THE GLOBAL JAZZ NETWORK

a worldwide movement @the destination where great Jazz minds meet

THE GLOBAL JAZZ NETWORK

The Global Jazz Network is a worldwide movement @ the destination where great jazz minds meet.

The most comprehensive online Jazz Edu-tainment event worldwide! The Global Jazz Network is a place where Jazz lovers, 8 - 80 and beyond come together in one of the most complete jazz social networks on the Internet.

Entertaining and educational, The Global Jazz Network connects and reconnects emerging, established and iconic jazz musicians, singers, visual artists, journalists and other jazz professionals as it ties the listener and the jazz curious in a creative dialogue encouraging partnerships among international Jazz professionals to support the identity, diversity & awareness of Jazz in a digital environment and exchange that broadens the understanding of the African American classical music that is universal in its nature and unlike any other music/art form.

A creative dialogue encouraging partnerships among international Jazz professionals to support the identity, diversity & awareness of Jazz.

TAMM E HUNT - TGJN Artistic Director/ Founder



Greetings Jazz World!Welcome! to The Global Jazz Network Family,

Thank You! for joining the movement at the destination where great Jazz minds meet...

We believe Jazz and the artists, jazz professionals, musicians and singers who live it and proliferate America's indigenous music deserve world wide recognition.

Expanding the Global Jazz Vision many in mind and body. One In Jazz!

Tamm E Hunt
founder/publisher




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“Jazz Is An Accident Waiting to Happen”: Spinal Tap Weighs In

Forget time-consuming books or hip artistic koans--the members of Spinal Tap tell you what jazz is really all about:


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Come On Down to Central Avenue: Jazz in Mid-20th Century L.A.

In this program we explore the sounds of the mid-20th-century Los Angeles jazz scene with historian Steve Isoardi. Jam sessions, bebop, r and b, big bands, visits from Hollywood celebrities--as the center of African-American culture in L.A., Central Avenue had it all.


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Halloween: Haunted Love Songs, Strange Enchantment

Haunted late-night love songs and some "spirited" jazz for your Halloween holiday.


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Sweet Smell of Success

In 1957 a fading Depression-era playwright, two hot box-office stars and a West Coast jazz group all played prominent parts in creating a dark portrayal of New York City showbiz life that’s now considered a cinematic masterpiece. Film-expert James Naremore and musicologist Phil Ford us to talk about the look and sound of "Sweet Smell of Success."


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Before Rock, There Was Jazz: Tom Wilson and Transition Records

Tom Wilson produced rock albums by Bob Dylan, Simon and Garfunkel, and the Velvet Underground that were some of the most influential records of the 1960s, but he got his start in the 1950s running his own adventurous jazz label, recording artists such as John Coltrane, Donald Byrd, Cecil Taylor, and Sun Ra.


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Oscar Peterson Sings, Revolutionary Jazz Cover Art, Time Travel

Oscar Peterson as singer, a new book of jazz album covers from the 1960s and 70s, and more.


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Art Tatum: the Group Masterpieces

Pianist Art Tatum's speed and harmonic imagination often left other musicians astonished, inspired, or in despair. By way of a centennial tribute, here are some who managed to keep up with him, including Benny Carter, Ben Webster, and Roy Eldridge.


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The Hank Williams Songbook, a New Thelonious Monk Biography And…

Hank Williams goes pop 'n jazz, Robin D.G. Kelley's new Monk biography is out, and more in the weekly round-up.


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John Zorn: Tradition and Transgression

A new book takes an in-depth look at the sources and inspirations behind the music of avant-garde artist John Zorn.


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John Zorn: Hardboiled Bop

Saxophonist John Zorn is a modern avant-garde icon, but in the late 1980s he recorded several tributes to heroes of the 1950s and 60s hardbop era such as Hank Mobley and Sonny Clark, honoring them with an edgy passion that also revealed Zorn's skills in a straightahead jazz setting.


