swing. Born in Brooklyn to Jamaican parents, he worked with many jazz legends before joining Miles Davis’ sextet in 1959. His solo on “Freddie Freeloader” is widely considered one of the finest blues piano solos ever recorded, blending sophistication with soulful simplicity. Though he appears on only one track from Kind of Blue, Kelly’s contribution remains unforgettable.Miles Davis Bill Evans The Jazz Real Book Podcast Vol. 22 

Legendary German-born songwriter and producer Toby Gad and acclaimed crossover cellist/composer Dave Eggar have each spent decades redefining the boundaries between virtuosity, emotion, and modern popular music. Raised in a jazz-centered musical family in Munich, Gad combined classical piano training with jazz harmony and improvisation before becoming one of the most successful hitmakers of the modern pop era, writing and producing global hits including Beyoncé’s “If I Were a Boy,” Fergie’s “Big Girls Don’t Cry,” and John Legend’s “All of Me.” Eggar, a classically trained prodigy and adventurous improviser, built a remarkable career blending classical performance with jazz, rock, folk, film music, and contemporary crossover projects, collaborating with artists ranging from Coldplay, Pearl Jam, Amy Winehouse, Tony Bennett, Paul Simon and his mentor Michael Brecker.Together, their project Eureka Concerts captures the spontaneity and creative freedom that define both artists — a fully improvised musical dialogue where jazz intuition, classical sophistication, cinematic textures, and emotional storytelling collide in real time. The collaboration stands as a rare meeting of two fearless musical minds whose legendary careers continue to evolve through exploration and improvisation.For more info check out  Toby Gad at https://www.tobygad.com/ Dave Eggar https://www.domomusicgroup.com/daveeggar/Eureka Concerts https://open.spotify.com/album/0AqBO1SukqFI6SZ8IMbmni?si=eKdoOacNQMK32wplvahkSQ

“Four on Six” and Pat Martino (125) “Four on Six,” first recorded by Wes Montgomery on The Incredible Jazz Guitar of Wes Montgomery in 1960, is one of the defining compositions in jazz guitar history. Built loosely on the harmonic framework of “Summertime,” the tune combines blues phrasing, bebop harmony, and memorable rhythmic hits within a compact 16-bar form. Its descending ii–V progressions and sophisticated substitutions helped make it a favorite among modern jazz musicians, while Montgomery’s use of octaves, block chords, and thumb-picked articulation gave the piece its unmistakable sound.Guitar legend Pat Martino later reinterpreted the tune on his 2006 Blue Note release Remember: A Tribute to Wes Montgomery. Rather than imitate Montgomery directly, Martino transformed the piece through his own advanced bebop language, emphasizing rapid single-note lines, harmonic complexity, and remarkable precision. Having studied Montgomery obsessively as a teenager, Martino approached the tune with both reverence and individuality, creating a performance that honored the original while showcasing his own modern jazz guitar voice.Wes Montgomery Pat Martino The Jazz Real Book Podcast Vol. 2

