The Jazz Real Book

Steve Tibbetts (born 1954, Madison, Wisconsin) is an American guitarist and composer whose music blends jazz fusion, ambient soundscapes, experimental techniques, and global influences. Treating the recording studio as a compositional tool, he layers loops, field recordings, and highly textured guitar tones to create immersive sonic environments.A longtime collaborator with percussionist Marc Anderson, Tibbetts incorporates instruments such as kendang and kalimba alongside acoustic and electric guitar. His 1982 ECM debut Northern Song, produced by Manfred Eicher, introduced him to a wider international audience.Among his later works, Close (ECM, 2011) stands out for its intimate, spacious character. The album refines his signature blend of atmospheric guitar textures and subtle percussion, emphasizing restraint, detail, and emotional nuance. Across decades, Tibbetts has maintained a singular voice marked by cross-cultural curiosity and sonic exploration

“ Falling Grace” and John Scofield (112) “Falling Grace,” composed by Steve Swallow and first recorded by Gary Burton in 1966, is a structurally modern jazz standard built on lyrical melody and elegant, bass-directed harmony. Its unusual 14-bar A and 10-bar B form is unified by sustained opening tones, recurring triplet figures, and carefully balanced chord tones and extensions. The harmony is defined by half-step bass motion, slash chords placing 3rds and 7ths in the bass, and fluid cycle-of-fourths movement, giving the tune a floating yet logical quality. John Scofield brings a unique authority to the piece. Born in 1951 and educated at Berklee, Scofield emerged in the 1970s and gained international prominence during his tenure with Miles Davis (1982–85), where his blues-inflected tone and rhythmic bite helped shape Miles’s electric comeback era. Over five decades, Scofield has bridged post-bop, funk, fusion, and roots music, influencing generations of guitarists with his gritty sound, elastic phrasing, and harmonic daring. On Swallow Tales (2020), his interpretation honors the tune’s lyricism while highlighting his gift for motivic development and deep harmonic awareness, reaffirming his lasting impact on modern jazz guitar.Gary Burton John Scofield The Jazz RealBook  Playlist Vol.2 

Thelonious Monk -Underground Released May 1968 Released in May 1968 on Columbia Records and produced by Teo Macero, Underground captures Monk with his longtime quartet: Charlie Rouse (tenor saxophone), Larry Gales (bass), and Ben Riley (drums), plus a vocal cameo from Jon Hendricks on “In Walked Bud.” The record balances new compositions like “Green Chimneys” and “Boo Boo’s Birthday” with revisited Monk staples, all delivered with the group’s seasoned interplay and elastic swing.Though jazz was competing with rock’s cultural dominance, Monk remained uncompromising—angular melodies, dissonant harmonies, abrupt silences, and percussive attack intact. The Grammy-winning cover, depicting Monk as a member of the French Resistance, symbolized both defiance and individuality. Artistically rather than commercially driven, Underground closes a defining chapter in Monk’s Columbia era and reaffirms his singular place in modern jazz. (S5-Ep7)

Björn Meyer is a Swedish six-string bassist and composer born in Stockholm in 1965, known for his expansive approach to the electric bass across jazz, ambient, and world music contexts. After early studies in piano and trumpet—and even playing guitar in punk bands—he turned to bass at 18, becoming a professional musician in 1989 before relocating to Switzerland in 1996. Meyer has collaborated widely, including long associations with Anouar Brahem and Nik Bärtsch’s RONIN, and released his acclaimed ECM solo debut Provenance in 2017. His 2026 ECM release Convergence continues his sonic exploration, captured through meticulous, detail-oriented recording. The album showcases his richly resonant six-string bass, subtle electronics, and spacious production aesthetic, highlighting remarkable clarity, depth, and tonal nuance.Björn Meyer- Convergence 

