I have been learning the tune Meditation by AC Jobin. In the arrangement I have been given the first five bars of the progression go C69 C69 B11 B13 Cmaj7. I like to understand how the chords are functioning in a chord progression. How does the B13 to Cmaj7 resolution work? I am used to seeing dominant chords resolving down a half step as an application of b5 sub of the V chord but this is a bit more unusual. Are there other tunes which use this kind of change?
As so often with this sort of question, we can note that something works, and we can stick a label on it, but explaining 'how' it works is a bit harder! Let's try though.
Think part-writing and internal melodic lines rather than chord functions. A dominates the melody through both chords, E is retained from the initial C major to become the sus4 of B7 (B11 isn't a useful label here). That's some reasons why B7sus is a possible re-harmonisation of the A melody note. B is the leading note of C major. Where better for a leading note to resolve than back to the tonic? And for a D# than back up to E?
We could also take a more pragmatic approach. Sliding down from C to B sounds good, as every country steel guitarist knows! So of course we can slide up again.
Jobim liked reharmonising the note A, and he liked chromatically descending bass lines. In another of his classics, How Insensitive, he carries on downwards though, D, Db, C, B ...