John Lee and Paquito D’Rivera On Dizzy Gillespie WBGO presents the Dizzy Gillespie All Stars with John Lee and special guest Paquito D’Rivera as part of the All That Jazz concert series at UCPAC’s Hamilton Stage in New Jersey on Saturday, June 6, with performances at 5 PM and 8 PM. Guests can also enjoy cocktails and live piano by Leonieke Scheuble in the WBGO Piano Lounge before each show, with the lobby opening at 4 PM and 7 PM respectively. The concert celebrates the music and legacy of Dizzy Gillespie through performances of classics including “A Night in Tunisia,” “Salt Peanuts,” “Con Alma,” “Groovin’ High,” and “Blue ‘N’ Boogie.”Bassist and producer John Lee performed with Gillespie from 1984 through 1993 in the Dizzy Gillespie Quintet, Big Band, and the GRAMMY-winning United Nation Orchestra. Following Gillespie’s passing, Lee was asked by the Gillespie family to continue presenting the trumpeter’s music through the Dizzy Gillespie All Stars. Beyond his work with Gillespie, Lee has collaborated with major artists including Sonny Rollins, McCoy Tyner, Roy Hargrove, and Aretha Franklin while also producing more than 100 recordings as co-founder of Jazz Legacy Productions.Special guest Paquito D’Rivera is internationally recognized as one of the most important figures in Latin jazz and contemporary classical music. Born in Havana, Cuba, D’Rivera has earned 16 GRAMMY and Latin GRAMMY Awards while building a career that seamlessly blends jazz, Afro-Cuban music, Brazilian traditions, tango, and classical composition. A recipient of both the NEA Jazz Masters Award and the National Medal of the Arts, he has become known for his virtuosic clarinet and saxophone work as well as his role as a global ambassador for Latin jazz. His appearance with the Gillespie All Stars connects directly to Gillespie’s own pioneering fusion of bebop and Afro-Cuban music traditions. https://ucpac.org/event/dizzy-gillespie-all-stars/

“Four” and Miles Davis’ First Great Quintet “Four” became one of the signature performances associated with Miles Davis’ First Great Quintet, one of the most influential small groups in jazz history. Formed in 1955, the ensemble featured John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones. Their version of “Four,” particularly the recording on the album Workin' with the Miles Davis Quintet, helped establish the tune as a modern jazz standard.The group balanced bebop sophistication with blues feeling, swing, and melodic clarity. Miles Davis approached the tune with restraint and space, allowing his phrases to breathe rather than relying on technical excess. John Coltrane, still developing the “sheets of sound” approach that would later define his style, brought urgency and harmonic depth to the performance. Red Garland’s elegant block chords, Paul Chambers’ flowing bass lines, and Philly Joe Jones’ explosive yet conversational drumming created one of the greatest rhythm sections in jazz history. Together, the quintet transformed “Four” into a model of hard bop interplay, sophistication, and rhythmic drive.Miles Davis (1954) Miles Davis with the First Great Quintet The Jazz Real Book Podcast Vol. 2

Chick Corea- Now He Sings, Now He Sobs (Solid State Records) Released December 1968 Now He Sings, Now He Sobs captures Chick Corea, Miroslav Vitouš, and Roy Haynes in a rare moment of complete musical connection and creative freedom. Although somewhat ignored upon release,  the album has since become one of the defining piano trio recordings in modern jazz history. Corea’s compositions balance angular post-bop lines, open improvisation, rhythmic experimentation, and abstract textures, while Vitouš brings the fearless intensity of a young bass virtuoso and Haynes supplies his legendary snap-crackle rhythmic imagination. Tracks such as “Steps – What Was,” “Matrix,” and the title tune reveal a trio functioning as a single organism rather than a pianist backed by rhythm section players. The music channels the adventurous spirit of Miles Davis’ Second Great Quintet and the Bill Evans Trio while pushing the piano trio format into more exploratory territory. This is not casual background jazz or music aimed at mass appeal. It demands attention, openness, and patience. For listeners willing to engage with its intensity and complexity, the album remains one of the true masterpieces of late-1960s modern jazz. (S5-EP 19)

Oteil Burbridge and Lamar Williams Jr. represent two generations of Southern-rooted improvisational music coming together through groove, soul, and message-driven songwriting. Burbridge is widely known for his work with the Dead & Company, the Allman Brothers Band, Aquarium Rescue Unit, and Tedeschi Trucks Band, where his fluid bass playing and deep jazz-funk vocabulary made him one of the most respected improvisers in modern jam and fusion music. Williams Jr., son of former Allman Brothers bassist Lamar Williams, has emerged as a powerful vocalist carrying forward the emotional intensity and Southern soul tradition connected to the Allman legacy.Their 2026 collaborative album, The Offering, blends gospel harmonies, roots music, improvisational rock, and reflective songwriting into a warm and spiritually minded recording. Recorded in Iceland’s Flóki Studios, the album favors feel and atmosphere over flashy virtuosity, though the musicianship throughout is excellent. Songs like “The Way We Rise” and “Love & War” balance uplifting lyrical themes with earthy grooves and melodic depth. The project feels less like a commercial crossover effort and more like two musicians searching for sincerity, community, and healing through music.Oteil Burbridge and Lamar Williams Jr.- The Offering

