The Jazz Real Book

New Jersey-based jazz guitarist and composer Larry Corban returns with his sixth album, Beyond the Grid, released in October 2026 on Deko Entertainment. The recording features an exceptional quartet with bassist and producer Harvie S, two-time Grammy nominee Miki Hayama on piano, Fender Rhodes, organ, and synthesizer, and Jason Tiemann on drums and percussion.

Building on the success of his previous releases, including Corban Nation and Emergence, Corban continues to explore the intersection of straight-ahead jazz, contemporary harmony, and adventurous improvisation. His music reflects a deep appreciation for the hard bop and post-bop traditions of the 1960s while...

“Half Nelson” and Nelson Boyd

Miles Davis’ “Half Nelson,” recorded on August 14, 1947, is a classic bebop example and a tribute to bassist Nelson Boyd (1928–1985), who played on the original session. Based on the chord changes of Tadd Dameron’s “Lady Bird,” the composition features a 32-bar AABA form, angular melodic lines, syncopation, and sophisticated harmonic movement. The recording includes Charlie Parker on tenor saxophone, John Lewis on piano, Boyd on bass, and Max Roach on drums. Davis delivers some of his finest early bebop playing, while Parker’s unusual tenor sound and Roach’s energetic breaks stand out. Born in Camden, N...

Cyrus Chestnut Interview

Pianist Cyrus Chestnut has spent more than four decades establishing himself as one of jazz’s most distinctive and soulful voices. Born in Baltimore, Maryland, Chestnut developed his musical foundation through gospel, classical music, and the blues before studying at Berklee College of Music. His remarkable career includes collaborations with Betty Carter, Wynton Marsalis, Terence Blanchard, Donald Harrison, and Jon Hendricks, along with an extensive catalog of recordings as a leader. Known for his extraordinary technique, swinging rhythms, and deep gospel influences, Chestnut continues to captivate audiences worldwide. On Saturday, November 28, 2026, he will receive th...

“Gypsy In My Soul” and Mildred Bailey (141) 

Written in 1937 by Clay Boland and Moe Jaffe, “Gypsy in My Soul” became a popular jazz standard, celebrated for its memorable melody and swinging character. The lyrics explore themes of freedom, restlessness, and the desire for adventure. One of its finest interpretations came from vocalist Mildred Bailey, a pioneering swing-era singer known for her effortless phrasing and warm, expressive voice. Recorded in December 1945, Bailey's version features an outstanding small ensemble, including vibraphonist Red Norvo, whose fluid solo beautifully complements her vocals. The performance captures Bailey's remarkable ability to swing...

Jon Faddis Interview

One of jazz history's most extraordinary trumpeters, Jon Faddis has dazzled audiences for more than five decades with his remarkable range, technical brilliance, and deep understanding of bebop. Born in Oakland, California, in 1953, Faddis became a teenage prodigy and a protégé of the legendary Dizzy Gillespie. His career includes performances with Lionel Hampton, Charles Mingus, and the Thad Jones/Mel Lewis Orchestra. Beyond his solo career, Faddis has directed the Carnegie Hall Jazz Band, Dizzy Gillespie Alumni All-Stars, and Chicago Jazz Ensemble.

On November 12, 2026, Faddis headlines Miles @100 with Jon Faddis & Friends at...

“Guilty” and  Ray Noble (140) 

“Guilty,” written in 1931 by Richard A. Whiting and Harry Akst, with lyrics by Gus Kahn, is a romantic standard that uses criminal guilt as a metaphor for falling deeply in love. The song features a classic 32-bar AABA form, a memorable melody, and sophisticated harmonies that incorporate augmented dominants, diminished chords, and subtle key changes. Ray Noble (1903–1978), the celebrated British composer, arranger, and bandleader, helped define this era's elegant orchestral sound. Known for his sophisticated arrangements and collaborations with vocalist Al Bowlly, Noble also composed enduring standards including “The Very Thought of You” and “Cherokee.”...

Ryan Keberle – Trombonist, Composer & Educator

Ryan Keberle (born June 16, 1980) is an acclaimed American jazz trombonist, composer, arranger, and educator known for lyrical playing, innovative compositions, and a blend of jazz with diverse musical traditions. A leading voice in contemporary jazz, Keberle has collaborated with David Bowie, Wynton Marsalis, Maria Schneider, and Alicia Keys. He leads several ensembles, including Catharsis and Collectiv do Brasil, and co-leads the chamber jazz trio Reverso. He also directs the jazz program at Hunter College in New York.

His newest album, Here Is Donato!, scheduled for release October 23, 2026, on Alternate Side Re...