“Fall” and Miles Davis’ Nefertiti ( 111) Standards Rating 4, Difficulty Rating 6 “Fall,” written by Wayne Shorter, is a 16-bar composition featured on Nefertiti (1968) by Miles Davis. The melody is marked by its openness and its emphasis on upper extensions—13ths, 11ths, and altered tones—rather than simple chord tones, creating an atmosphere of suspended harmony and emotional ambiguity. The mirrored structure of the opening phrases reinforces this sense of balance and design. Performed by the Miles Davis Second Great Quintet—Shorter, Davis, Herbie Hancock, Ron Carter, and Tony Williams—the track blurs the line between written material and improvisation. Time feels elastic, melodic fragments resurface beneath solos, and the collective interplay becomes the focal point. As Davis’s final fully acoustic studio statement, Nefertiti captures the quintet at peak intuition, redefining small-group jazz through restraint and subtle structural innovation.Miles Davis Kurt Rosenwinkel The Jazz Real Book Playlist Vol. 2

“E.S.P.” and Miles Davis’ Second Great Quintet (110)Standards Rating 5, Difficulty Rating 7 “E.S.P.” stands as a defining statement of Miles Davis’ Second Great Quintet, featuring Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. Written by Shorter, the tune captures the group’s concept of “time, no changes,” where pulse remains steady but harmony feels fluid and constantly shifting. Its 16-bar A and A’ sections, filled with syncopation and chord tensions (#11s, 9ths, altered dominants), create ambiguity rather than predictable resolution. The half-step root motion and unresolved cadences reflect the band’s conversational style—each member shaping form in real time. Williams’ elastic drumming and Hancock’s harmonically suggestive comping free the soloists from strict harmonic boundaries. On the original 1965 recording, the quintet achieves remarkable cohesion, balancing structure and risk. “E.S.P.” exemplifies how this ensemble reshaped post-bop into a more interactive, modern language.Miles Davis Joey DeFrancesco The Jazz Real Book Playlist Vol. 2

Few Of A Kind is a boundary-blurring chamber ensemble bringing together five fearless musicians from strikingly different musical worlds, united by a shared spirit of curiosity and collaboration. Fronted by acclaimed singer-songwriter Vienna Teng alongside violinist and vocalist Ben Russell, the group blends lyrical storytelling with improvisation and the tonal richness of contemporary classical music. Trumpeter Brandon Ridenour contributes dazzling virtuosity and genre-crossing flair, while percussionist Yousif Sheronick adds global rhythmic textures shaped by decades in modern classical and world music circles. Grounding the ensemble’s sound, Grammy-winning reedist Andrew Gutauskas brings warmth, depth, and unexpected color on baritone saxophone and bass clarinet.Their self-titled debut album, Few Of A Kind, captures the ensemble’s electric chemistry and adventurous spirit. Built on democratic arranging and collective improvisation, the record moves fluidly between cinematic chamber passages, folk-influenced songcraft, and bold, spontaneous interplay. Each musician’s distinct voice remains clear, yet always in service of a unified, deeply expressive sound. The result is a modern, genre-defying cabaret—intimate, daring, and alive with possibility—announcing Few Of A Kind as an ensemble with limitless creative horizons.

“Equipoise”and Stanley Cowell  (109) Standards Rating 3, Difficulty Rating 7 “Equipoise”  is a perfect title for Stanley Cowell’s composition—everything about the piece feels balanced, even while the harmony and rhythm are in constant motion. Set in F♯ minor with a medium, quasi-Latin groove, the tune blends space, syncopation, and subtle tension. Its unusual 28-bar AAB form and shifting root movement—often by half and whole steps—create a floating sense of tonal gravity.  Stanley Cowell’s touch as a pianist mirrors the composition’s design: lyrical, poised, and harmonically rich. A pianist with deep classical training and broad jazz experience, he had a gift for making complex structures feel natural and expressive. “Equipoise” captures that artistry—intellect and feeling held in perfect balance.Stanley Cowell Max Roach Jazz Real Book Playlist Vol. 2 