“Forest Flower” and Charles Lloyd (133) “Forest Flower” stands as one of the defining jazz compositions of the 1960s and remains closely associated with Charles Lloyd and his groundbreaking quartet. Built around shifting modal harmony, alternating Latin and swing feels, and a floating melodic structure, the composition captures both sophistication and openness. Rather than relying on traditional bebop harmonic movement, the tune unfolds through colorful major seventh sonorities and spacious melodic phrasing, creating an atmospheric and almost spiritual quality. The famous live recording from the album Forest Flower: Charles Lloyd at Monterey became a rare jazz crossover success, reaching rock audiences and helping expand jazz visibility during the late 1960s.Lloyd’s performance balances lyricism with freedom, while the quartet featuring Keith Jarrett, Cecil McBee, and Jack DeJohnette demonstrates extraordinary collective interplay. Jarrett’s piano work is especially dynamic, and DeJohnette’s explosive rhythmic energy adds dramatic momentum. More than simply a jazz standard, “Forest Flower” represents a bridge between modern jazz, world influences, and the countercultural spirit of its era, helping establish Lloyd as one of jazz’s most spiritually expressive and enduring voices.Chico Hamilton Charles Lloyd The Jazz Real Book Podcast Playlist Vol.2

The Symphonic Jazz Orchestra’s “Salute to Maurice White” concerts take place on Saturday, May 9, 2026 (7:30 PM) and Sunday, May 10, 2026 (7:00 PM) at the Carpenter Performing Arts Center in Long Beach, California. Tickets and additional information are available through the orchestra’s official site: SJOMusic.org.Under the direction of Mitch Glickman, the program features orchestral arrangements of Earth, Wind & Fire material by a strong lineup of jazz composers and arrangers, including John Clayton, Derrick Hodge, Vince Mendoza, Marshall Gilkes, and Glickman himself. These contributors reshape White’s catalog into a symphonic jazz setting while maintaining its rhythmic vitality and melodic identity. The program also includes the world premiere of White’s rediscovered orchestral work Passages, co-composed with Bill Meyers and reconstructed for this performance

“I Love You For Sentimental Reason” and Dean Martin (122)“I Love You (For Sentimental Reasons)” is a classic American ballad written in 1945 by William “Pat” Best and Deek Watson, emerging at the close of World War II when audiences gravitated toward direct, emotionally sincere songs. First popularized by the Nat King Cole Trio in 1946, the version became definitive, reaching No. 1 on the R&B charts and crossing into the pop mainstream. The song’s strength lies in its simplicity—both lyrically and musically. Rather than relying on narrative complexity, it presents love as an honest, almost conversational confession, which gives it lasting appeal. Structurally, it follows a 32-bar AABA form typical of the Great American Songbook, with clear harmonic movement that invites interpretation. Its ballad tempo allows singers to explore phrasing, tone, and timing, making it a favorite for jazz vocalists. Later versions, including the legendary Dean Martin’s more relaxed, orchestral take, highlight how style and delivery can reshape the song’s emotional character while preserving its intimate core.The Real Book Vol. 2 Nat King Cole Trio Dean Martin 

Eric Darius is a contemporary jazz saxophone master  whose career bridges strong musical roots with a clear connection to modern audiences. Born in 1982 he grew up in a deeply musical household, with a bassist father and a mother who sang and played piano. Early exposure to Caribbean influences tied to his Haitian and Jamaican heritage, along with artists like Stevie Wonder, Prince, and George Benson, helped shape his stylistic versatility. He discovered the saxophone at age nine after a powerful church performance, quickly committing himself to the instrument. By eleven, he was touring internationally with Sonny LaRosa’s America’s Youngest Jazz Band, including an appearance at the Montreux Jazz Festival. His debut album Night on the Town (2004) marked his arrival on the national scene. Since then, Darius has built a career defined by energetic performances, chart-topping hits, crossover appeal, and ongoing work as both a recording artist and educator.

