The Jazz Real Book

(94) Dolphin Dance and George Coleman “Dolphin Dance,” from Herbie Hancock’s 1965 album Maiden Voyage (Blue Note Records), is a luminous example of modern jazz composition. Built on a 38-bar form, the tune flows with modal harmonies, shifting tonal centers, and a lyrical melody unified by rhythmic motifs. Hancock’s use of parallel motion, pedal tones, and deceptive resolutions creates a sound both serene and exploratory—perfectly evoking the imagery of dolphins gliding through water. The piece balances sophistication with accessibility, making it a staple for improvisers and one of Hancock’s most frequently interpreted works. George Coleman, the tenor saxophonist on the recording, brings a warm, articulate voice that bridges hard bop and modal jazz. Born in Memphis in 1935, Coleman’s career included pivotal collaborations with Miles Davis, Max Roach, and Elvin Jones. His solo on “Dolphin Dance” reflects both intellectual precision and blues-rooted depth, embodying his role as a vital link between post-bop tradition and modern innovation.

Marc Johnson, a distinguished American jazz bassist, rose to prominence in the late 1970s as a member of Bill Evans’ final trio. Renowned for his warm tone, lyrical phrasing, and rhythmic sensitivity, he has led groups such as Bass Desires and collaborated with Eliane Elias, Joe Lovano, and Pat Metheny. His 2025 ECM release Tramonto, recorded live in 2002 with pianist John Taylor and drummer Joey Baron, captures the trio’s elegant interplay and Johnson’s expressive solo work. The album, issued posthumously for Taylor, preserves a vital moment of creative synergy and reaffirms Johnson’s stature as a master of modern jazz bass.

(93) “Dolores” and Tony Williams Standard Rating 5 Difficulty Rating 6“Dolores,” from Miles Smiles (1967), is a brisk, harmonically shifting Wayne Shorter composition that showcases the daring interplay of Miles Davis’s Second Great Quintet. Built on a 38-bar form (A–Interlude–B–Interlude–A), the tune moves fluidly through changing tonal centers and unexpected ii–V progressions, challenging soloists with its constant motion and ambiguity. The melody, light yet intricate, features Shorter’s characteristic use of upper extensions and rhythmic displacement. In performance, Miles delivers a fiery, angular solo, while Shorter and Herbie Hancock expand on the tune’s open texture, supported by Ron Carter’s grounding bass and Tony Williams’s explosive, responsive drumming. Tony Williams (1945–1997), the group’s rhythmic engine, redefined jazz drumming by treating the kit as a equal conversational instrument. His restless polyrhythms, dynamic control, and fearless interaction drove the quintet’s sound, influencing generations of drummers. “Dolores” exemplifies his balance of fire, freedom, and precision within modern jazz innovation.Miles Davis VSOPSpotify

(92) “Doin’ The Pig” and Bill Goodwin Standards Rating 1 Difficulty Rating 8 “Doin’ the Pig,” composed by Steve Swallow and featured on Gary Burton’s Throb (1969), is a bold and funky example of early jazz fusion that blends jazz sophistication with rock’s rhythmic drive. The tune’s structure—divided into four sections (A, B, C, and D)—creates a constantly shifting landscape of rhythmic tension and release. The melody is jagged and syncopated, full of wide leaps and rests that give it an unpredictable, almost playful edge. Beneath that, Bill Goodwin’s drumming locks tightly with Swallow’s electric bass, generating a deep, propulsive groove that grounds the tune’s complex harmonic motion. His crisp ride cymbal patterns and subtle snare accents provide both momentum and space for the solos that follow. As the ensemble builds intensity, Goodwin adapts seamlessly, moving from understated swing phrasing to rock-inflected power. The result is a vibrant, forward-looking track that captures Throb’s adventurous fusion spirit and highlights Goodwin’s rhythmic mastery.Gary Burton Spotify Playlist

Spyro Gyra, led by saxophonist and composer Jay Beckenstein, has been blending jazz, R&B, Latin, and Caribbean influences for over 50 years, creating an instantly recognizable sound that has earned them fans worldwide. Known for radio hits like "Morning Dance," "Shaker Song," and "Catching the Sun," the band continues to make their music fresh and accessible while showcasing top-tier musicianship. Much of their longevity comes from Beckenstein’s leadership style, which balances authority with collaboration, allowing every member to contribute creatively. From their beginnings in Buffalo clubs to platinum-selling albums and global tours, Spyro Gyra has remained a force in contemporary jazz. Audiences still respond with standing ovations, a testament to the energy and joy the group brings to every performance. As part of WBGO’s All That Jazz series, Spyro Gyra will bring their dynamic sound to the Union County Performing Arts Center in New Jersey on November 1.