Soulive is a genre-blurring powerhouse that sits at the crossroads of funk, soul, jazz, and hip-hop, built around the deep musical chemistry of guitarist Eric Krasno, drummer Alan Evans, and organist Neal Evans. Formed in the late 1990s, the band made a bold statement early on by embracing the classic organ-trio format—Hammond B-3, guitar, and drums—while pushing it into thoroughly modern territory. What sets Soulive apart is their ability to be both technically sophisticated and irresistibly accessible. They can stretch a tune into extended improvisation without losing the pocket, and they treat rhythm as the main event rather than a backdrop. Over the years, the band has collaborated widely, working with artists like Chaka Khan, John Scofield and Dave Matthews, further cementing their reputation as musical connectors.Equally at home on festival stages and in intimate clubs, Soulive has earned a loyal following by staying true to one core idea: the groove comes first. Everything else is built on top of that. Check out their new single Baby Jupiter

Equinox and Bassist Steve Davis  (108) Standards Rating 7, Difficulty Rating 3 “Equinox” is a brooding minor-blues jazz standard composed by John Coltrane, first recorded in 1960 and released on Coltrane’s Sound in 1964. Built on a slow, hypnotic 12-bar minor blues groove, the piece stands out in Coltrane’s oeuvre for its earthy spiritual depth, reflecting his deep connection to the blues tradition more than virtuosic bebop complexity. Its stark, modal theme unfolds over repeated figures that create a ritualistic atmosphere, with Coltrane’s tenor tone both contemplative and powerful. The original quartet—Coltrane, McCoy Tyner, Steve Davis, and Elvin Jones—crafted a soundscape that balances space and intensity.Steve Davis, the quartet’s bassist on Equinox, anchored the performance with a grounded sense of time and tone, locking seamlessly with Jones to sustain the groove’s trance-like sway. A respected sideman, Davis’s work with Coltrane in the early 1960s helped shape the saxophonist’s modal direction and remains a testament to his subtle but essential artistry.John Coltrane Kenny GarrettJazz Real Book Playlist -Vol-2

Will Downing’s career spans more than three decades, a journey built on talent, versatility, and a deep connection to love and relationships. From his Brooklyn roots, he first made waves as a background vocalist, lending his smooth baritone to hits by Mariah Carey, Billy Joel, Jennifer Holliday, and others. In 1988, he went solo, finding early success overseas before establishing himself as a fixture on the U.S. R&B charts. Albums like A Dream Fulfilled, After Tonight, and Classique brought critical acclaim and commercial success, while All the Man You Need earned a Grammy nomination, cementing his status as one of R&B’s most enduring voices. Along the way, Downing explored jazz standards, photography, and radio, showcasing his creative range and commitment to nurturing emerging talent. Tracks from his 2025 EP Still in Love continue that tradition, exploring relationships with honesty and elegance. On Valentine’s Day, Downing brings that lifetime of experience to the stage at Union County Performing Arts Center in Rahway, New Jersey, offering fans an evening of romance, rich vocals, and timeless storytelling.

Epistrophy and Kenny Clarke (107)Standards Rating  7, Difficulty 7“Epistrophy” isn’t just a Monk tune—it’s a historical artifact, a blueprint for modern jazz, and a flex by two geniuses who knew exactly what they were doing. Co-written by Thelonious Monk and Kenny Clarke, the piece feels like organized chaos: jagged melody, looping phrases, and harmonies that never quite settle, which is precisely the point. Monk’s chords grind and shimmer, while the melody keeps circling back on itself like a nervous thought you can’t shake. Clarke’s role is just as crucial. As the architect of bebop drumming, he doesn’t simply keep time—he provokes, comments, and destabilizes. On his 1946 recording, his  ride cymbal floats while bombs drop unpredictably, pushing the band forward. “Epistrophy” became Monk’s go-to closer for a reason: it sounds like a mic drop. Rating it a 7 for difficulty feels fair—deceptively simple on paper, brutally unforgiving in execution.Kenny ClarkeThelonious Monk Jazz Real Book Playlist -Vol. 2