Mark Turner is widely regarded as one of the most distinctive tenor saxophonists of his generation, known for his intricate harmonic language, strong rhythmic sense, and deeply introspective improvisational style. Emerging in the 1990s, Turner quickly established himself through collaborations with artists such as Kurt Rosenwinkel, Brad Mehldau, Billy Hart, and others, helping define a modern post-bop aesthetic rooted in tradition while still pushing forward. Turner has also been closely associated with ECM Records, where his work as both a leader and sideman reflects a refined and spacious sonic approach. His trio Fly, featuring drummer Jeff Ballard and bassist Larry Grenadier, released three records between 2004 and 2012, showcasing a collective, chordless trio concept built on texture, interaction, and dialogue. His new quartet record, Patternmaster, with trumpeter Jason Palmer, bassist Joe Martin, and drummer Jonathan Pinson, continues the modern vision heard on 2022’s Return from the Stars.

“For Heaven’s Sake” and Kenny Barron (121) “For Heaven’s Sake” is a 32-bar standard that reflects the postwar Great American Songbook tradition, balancing lyrical intimacy with subtle harmonic sophistication. Its melodic design is tightly organized, with recurring rhythmic figures and a descending contour that creates a strong sense of forward motion and resolution. The harmony moves fluidly through ii–V progressions and chromatic passing chords, offering a rich but logical framework for improvisation. These elements make the tune especially adaptable, allowing performers to shape it as either a ballad or a medium swing vehicle while preserving its emotional core.Kenny Barron is one of the most lyrical pianists in modern jazz, known for his refined touch, harmonic depth, and effortless swing. His playing combines bebop fluency with impressionistic color, resulting in a style that feels both sophisticated and accessible. Whether accompanying or soloing, Barron maintains a clear melodic focus and dynamic sense of shape. His long career, including work with Stan Getz, highlights his consistency and musical sensitivity, while his compositions and teaching have further solidified his influence.The Real Book Vol. 2Billie Holiday Kenny Barron

John Beasley is a deeply rooted jazz pianist, arranger, and composer whose work balances tradition with forward-thinking creativity. Emerging in the 1980s, he built a reputation for harmonic sophistication, rhythmic flexibility, and an unwavering sense of swing, working with major artists including Miles Davis, Freddie Hubbard, Sérgio Mendes, and Hubert Laws. His acclaimed MONK’estra project has become one of his defining achievements, earning wide recognition for its inventive reimaginings of Thelonious Monk’s music and contributing to his standing as a two-time Grammy winner and multi-time nominee. Beyond the bandstand, Beasley has served as musical director for American Idol and has contributed extensively to film and television scoring, including work with Thomas Newman. His latest release, Invisible Piano with the SWR Big Band, scheduled for May 8, further highlights his orchestral vision and reinforces his role as a vital voice connecting jazz history with contemporary expression.

17- Miles Davis – Miles In The Sky Miles Davis- Miles In The Sky (Columbia Records)Released  January 16, 1968 and May 15–17, 1968Miles in the Sky (1968) captures Miles Davis at a pivotal moment of transition. Recorded with his celebrated Second Great Quintet—Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams—the album marks the first clear step toward Davis’s electric period. Released by Columbia Records, the record introduces electric piano and electric bass into Miles’s studio sound while retaining the sophisticated interplay the quintet had developed through earlier post-bop recordings. The four extended tracks blend groove-based structures with the band’s advanced rhythmic freedom and conversational improvisation. Pieces such as “Stuff” and “Paraphernalia” hint at the influence of late-1960s rock and funk, while still grounded in the group’s exploratory jazz language. The album stands as the final full studio statement by the Second Great Quintet and foreshadows Davis’s radical electric experiments that would soon emerge on his 1969 releases In a Silent Way and Bitches Brew.