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NPR: Jazz Profiles Podcast

Dave Brubeck: In His Own Sweet Way

Unlike the vast majority of jazz musicians, the pianist and composer was blessed with both talent and commercial success. His blend of experimental and lyrical approaches made him one of the biggest draws of his day — and ever since.

Oscar Peterson: Piano Master

The famed virtuoso commanded the entire keyboard with incredible dexterity, drive and precision, while performing around the world for more than 50 years, accruing countless honors, awards and critical accolades.

Tito Puente: 'El Rey'

He was a dynamic percussionist, a masterful arranger and an irrepressible showman. Throughout a career lasting more than 50 years, Puente fused American jazz with Afro-Cuban rhythms, earning him the title King of Latin Music.

Rosemary Clooney: An American Treasure

For more than fifty years, Rosemary Clooney's simple and exquisite singing style defined her dynamic career. She also appeared in movies and had a star turn on television, but it was her successful and inspired music that cemented her reputation as one of America's finest jazz-based vocalists.

Duke Ellington: The Composer, Pt. 2

The scope and breadth of Duke Ellington's compositions were far-reaching, drawing many influences together to create a cohesive and diverse sound. Composing consumed Ellington around the clock, and his musical legacy is a timeless contribution to American music.

Duke Ellington: The Composer, Pt. 1

Duke Ellington composed some of the most enduring music of the 20th century, producing more than one thousand lasting works. With groundbreaking hits such as "Sophisticated Lady" and "Mood Indigo," Ellington vividly communicated universal ideas, while inventing musical concepts that helped elevate jazz to a sophisticated art form.

Milt Hinton: The Ultimate Timekeeper

Bassist Milt Hinton, known as the "Judge," was considered to be the ultimate timekeeper. With his buoyant tempos and fat, booming sound, Hinton provided the rhythmic foundation for many jazz greats.

Illinois Jacquet: King Of The Screeching Tenor

Bandleader Illinois Jacquet was recognized as the king of the tenor saxophone. During his long career, Jacquet played with everyone from Basie to Lionel Hampton and gained notoriety for his wild, honking solo in "Flying Home," which heralded a new approach to playing known as the "Texas tenor style."

Jay 'Hootie' McShann: Kansas City Swingman

"Hootie" to his friends, bluesman supreme Jay McShann served as the living legacy to Kansas City jazz. As bandleader, pianist, singer and composer, McShann was an unsung yet influential figure. During the '40s, his orchestra became an important launching pad for prominent soloists including Charlie Parker.

Al Grey: The Last Big Time Plunger

Trombonist Al Grey was highly regarded as "the last of the big time plungers" thanks to his skill at using a plumber's plunger to manipulate tones coming from the bell of his trombone. Grey rose to prominence as a soloist and gifted accompanist to singers, developing a unique style playing in the bands of Lionel Hampton and Count Basie.
 

THE GLOBAL JAZZ CONNECT


THELONIOUS SPHERE MONK
(October 10, 1917-February 17, 1982)

"You know, anybody can play a composition and use far-out chords and make it sound wrong. It’s making it sound right that’s not easy."
Thelonious Monk, 1961

With the arrival Thelonious Sphere Monk, modern music—let alone modern culture--simply hasn’t been the same. Recognized as one of the most inventive pianists of any musical genre, Monk achieved a startlingly original sound that even his most devoted followers have been unable to successfully imitate. His musical vision was both ahead of its time and deeply rooted in tradition, spanning the entire history of the music from the “stride” masters of James P. Johnson and Willie “the Lion” Smith to the tonal freedom and kinetics of the “avant garde.” And he shares with Edward “Duke” Ellington the distinction of being one of the century’s greatest American composers. At the same time, his commitment to originality in all aspects of life—in fashion, in his creative use of language and economy of words, in his biting humor, even in the way he danced away from the piano—has led fans and detractors alike to call him “eccentric,” “mad” or even “taciturn.” Consequently, Monk has become perhaps the most talked about and least understood artist in the history of jazz.

