The Jazz Real Book

“Footprints,” composed by Wayne Shorter, first appeared on Adam’s Apple (1966) but became widely known through its performance on Miles Smiles by Miles Davis. The piece is a haunting minor blues that blends traditional structure with modern harmonic color. Often played in C minor, the tune uses a distinctive bass ostinato that outlines a 12-bar blues form while introducing subtle modal movement. On Miles Smiles, the rhythm section—Herbie Hancock, Ron Carter, and Tony Williams—reshapes the groove into a loose 6/8 feel that shifts fluidly between swing and Afro-Cuban influences.
Released in 1967, Miles Smiles is one of the defining recordings of the Miles Davis Second Great Quintet. Featuring Davis, Shorter, Hancock, Carter, and Williams, the album reflects a move toward greater rhythmic freedom, interactive improvisation, and abstract harmony. Rather than strict chord-scale improvisation, the group emphasizes collective interplay, making Miles Smiles a landmark of post-bop innovation.

“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 
The Jazz Real Book Playlist Vol 2

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.