The Jazz Real Book

“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 inflections, and rhythmic use of triplets, while the harmony cleverly delays resolution to the tonic, creating a relaxed sense of tension and release. The tune became a favorite of artists such as Nat King Cole, Louis Armstrong, Count Basie, and Billie Holiday.
Sonny Clark’s interpretation reveals why he remains one of the most admired pianists of the hard bop era. His performance is relaxed, bluesy, and deeply melodic, emphasizing lyricism and swing rather than technical display. Clark treats the melody with great respect while subtly embellishing it through tasteful phrasing and inventive harmonic touches. Supported by a sensitive rhythm section, he transforms the familiar standard into an intimate statement filled with warmth, elegance, and emotional depth. The recording perfectly captures Clark’s gift for combining sophistication with accessibility, qualities that continue to make his music influential more than sixty years after his passing.
Sonny Clark 
Billie Holiday 
Jazz Real Book Podcast Playslist

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 him to perform at the 1990 JVC Jazz Festival. Since then, he has built an impressive career performing and recording with artists including Lou Donaldson, Diana Krall, Joshua Redman, Lee Konitz, Jimmy Cobb, Tom Harrell, Dr. Lonnie Smith, and Larry Goldings. His long-running trio with organist Larry Goldings and drummer Bill Stewart has become one of the most admired small groups in modern jazz, known for its telepathic interplay, swinging grooves, and inventive improvisation.
Now, Goldings, Bernstein, and Stewart reunite for Rhombus, their first trio recording in more than two decades, scheduled for release on August 7, 2026, on Smoke Sessions Records. The album showcases the group's remarkable chemistry and enduring musical connection while reaffirming why they remain one of jazz's most beloved and influential ensembles. Bernstein continues to balance tradition and innovation, making him an ideal guest for The Jazz Real Book as he discusses the creation of Rhombus, his celebrated career, and the enduring legacy of this extraordinary trio.

“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 transformed it into a post-bop masterpiece on Miles Smiles (1967).
Eddie Harris (1934–1996) was one of jazz’s most innovative saxophonists, composers, and musical experimenters. A Chicago native, he blended jazz, blues, soul, funk, and technology throughout his career. Beyond “Freedom Jazz Dance,” Harris composed standards such as “Listen Here” and achieved commercial success with Exodus to Jazz, leaving a lasting impact on modern jazz.
Eddie Harris 
Mile Davis 
The Jazz Real Book Podcast Playlist Vol. 2

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 Crazy Blues,” “Fingers in the Wind,” and “A Laugh for Rory” reveal a musician equally capable of tenderness, humor, and innovation. The album’s impact has only grown with time. Once admired primarily for Kirk’s technical brilliance, it is now recognized as a landmark recording that challenged traditional ideas about jazz performance and composition. The Inflated Tear helped cement Kirk’s legacy as one of the most visionary artists of the 1960s and remains an enduring influence on jazz, experimental music, and creative improvisation. (S5-Ep22)

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 fifty years, building both a family and a remarkable musical legacy.
Today, Leporace continues that legacy with the Sergio Mendes Band, featuring many musicians who performed with Mendes during the final decade of his career. New Jersey audiences will have the opportunity to celebrate the music of Brasil ’66 and beyond when the group performs at Mayo Performing Arts Center on June 11 and at Bergen Performing Arts Center on June 14. These performances honor the 60th anniversary of Herb Alpert Presents Sergio Mendes & Brasil '66, one of the most influential crossover albums of the 1960s.
https://www.sergiomendesmusic.com/