Jordan Williams is a rising American jazz pianist whose playing balances deep tradition with a clear, contemporary voice. Raised in Philadelphia, he began playing piano by ear at a young age, developing strong melodic instincts before entering formal classical and jazz training. By his early teens he was already performing publicly, showing a natural command of swing, harmony, and groove.Williams later studied jazz while remaining active as a performer, earning a reputation for lyrical phrasing, rhythmic clarity, and an intuitive sense of interaction. His style draws from the lineage of pianists such as Herbie Hancock and Mulgrew Miller, combining soulful touch with modern harmonic language.His debut album Playing by Ear, released on Red Records, marks his emergence as a bandleader. The recording features Jeff “Tain” Watts on drums, Nat Reeves on bass, and Wallace Roney Jr. on trumpet, highlighting Williams’ compositional voice and collaborative approach.

“El Gaucho” and Joe Chambers (106) Standards Rating: 5: Difficulty Rating: 6 “El Gaucho” exemplifies Wayne Shorter’s distinctive compositional voice through its unconventional 18-bar form, Latin-inflected groove, and harmonically ambiguous structure. Rather than relying on standard ii–V progressions, the tune drifts through whole- and half-step root movement, creating a floating tonal center. Shorter heightens expression by sustaining upper extensions—9ths, ♭9ths, and 11ths—over shifting harmonies, producing controlled melodic tension. Joe Chambers plays a crucial role in shaping the piece’s character. His drumming establishes a supple Latin pulse that feels grounded yet elastic, allowing the soloists rhythmic freedom. Chambers’ touch is subtle and conversational, emphasizing color over volume. A master accompanist and composer, he blends rhythmic sophistication with deep musical sensitivity, reinforcing his status as one of modern jazz’s most influential drummers.Wayne Shorter Joe Chambers Jazz Real Book Playlist Vol. 2

“Eighty-One” and Ron Carter (105) Standards Rating 5:  Difficulty Rating : 6“Eighty-One” is a 24-bar tune with a 12-bar A section and a 12-bar bridge, written in F and first recorded on E.S.P. (1965). Though credited in The Real Book to Miles Davis/Ron Carter, the piece is widely regarded as Carter’s, and it reflects his expanding role in the Second Great Quintet. Carter’s concept—shaped by intervallic thinking, pedal points, and harmonic ambiguity—defines the tune’s character. The chart’s instruction to play even eighth notes places it firmly in a post-bop context, prioritizing articulation and interaction over swing’s triplet lilt.The melody is spare and rhythmically precise, using quarter-note triplets, unexpected pickups, and extended rests to make space a compositional element. Harmonically, the near-constant use of 9sus4 voicings—avoiding the third—creates an open, floating soundscape.. “Eighty-One” stands as a concise statement of Carter’s modern jazz language: economical, flexible, and deeply interactive.Ron Carter Bill FrisellJazz Real Book Playlist Vol. 2 

Sullivan Fortner’s 2025 stands as a defining chapter in an already remarkable career. The year brought a Grammy nomination for Southern Nights, a live-in-the-moment trio recording born from a spontaneous Village Vanguard engagement, captured in a single four-hour studio session. Alongside it came high-profile collaborations with Theo Croker, Kurt Elling, and Lauren Henderson, each revealing different facets of Fortner’s musical identity—from free-form duo exploration to intimate vocal-piano dialogue. The year’s biggest surprise was his selection as the first-ever jazz recipient of the Larry J. Bell Jazz Artist Award, a historic honor accompanied by a $300,000 prize. Grounded in gospel roots, shaped at NOCA and Oberlin, and refined through formative years with Roy Hargrove, Fortner embodies a lineage-driven approach that values listening, intuition, and trust. Despite the accolades, his perspective remains modest and forward-looking, focused on the music itself—and on what comes next.

