“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 McLaughlin

Joe Farrell

The 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

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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