The Jazz Real Book

Anthony Stanco is a jazz trumpet virtuoso and composer from Southeast Michigan, deeply rooted in the Detroit tradition, having studied under luminaries like Marcus Belgrave and Rodney Whitaker. He is recognized for his technique and love for hard bop, also serving as an educator and cultural ambassador through the US State Department's "American Music Abroad" program.His latest album is In the Groove: Live at The Alluvion, released on October 17, 2025, on OA2 Records. This project is a continuation of his 2024 album, Stanco's Time.   In the Groove was captured live at The Alluvion, a gorgeous and intimate jazz club in downtown Traverse City, Michigan that has in a short time gathered around itself a dedicated and passionate community of listeners. Stanco is joined by an all-star band, including guitarist Randy Napoleon, pianist Xavier Davis, bassist John Webber, and drummer Joe Farnsworth, to deliver a bold and joyful voice in 21st-century bop, blending tradition with modern fire.

99- “Dream a Little Dream of Me” and Diana Krall Standards Rating 9, Difficulty Rating 5 “Dream a Little Dream of Me” remains one of the most enduring standards because of its gentle melody, romantic lyric, and the effortless way it creates a feeling of warmth and nostalgia. The tune has a natural, lullaby-like flow, moving gracefully between its dreamy A section and the more open, hopeful lift of the bridge. Its charm lies in its simplicity — nothing feels forced or overly ornate, yet every phrase is memorable. This timeless quality is what makes the song so appealing to artists across generations, including Diana Krall. In her intimate trio performance, she leans into the song’s built-in softness, letting the melody unfold with quiet ease. Her understated vocals, paired with the light touch of guitar and bass, keep the focus on the song’s natural beauty rather than embellishment. The result is a version that feels both classic and personal, capturing the tune’s enduring tenderness.Diana Krall Ella Fitzgerald and Louis Armstrong Spotify Playlist 

French-born tenor saxophonist Jerome Sabbagh has long been a fixture on the New York jazz scene, known for his warm tone, lyrical phrasing, and commitment to musical honesty. A Paris native who moved to the U.S. in the mid-1990s to study at the Berklee College of Music, Sabbagh then moved to New York and quickly immersed himself in the city’s vibrant improvisational community, collaborating with artists like the late Paul Motian. His latest release, Stand Up! (Analog Tone Factory, 2025), featuring guitarist Ben Monder, bassist Joe Martin, and drummer Nasheet Waits. Recorded live to ½-inch analog tape, weaving through original compositions that blend post-bop sophistication with subtle touches of blues, rock, and modal jazz. Each piece is dedicated to a musical influence—from Ray Charles to Stevie Wonder to Trent Reznor (NIN)—showcasing Sabbagh’s wide-ranging curiosity and respect for the jazz and rock lineage. The title Stand Up! reflects both artistic conviction and a quiet social statement against the current political climate, reaffirming Sabbagh’s belief in integrity, collaboration, and the power of real-time, analog musicianship in an increasingly digital world.

(98) “Donna Lee” an Claude Thornhill Standards Ratings 7 Difficulty Rating 8 “Donna Lee” is a cornerstone of the bebop repertoire, composed by Miles Davis (though often attributed to Charlie Parker) and first recorded in 1947 by the Charlie Parker Quintet featuring Parker on alto sax and Davis on trumpet. The tune is a whirlwind of rapid-fire eighth notes, angular leaps, and constant harmonic motion over the chord changes of “(Back Home Again in) Indiana.” Its technical demands and unpredictable phrasing make it both a rite of passage and a challenge for jazz musicians.   The tune’s spirit can be heard in the influence of Gil Evans and Claude Thornhill’s orchestra and their reworking of the tune. Thornhill’s group, with its cool, impressionistic voicings and advanced harmonies, deeply influenced both Parker and Davis. Evans, who arranged for Thornhill, later became Davis’s collaborator on Birth of the Cool. The contrast between Parker’s version and Thornhills, both recorded in 1947 makes for a cool contrast. Charlie Parker Claude Thornhill Spotify Playlist 

Cuban-American saxophonist, clarinetist, and composer Paquito D’Rivera — a towering figure whose joyful spirit matches his musical brilliance — will be honored as the newest recipient of the Giants of Jazz Award on November 29, 2025 at the South Orange Performing Arts Center. The event will feature an all-star lineup including Eric Alexander, Don Braden, Roberta Gambarini, Jeb Patton, Rufus Reid, Steve Davis, Freddie Hendrix, and Yotam Silberstein. At 77, D’Rivera remains a symbol of artistic excellence and personal courage. Raised in Havana by a classical saxophonist father, he absorbed everything from Mozart to Benny Goodman and began performing professionally as a child. After co-founding the groundbreaking Cuban ensembles Orquesta Cubana de Música Moderna and Irakere, he famously defected during a European tour, seeking creative freedom away from Cuba’s political restrictions. His leap of faith came at great personal cost — years without seeing his family — yet it launched an extraordinary international career supported by legends like Dizzy Gillespie.Still fiercely active, D’Rivera continues to blend classical, jazz, and Latin traditions. His latest album, La Fleur de Cayenne, recorded with the Madrid-New York Connection, showcases his lifelong spirit of innovation. Giants of Jazz Concert https://www.sopacnow.org/events/giants-of-jazz-2025/New Album La Fleur de Cayenne, https://open.spotify.com/album/43hycGOSuAa3LkQwDBHelv?si=JnZGFm5-R22vt2TWx6k3vgJay Sweet's Cover Article on Paquito D'Rivera https://njjs.org/magazine/