“For All We Know”and Dave Brubeck (120) “For All We Know” is a reflective ballad that has become a lasting part of the American Songbook and the jazz repertoire. Written in 1934 by composer J. Fred Coots with lyrics by Sam M. Lewis, the song first gained popularity through dance-band recordings such as Hal Kemp’s version featuring Skinnay Ennis. Its melody is graceful and understated, built on a classic 32-bar with lyrics that  focus on the fragile and uncertain nature of love. The opening line—“For all we know, we may never meet again”—immediately establishes the theme of impermanence and emotional vulnerability. Because of this introspective quality, the tune has appealed to both vocalists and instrumentalists, eventually becoming a favored ballad vehicle for jazz musicians.A memorable instrumental interpretation appears on the Dave Brubeck Quartet’s At Carnegie Hall (1963). Paul Desmond presents the melody with his characteristically warm, airy tone and relaxed phrasing, before moving into a lyrical improvisation. Brubeck follows with a solo that begins in his cool, understated style before expanding into rhythmic interplay and subtle syncopation. Known for his interest in unusual meters and structural experimentation, Brubeck still shows here how effectively he could interpret a traditional standard. Backed by Eugene Wright on bass and Joe Morello on drums, the quartet creates a sophisticated yet accessible performance that highlights the song’s melodic beauty while allowing space for improvisational development. (Episode 120) Billie Holiday Dave Brubeck The Jazz Real Book Vol. 2 

Steve Wilson is one of the most respected alto saxophonists and multi-instrumentalists in modern jazz, known for his warm tone, lyrical phrasing, and deep command of the bebop and post-bop traditions. Emerging from Virginia, Wilson gained early recognition after moving to New York in the late 1980s. He has performed and recorded with an impressive range of artists including Chick Corea, Dave Holland, Christian McBride, and Maria Schneider. Wilson’s playing balances technical precision with expressive melodic clarity, drawing from the lineage of masters like Johnny Hodges, Charlie Parker, Sonny Stitt and Cannonball Adderley while maintaining a contemporary voice. In addition to leading his own acclaimed recordings, he is a dedicated educator, serving on the faculty at The Juilliard School and mentoring a new generation of jazz musicians.

Herbie Hancock-Speak Like A Child (Blue Note Records) Released Summer of 1968 Speak Like a Child is one of the more lyrical and introspective recordings in the catalog of Herbie Hancock. Released on Blue Note Records in 1968, the album reflects Hancock’s growing interest in subtle orchestration and melodic simplicity following the more harmonically dense work of his earlier recordings. Rather than a traditional trumpet-sax frontline, Hancock chose the unusual combination of flugelhorn, bass trombone, and alto flute, creating a warm, floating ensemble sound. The music emphasizes spacious melodies, gentle rhythms, and impressionistic harmonies. Pieces like the title track and “Riot” highlight Hancock’s gift for understated composition and ensemble color. Featuring musicians such as Thad Jones, Micky Roker and Ron Carter, the album stands as one of Hancock’s most delicate and emotionally resonant Blue Note recordings. (120)

“Footprints,” composed by Wayne Shorter, first appeared on Adam’s Apple (1966) but became widely known through its performance on Miles Smiles by Miles Davis. The piece is a haunting minor blues that blends traditional structure with modern harmonic color. Often played in C minor, the tune uses a distinctive bass ostinato that outlines a 12-bar blues form while introducing subtle modal movement. On Miles Smiles, the rhythm section—Herbie Hancock, Ron Carter, and Tony Williams—reshapes the groove into a loose 6/8 feel that shifts fluidly between swing and Afro-Cuban influences.Released in 1967, Miles Smiles is one of the defining recordings of the Miles Davis Second Great Quintet. Featuring Davis, Shorter, Hancock, Carter, and Williams, the album reflects a move toward greater rhythmic freedom, interactive improvisation, and abstract harmony. Rather than strict chord-scale improvisation, the group emphasizes collective interplay, making Miles Smiles a landmark of post-bop innovation. (EP 119)