“Grow Your Own” and Sam Brown (139) 

Keith Jarrett’s “Grow Your Own,” recorded by Gary Burton’s quintet for the 1971 album Gary Burton & Keith Jarrett, captures the adventurous spirit of early jazz-rock fusion. Featuring Burton on vibraphone, Jarrett on electric piano and soprano saxophone, Sam Brown on guitar, Steve Swallow on bass, and Bill Goodwin on drums, the composition combines intricate rhythms with unconventional harmony. Its unusual structure includes a 15-bar A section, a funky two-bar B section, and a lyrical eight-bar C section. Syncopated melodies, unexpected chord changes, and shifting harmonic rhythms give the piece an exciting, unp...

Lawrence Haber — Bassist, Composer & Bandleader

Lawrence Haber is an accomplished electric and upright bassist, composer, and bandleader with over 25 years of experience performing and recording throughout the New York metropolitan area and Jersey Shore. In 2026, Haber released, Subtle Moves In Silence his first album as a bandleader, showcasing his original compositions, sophisticated musicianship, and collaborations with outstanding New York-area musicians. The project highlights his creative vision and versatility as a composer and bassist.

“Groovin High’ and Diz and Bird  in 1945 (138) 

1945 was a landmark year for bebop, with Charlie Parker and Dizzy Gillespie establishing a revolutionary new direction in jazz. Their recording of “Groovin’ High,” based on the chord changes of the 1920 popular song “Whispering,” demonstrated bebop’s harmonic and melodic sophistication. Gillespie’s arrangement featured a six-bar introduction, three key changes, and a half-time coda. The 32-bar composition uses two 16-bar sections with different endings, incorporating syncopated eighth-note runs, melodic leaps, chromatic movement, and unexpected ii–V progressions. Parker and Gillespie’s remarkable unison playing and improvisations highlighted their musical chemistry. Their partner...

Russell Gunn Interview

Born in Chicago in 1971 and raised in East St. Louis, trumpeter Russell Gunn developed a musical identity that bridges hard bop, hip-hop, funk, and R&B. Beginning trumpet at age ten, he was influenced by jazz legends and hip-hop artists such as LL Cool J. Encouraged by band director Ron Carter (not the bassist R) Gunn attended Jackson State University before working with Oliver Lake, Wynton Marsalis on Blood on the Fields, and Branford Marsalis’ Buckshot LeFonque.

His solo career began with Young Gunn (1994), while the Grammy-nominated Ethnomusicology series established his innovative fu...

“The Green Mountains” and Roy Haynes (137)

“The Green Mountains,” from Gary Burton’s 1969 album Country Roads & Other Places, features guitarist Jerry Hahn, bassist Steve Swallow, and legendary drummer Roy Haynes. The composition stands out for its open harmonic sound, moving between major seventh and suspended chords, along with syncopated melodies and smooth descending bass lines. Haynes brings his unmistakable rhythmic personality to the recording, using crisp cymbal work, unexpected accents, and constant interaction with the ensemble. A veteran of groups led by Charlie Parker, Sarah Vaughan, John Coltrane, and others, Haynes helped connect several generations of jazz while cont...

Abraham Burton Interview

Saxophonist Abraham Burton has developed a reputation for a powerful and expressive sound rooted in the jazz tradition while maintaining a voice distinctly his own. Growing up in Greenwich Village, Burton was surrounded by music from an early age.

His most important mentors were Jackie McLean and drummer Arthur Taylor taught him one of his most important lessons: technical ability means little if it does not serve the music. Today, Burton carries those experiences into his work as an educator at Rutgers University and with organizations such as Jazz House Kids.

“Grand Central” and Cannonball Adderley Quintet In Chicago (136) 

“Grand Central” is a John Coltrane composition recorded on February 3, 1959, for Cannonball Adderley Quintet in Chicago. The session featured Cannonball Adderley, Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb—the same core musicians who, less than a month later, would participate in Miles Davis’s Kind of Blue. Played at approximately 256 BPM, the melody mixes rapid eighth-note lines with longer resting notes. Harmonically, Coltrane moves through a series of ii–V progressions that frequently avoid their expected resolutions. The result is a tune that is constantly moving forward, both melodically and...

“Good Evening Mr. & Mrs. America & All the Ships at Sea” and Tom Scott (135)

“Good Evening Mr. & Mrs. America & All the Ships at Sea” was composed by drummer John Guerin and recorded by Tom Scott and the L.A. Express for the 1975 album Tom Cat. The title references broadcaster Walter Winchell’s famous opening line. The track is a great example of 1970s jazz fusion, combining jazz harmony and improvisation with funk and rock rhythms. It is also a tune you rarely hear called at a jam session—and for good reason. Compared with most jazz standards, its form, melody...

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 in...

“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...

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. Wi...

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...

José Feliciano’s Feliciano! (RCA-Victor)

Released June 1968

Bonus: 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 J...

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 m...

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...

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...

"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 Ton...

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...

"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 sub...

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...

“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...

“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 versa...

“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.

Bor...

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...

“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...

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. Influe...

“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 inflect...

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...

“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 tra...

Rahsaan Roland Kirk-The Inflated Tear (Atlantic) 

Release date: June 1968

Released 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 Cra...

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 fift...

“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-b...

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...