After talking with @Mentor Bob Kinney and @Nancy R about hidding the pick i tried to implement it... not so subbtle but it worked. I guess with work i could get better.

As I haven't gotten to the very cool shells and voice leading lessons, I am trying to put together a staple chord version of Round Midnight. Marc has a harmonic analysis video for this tune which I have linked (in case your interested). Starting from that, I made my best guess at swapping in staple chords. I am attaching the Standards Navigator version and my attempt. I have left the F7b9 chord as it feels similar to the F9 (fingering-wise), but I think the b9 does sound better. I have played the melody over the top of the staple chord arrangement and I think it sounds okay. Any corrections or suggestions?

Hi everyone- had a great time yesterday at our Summer Sounds festival here in Edmonds Washington, a village about 20 minutes north of Seattle. We are an art-focused community with lots of music and art festivals all summer long. My church, North Sound Church, sponsors one of the music venues - and I had the opportunity to participate and choose some tunes. So we played: Blue Bossa and Summertime. I also played and sang on Summer Breeze and Dance w Me (pop songs from the 70s). It was a good experience. The outdoor sound system was set up and run by a local audio engineer who does this for a living. It was a day long process. Anyway here is a iPhone recording of Blue Bossa. Since the sound check took 2 hours and the band played 16 tunes, we did not have a chance for a rehearsal- what you will hear is a cold start. What I learned: be prepared to be able to play without hearing your instrument. Even with in ear monitoring- the stage noise was deafening (my family said that you could hear the band from our house which is 1 km away from the venue)! I am the old guy to the far left of the screen. The lady playing the violin, since she was playing on some other tunes - decided to join. Kinda weird.. anyway - good experience and hope to have more! Thank you! https://youtu.be/kKafcc5ums8?is=49bBP-PNAZYbZ-Lk

Help me understand this cord and it's function Song: there will never be another you Place: in the C-section, bar 28 what: a minor 2 5 cell, Am7b5 - D7 Okay, in the key of Eb, I would normally see bar 28 as a secondary minor 2 5 leading naturally into the iii cord which would be G minor. But, it's A Head fake of sorts and leads not to the iii chord but instead resolves back to the tonic cord where it begins the long turnaround. I'm not too disturbed by this as I understand that the three cord and the tonic along with the iv are in the same functional group of "home" type chords so I can see how that works. The question: That Am7b5 chord is clearly there to produce a tension leading into the turnaround, but I'm not sure how to understand and think about this. This cord is built off the b5degree of the key and I am wondering, is this odd little 2 5, or b5 chord, some kind of common device in jazz that performs a particular function in songs? I know that in this case it produces the tension needed to start into the turnaround. It's classic tension - whenever I hear it I think of Dudley do right frantically untying Nell from the railroad tracks as the train approaches. Again, what is this harmonic device and how should I think about it?

Just a taste …