“Follow Your Heart” and John McLaughlin (118)“Follow Your Heart” is a reflective composition by guitarist John McLaughlin that appears on his 1971 album My Goal's Beyond. The piece reveals a quieter and more introspective side of McLaughlin, arriving just before the explosive fusion period that would define the Mahavishnu Orchestra. Rather than emphasizing speed or dense harmonic movement, the tune focuses on mood, space, and rhythmic subtlety. The composition is notable for its unusual 11/8 meter, which gives the melody a floating, slightly asymmetrical feel. The phrasing rarely lands squarely on beat one, creating a sense of suspension that reinforces the meditative character of the piece. Harmonically the music is simple, allowing the rhythm and melody to carry the emotional weight. “Follow Your Heart” reflects the spiritual and contemplative direction McLaughlin was exploring in the early 1970s.John McLaughlinJoe FarrellThe Jazz Real Book Playlist Vol.2

German-born bassist and composer Martin Wind has built an extensive résumé as both a sideman and bandleader, performing with artists such as Buddy DeFranco, Pat Metheny, and Clark Terry. With more than twenty recordings as a leader or co-leader, Wind has remained an active presence on the international jazz scene. His newest release, September (2026, Laika Records), features his Gravity Trio with tenor saxophonist Peter Weniger and drummer Jonas Burgwinkel, expanding on the chordless trio concept first heard on their earlier album Gravity (2023). The new project also includes guest appearances from multi-reedist Scott Robinson. The trio’s open instrumentation allows Wind to approach harmony through counterpoint and interaction rather than fixed chord structures. Release concerts for September include performances at Smalls Jazz Club in New York, the Puffin Cultural Forum in Teaneck, and the historic Deer Head Inn in Pennsylvania.

“502” Blues and Jimmy Rowles (117) “502 Blues (Drinkin’ and Drivin’)” is a composition by pianist and songwriter Jimmy Rowles that stands as a clever example of his harmonic imagination. Despite the title, the piece is not a traditional blues. Instead, it unfolds as a 32-bar tune in 3/4 with subtle structural variations and a melody that feels almost folk-like in its directness while still containing angular leaps. One of the tune’s most striking features is its opening progression—Am7 moving unexpectedly to DbMaj7(#5)—a colorful harmonic shift that immediately signals Rowles’s distinctive approach to harmony. The composition is most widely known through the recording by Wayne Shorter on the album Adam's Apple (1967), where Shorter’s lyrical tenor saxophone interpretation highlights the tune’s melodic clarity and unusual harmonic movement. Rowles, long respected as a “musician’s musician,” brought a deep harmonic sensitivity to both his playing and composing, and “502 Blues” remains one of his most enduring contributions to the jazz repertoire.Wayne Shorter Bill Holman  and Mel Lewis The Jazz Real Book Playlist Vol 2

Simon Mogul is a young American jazz tenor saxophonist emerging from the New York jazz scene. In his mid-20s, Mogul has quickly developed a reputation as a technically strong and expressive improviser rooted in the post-bop tradition while remaining open to contemporary influences.Active on the New York circuit, he has performed at leading venues including Smalls Jazz Club, Birdland, Minton’s Playhouse, and The Django. His playing reflects a lineage that connects classic tenor voices such as John Coltrane, Joe Henderson, and Michael Brecker with the rhythmic flexibility and harmonic openness of today’s NYC jazz community.In 2026, Mogul released his debut album Simon Says, produced by bassist Curtis Lundy. The recording features Jeremy Pelt, Tyler Bullock, William Hill III, and Rodney Green, with Eric Kennedy appearing on several tracks. Mogul is part of a rising generation helping shape modern straight-ahead jazz.