Nat King Cole’s interpretation of “Don’t Get Around Much Anymore” marries the song’s refined Ellington roots with Cole’s signature warmth and polish. The tune, originally an instrumental titled “Never No Lament” before lyrics were added, is built on a classic 32-bar AABA structure that balances elegant chromatic motion with a memorable melodic hook. Cole keeps the melody’s graceful contour intact while subtly shaping phrases to enhance the lyric’s quiet humor and bittersweet nostalgia—avoiding emotional excess in favor of poised understatement. His relaxed swing feel, conversational timing, and velvet tone soften the song’s theme of social withdrawal and lost romance, making the sentiment tender rather than bitter. Billy May’s buoyant arrangement surrounds Cole with bright brass punctuation and smooth sax textures, reinforcing the tune’s sophisticated charm. For Cole, the performance represents both his jazz roots—seen in his phrasing and rhythmic ease—and his mastery of popular songcraft, demonstrating why he remains one of the most enduring interpreters of the American songbook

Wolfgang Muthspiel InterviewAustrian guitarist and composer Wolfgang Muthspiel’s new album Tokyo, released on ECM Records in September 2025, captures the refined interplay of his long-standing trio with bassist Scott Colley and drummer Brian Blade. Recorded in Tokyo in October 2024 and produced by ECM founder Manfred Eicher, the record highlights Muthspiel’s composition skills and prowess as a guitarist. His music is a true  balance of lyricism and expressionism. Each track demonstrates the trio’s remarkable equality — a conversation of three master musicians rather than a leader and accompanists. Critics have praised Tokyo for its clarity, warmth, and understated virtuosity, noting how it extends Muthspiel’s exploration of space, tone, and subtle rhythmic dialogue. The result is a brilliant statement from one of contemporary jazz’s most distinctive voices.Check Out The Album: Tokyo https://open.spotify.com/album/3NFQljNO1NEBEw8qMSGVWY?si=xhfMaeu0T4ePEIOgGjKajA

(96) Don’t Blame Me and Ethel Waters “Don’t Blame Me,” written by Jimmy McHugh and Dorothy Fields in 1932, became a popular standard known for its lyrical melody and elegant harmonic motion. Ethel Waters’ 1933 recording, arranged by Victor Young, remains one of the definitive interpretations. Her expressive phrasing, subtle rhythmic control, and spoken introduction elevate the song from a simple love ballad to a deeply personal statement. The arrangement’s double-time instrumental section and Waters’ seamless reentry on the bridge highlight her professionalism and command of musical form. Waters (1896–1977), a trailblazing vocalist and actress, rose from poverty to stardom in the 1920s and 1930s, breaking racial barriers in recording, Broadway, film, and television. Known for her clarity of diction and emotional depth, she influenced later artists like Billie Holiday and Lena Horne. Her rendition of “Don’t Blame Me” exemplifies both her artistry and her role in shaping the expressive language of American popular song.Ethel Waters Thelonious MonkJazz Real Book Playlist 

(95) “Domino Biscuit” and Hotel HelloSteve Swallow’s “Domino Biscuit,” from Hotel Hello (ECM, 1975), is a concise yet characterful duet that epitomizes the minimalist charm of the album. Built on a simple 10-bar form in D♭, the piece unfolds with a brief two-bar introduction and a recurring rhythmic motif of dotted quarter, eighth, and quarter notes. Written in traditional piano score, the melody sits in the bass clef, suggesting Swallow’s intent for pianistic phrasing despite its bass-driven origin. Harmonically, the tune moves gracefully through I–IV–VII–V relationships, with subtle reharmonization on the repeat, maintaining both clarity and curiosity.As part of Hotel Hello, “Domino Biscuit” captures the essence of Gary Burton and Steve Swallow’s long partnership—intimate, conversational,  and understated. Recorded in 1974, the album’s sound world is quintessential ECM: airy, introspective, and spacious. Across its brief sketches and lyrical duets, it blurs the boundaries between jazz composition and chamber improvisation, achieving quiet brilliance through restraint."Domino Biscuit" Hotel Hello Album 

The 2026 Gilmore Bell Young Artist Award, accompanied by a $25,000 grant, recognizes two rising stars in jazz piano — Tyler Bullock II and Esteban Castro — both representing the vibrant next generation of the art form. Based in New York City and trained at the Juilliard School, Bullock and Castro share a commitment to honoring jazz’s deep traditions while advancing its creative boundaries. Bullock, a dynamic performer and collaborator with artists like Samara Joy and Dee Dee Bridgewater, channels storytelling and collective improvisation through his modern trio work. Castro, mentored by Fred Hersch, brings prodigious compositional talent and a global performance resume to his explorations of lyricism and innovation. Together, their artistry embodies the spirit of the Bell Award — celebrating youthful mastery, imagination, and a dedication to the living heritage of jazz.