“Ecclusiastics” and Charles Mingus (104) Standards Rating 2, Difficulty Rating 7 “Ecclusiastics” offers a concentrated portrait of Charles Mingus’s artistic personality: volatile, spiritual, blues-soaked, and uncompromising. Drawing its title from the Jewish wisdom text attributed to Ben Sira, the piece reflects Mingus’s lifelong engagement with moral struggle, Black church traditions, and personal prophecy. Marked at an extremely slow ♩ = 52, the tune demands patience and emotional control, qualities Mingus valued deeply in his musicians. Its unusual ABC form, shifting meters, and harmonically restless language mirror his resistance to standardized jazz structures. On Oh Yeah (1962), Mingus performs on piano and vocalizes freely, calling out and humming like a preacher mid-sermon. This blurring of composition, improvisation, and embodied expression exemplifies his belief that jazz should confront, instruct, and testify. “Ecclusiastics” ultimately functions as both composition and sermon—an extension of Mingus’s artistic will.Charles Mingus Mingus Big Band Spotify Playlist #2 

“Easy To Love and Gene Ammons” (103)Standards Rating 7, Difficulty Rating 5 “Easy to Love” is a model of Cole Porter’s understated brilliance: a 32-bar form with a spacious, lyrical melody and harmonies that move fluidly through ii–V progressions and subtle chromatic color. Its clarity and emotional openness have made it a durable jazz standard, adaptable to ballad, swing, or groove-based treatments without losing its essential elegance. On Jug (1961), Gene Ammons reshapes the tune through a relaxed boogaloo feel, grounding Porter’s refinement in blues and rhythm. Ammons’ massive tenor sound, shaped by his Chicago roots and early work with Billy Eckstine’s band, favors melody, warmth, and direct communication. Despite career interruptions caused by incarceration, he remained one of Prestige Records’ most influential voices, bridging bebop sophistication and soul-jazz accessibility. His “Easy to Love” reflects that legacy perfectly—honoring the song’s structure while infusing it with groove, humanity, and unmistakable personal voice.Gene Ammons Ella Fitzgerald Spotify Playlist #2

John Goldsby (b. December 10, 1958) is an American jazz bassist, composer, author, and educator, best known for his long tenure with the Grammy-winning WDR Big Band in Cologne, Germany, which he joined in 1994. Raised in Louisville, Kentucky, the son of a Baptist minister, he played several instruments before committing to the double bass at age 18. Early professional work with visiting jazz greats led him to New York City in 1980, where he spent 14 years performing and recording with artists including Michael Brecker, Mel Lewis, Toshiko Akiyoshi, and the American Jazz Orchestra. Goldsby has released numerous recordings as a leader and sideman, spanning small-group jazz to large-scale big band projects. A highly respected educator, he teaches at the Maastricht Conservatory and has presented masterclasses worldwide. He is the author of The Jazz Bass Book and other influential texts, and is widely regarded as a leading authority on jazz bass tradition and technique. Big Band Bass, released November 7, 2025 on Bass Lion Publishing, marks his 30th anniversary with the WDR Big Band, featuring eight original compositions and arrangements by Bob Mintzer, Michael Abene, Dave Horler, and Vince Mendoza. Through his extensive writings and, of course, his bass playing, Goldsby personally helped introduce me to the lineage of great bass players and the enduring tradition of jazz bass performance.

“Easy Living” & Paul Desmond (102) Standards Rating 7, Difficulty Rating 6“Easy Living” is a model of songwriting elegance: a 32-bar AABA form whose beauty lies in balance—lyricism paired with subtle harmonic motion. The A sections unfold in F with graceful chromatic touches and flowing ii–V movement, while the bridge’s unexpected shift to Db major adds color without disrupting the tune’s calm, unhurried mood. Its melody favors long, singing lines and spacious phrasing, making it ideal for players who value tone and nuance over display.Paul Desmond was uniquely suited to this song. His alto saxophone sound—light, pure, and almost weightless—mirrors the tune’s sense of emotional ease. On his mid-1960s recording with Jim Hall, Desmond states the melody with restraint and warmth, letting the harmony breathe. His improvisation remains close to the song’s contours, emphasizing melodic continuity rather than technical flash. In Desmond’s hands, “Easy Living” becomes exactly what its title suggests: relaxed, lyrical, and quietly profound.Paul Desmond Billie Holiday Spotify Playlist #2