"500 Miles High" and Return to Forever “500 Miles High,” composed by Chick Corea with lyrics by Neville Potter, is one of the defining works of Return to Forever and a centerpiece of Light as a Feather (1973). Built on an 18-measure form with a 9-bar coda, the tune features spacious melodic phrasing, subtle rhythmic mirroring, and Corea’s characteristic use of upper extensions that create a floating, unresolved quality. The harmony is economical yet sophisticated, favoring stepwise motion and shared tones over functional progressions. The original recording opens with an ethereal Fender Rhodes introduction before Flora Purim enters freely, leading into a relaxed Brazilian groove. Strong solos from Joe Farrell, Stanley Clarke, and Corea highlight the group’s interplay. The impressionistic lyrics reinforce the music’s sense of lift, making the piece a lasting modern jazz standard.Return to Forever Chick Corea Trio The Jazz Real Book Playlist Vol.2

Joe Lovano stands among the most respected saxophonists in modern jazz. Born in Cleveland in 1952, he emerged in the late 1970s and quickly became known for his powerful tenor sound, deep knowledge of the tradition, and adventurous improvisational language. Over the decades Lovano has worked with a remarkable list of artists including Woody Herman, Paul Motian, McCoy Tyner, Dave Holland, and John Scofield, while also building an extensive catalog as a bandleader and composer. A Grammy Award winner, he continues to explore new musical settings, often blending post-bop, free jazz, and global influences. Lovano remains highly active on the international stage. Recent and upcoming appearances include performances at Smoke Jazz Club in New York and a “Coltrane 100” program with the St. Louis Symphony Orchestra. In April 2026 he is scheduled to appear at venues including the McCarter Theatre in Princeton, the Moore Theatre in Seattle, and the New Jersey Performing Arts Center in Newark, with additional festival and touring dates continuing throughout the years.

“A Fine Romance” and Marian McPartland (115) “A Fine Romance,” composed by Jerome Kern with lyrics by Dorothy Fields in 1936, quickly became one of the most enduring standards to emerge from the film Swing Time, where it was introduced by Fred Astaire and Ginger Rogers. Built on a clear 32-bar A–A′ structure, the tune balances melodic simplicity with subtle sophistication. Kern’s writing combines singable lines with clever rhythmic devices and smooth chromatic harmonic movement, including diminished passing chords and cycle-of-fourths progressions that give the song both elegance and momentum. Fields’ lyric adds a distinctive twist, using wit and irony to describe a romance that lacks the excitement and affection one might expect. The piece has attracted countless interpretations, including a thoughtful reading by pianist Marian McPartland. A major figure in jazz as both performer and educator, McPartland brought clarity, harmonic imagination, and lyrical phrasing to standards such as this. Her version reflects her broader artistic legacy—an approach that combined deep respect for classic repertoire with sophisticated reharmonization and improvisational creativity, qualities that helped define her long and influential career in jazz.Marian McPartland Ella Fitzgerald and Louis Armstrong The Jazz Real Book Playlist Vol. 2

“Fee-Fi-Fo-Fum” and Rudy Van Gelder (114) “Fee-Fi-Fo-Fum,” the second track on Speak No Evil, captures both the compositional imagination of Wayne Shorter and the unmistakable sonic clarity of engineer Rudy Van Gelder. The tune unfolds over a relaxed swing feel following a brief piano introduction by Herbie Hancock, after which the syncopated melody is stated with striking precision. Van Gelder’s engineering plays a crucial role in the recording’s impact: the horns of Shorter and Freddie Hubbard sound vivid and immediate, while the rhythm section—Hancock, Ron Carter, and Elvin Jones—is captured with remarkable balance and depth. Each instrument retains clarity without sacrificing ensemble cohesion. The spacious acoustics and careful microphone placement typical of Van Gelder’s work allow the complex harmony and subtle rhythmic interplay of the piece to emerge with striking definition, helping make the performance one of the album’s standout moments.Wayne Shorter Louis Hayes The Jazz Real Book Playlist Vol. 2