(91) “Django” and Modern Jazz Quartet Standards Waiting 7 Difficulty Waiting 6 John Lewis’s composition “Django” (1954) stands as one of the Modern Jazz Quartet’s most enduring works. Written as a tribute to Belgian guitarist Django Reinhardt, the piece blends a solemn, dirge-like opening with a swinging solo section, reflecting both Lewis’s classical training and the group’s jazz roots. Miles Davis praised “Django” as one of the finest jazz compositions, and it has since become a standard, celebrated for its sophisticated harmonic design and lyrical beauty. The Modern Jazz Quartet—Lewis on piano, Milt Jackson on vibraphone, Percy Heath on bass, and Connie Kay on drums—epitomized elegance in jazz, marrying formal structure with blues-infused improvisation. Their chamber-like approach helped define the “third stream” movement, expanding jazz’s artistic and cultural reach. A decade later, guitarist Joe Pass offered his own homage with For Django (1964), an album that reinterpreted Reinhardt’s legacy through a modern lens, further cementing the guitarist’s lasting influence.Modern Jazz Quartet Joe PassSpotify Playlist 

Irish-born guitarist, arranger, and educator David O’Rourke has built a distinguished career bridging performance, composition, and mentorship. Mentored by jazz great Louis Stewart and later aided by Bucky Pizzarelli, he arrived in the U.S. in 1982, inspired by Pat Martino, with whom he would later collaborate. O’Rourke has performed with legends including Tommy Flanagan, Cedar Walton, and Jackie McLean, and his arranging credits span Lewis Nash, Terumasa Hino, and Steve Wilson. As founder of the O’Rourkestra Big Band and longtime director of youth programs at Jazz Standard/Jazz Generation, he continues to shape jazz’s future while honoring its deep traditions.

(90) “Dizzy Atmosphere” and Arturo SandovalStandards Rating 7, Difficulty Rating 6 “Dizzy Atmosphere” (1945) is a bebop standard composed by Dizzy Gillespie and first recorded with Charlie Parker. Built on George Gershwin’s “I Got Rhythm” changes, the tune exemplifies bebop’s innovation through angular melodies, rhythmic variety, and harmonic daring. The A section’s compact four-note triplet motif creates instant character, while the bridge departs from Gershwin’s model with a sequence of descending dominant sevenths, heightening tension before returning home. A signature recording from 1945 featuring Gillespie, Parker, Slam Stewart, and others captures bebop’s energy at its birth. Trumpeter Arturo Sandoval (b. 1949) has carried this bebop legacy into the modern era. A virtuoso rooted in Afro-Cuban traditions, Sandoval blends dazzling technique with expressive power. His 1996 recording Swingin’ reimagines Gillespie’s bebop spirit, pairing high-energy improvisation with nods to classics like “Groovin’ High.” By fusing bebop brilliance with Latin fire, Sandoval illustrates the continuing vitality of Gillespie’s innovations.Dizzy Gillespie Arturo Sandoval Jazz Real Book Playlist

Braxton Cook is an American alto saxophonist, singer-songwriter, and one of the leading voices of his generation in jazz and beyond. Raised in Silver Spring, Maryland, he studied at Juilliard under Ron Blake and Steve Wilson before joining Christian Scott’s touring band. Cook has since performed with Christian McBride, Jon Batiste, Rihanna, and Mac Miller, and was hailed by Fader as a “jazz prodigy.” His solo career began with the EP Sketch (2014) and has expanded across acclaimed projects including Somewhere in Between (2017), Fire Sign (2020), and Who Are You When No One Is Watching (2023). In 2025, he released his sixth album, Not Everyone Can Go, further showcasing his fusion of jazz, soul, and R&B. Beyond recording, Cook has earned recognition for his NPR Tiny Desk appearances and collaborations spanning from Pixar’s Soul soundtrack to Taylor Swift’s Midnights.

(89) “Dexterity” and Barry Harris Standards Rating 7 and Difficulty Rating 7  Charlie Parker’s 1947 composition “Dexterity” epitomizes bebop. Built on the chord changes of Gershwin’s “I Got Rhythm,” its angular melody and flowing ii–V progressions reveal Parker’s genius for reshaping familiar structures into fresh, logical lines. The tune became a touchstone for generations, including pianist Barry Harris, one of bebop’s most devoted interpreters. Harris (1929–2021) absorbed Parker’s language deeply, blending it with the influence of Bud Powell and Thelonious Monk. His trio performance of “Dexterity” on “Magnificent!” demonstrates this lineage: Harris states the melody with clarity, launches into solos steeped in bebop vocabulary, and leads the rhythm section through crisp exchanges before returning to the head. Beyond performance, Harris ensured that Parker’s innovations lived on through his legendary workshops, where he taught bebop as both a musical system and a philosophy of community. In playing and teaching, Harris embodied Parker’s belief that bebop was the foundation of modern jazz.Charlie Parker Barry HarrisJazz Real Book Podcast