The tempo rockets back up to 269 BPM for Freddie Hubbard's contrafact on the Giant Steps chord changes, one of the most demanding harmonic vehicles in jazz. Cohen leads with eleven choruses on piano over the 16-bar form, Jones follows with eight on trumpet, and Hall adds six on bass — twenty-five combined choruses of high-speed improvisation spanning nearly ten minutes. The 16-bar form means the Giant Steps changes cycle rapidly, demanding constant alertness from the soloists. Hubbard composed Dear John as a tribute to John Coltrane, recasting Coltrane's own revolutionary harmonic system as a framework for trumpet improvisation. The choice to feature a Giant Steps contrafact alongside Sean Jones's originals and traditional material like Danny Boy showcases the breadth of the evening's programming. Coming after the gentle Irish ballad, the jump to 269 BPM creates another of the set's characteristic dramatic contrasts.