Born on October 10, 1917, in Rocky Mount, North Carolina, Thelonious was only four when his mother and his two siblings, Marion and Thomas, moved to New York City. Unlike other Southern migrants who headed straight to Harlem, the Monks settled on West 63rd Street in the “San Juan Hill” neighborhood of Manhattan, near the Hudson River. His father, Thelonious, Sr., joined the family three years later, but health considerations forced him to return to North Carolina. During his stay, however, he often played the harmonica, ‘Jew’s harp,” and piano—all of which probably influenced his son’s unyielding musical interests. Young Monk turned out to be a musical prodigy in addition to a good student and a fine athlete. He studied the trumpet briefly but began exploring the piano at age nine. He was about nine when Marion’s piano teacher took Thelonious on as a student. By his early teens, he was playing rent parties, sitting in on organ and piano at a local Baptist church, and was reputed to have won several “amateur hour” competitions at the Apollo Theater.

Admitted to Peter Stuyvesant, one of the city’s best high schools, Monk dropped out at the end of his sophomore year to pursue music and around 1935 took a job as a pianist for a traveling evangelist and faith healer. Returning after two years, he formed his own quartet and played local bars and small clubs until the spring of 1941, when drummer Kenny Clarke hired him as the house pianist at Minton’s Playhouse in Harlem.

Minton’s, legend has it, was where the “bebop revolution” began. The after-hours jam sessions at Minton’s, along with similar musical gatherings at Monroe’s Uptown House, Dan Wall’s Chili Shack, among others, attracted a new generation of musicians brimming with fresh ideas about harmony and rhythm—notably Charlie Parker, Dizzy Gillespie, Mary Lou Williams, Kenny Clarke, Oscar Pettiford, Max Roach, Tadd Dameron, and Monk’s close friend and fellow pianist, Bud Powell. Monk’s harmonic innovations proved fundamental to the development of modern jazz in this period. Anointed by some critics as the “High Priest of Bebop,” several of his compositions (“52nd Street Theme,” “Round Midnight,” “Epistrophy” [co-written with Kenny Clarke and originally titled “Fly Right” and then “Iambic Pentameter”], “I Mean You”) were favorites among his contemporaries.

Yet, as much as Monk helped usher in the bebop revolution, he also charted a new course for modern music few were willing to follow. Whereas most pianists of the bebop era played sparse chords in the left hand and emphasized fast, even eighth and sixteenth notes in the right hand, Monk combined an active right hand with an equally active left hand, fusing stride and angular rhythms that utilized the entire keyboard. And in an era when fast, dense, virtuosic solos were the order of the day, Monk was famous for his use of space and silence. In addition to his unique phrasing and economy of notes, Monk would “lay out” pretty regularly, enabling his sidemen to experiment free of the piano’s fixed pitches. As a composer, Monk was less interested in writing new melodic lines over popular chord progressions than in creating a whole new architecture for his music, one in which harmony and rhythm melded seamlessly with the melody. “Everything I play is different,” Monk once explained, “different melody, different harmony, different structure. Each piece is different from the other. . . . [W]hen the song tells a story, when it gets a certain sound, then it’s through . . . completed.”

Despite his contribution to the early development of modern jazz, Monk remained fairly marginal during the 1940s and early 1950s. Besides occasional gigs with bands led by Kenny Clarke, Lucky Millinder, Kermit Scott, and Skippy Williams, in 1944 tenor saxophonist Coleman Hawkins was the first to hire Monk for a lengthy engagement and the first to record with him. Most critics and many musicians were initially hostile to Monk’s sound. Blue Note, then a small record label, was the first to sign him to a contract. Thus, by the time he went into the studio to lead his first recording session in 1947, he was already thirty years old and a veteran of the jazz scene for nearly half of his life. But he knew the scene and during the initial two years with Blue Note had hired musicians whom he believed could deliver. Most were not big names at the time but they proved to be outstanding musicians, including trumpeters Idrees Sulieman and George Taitt; twenty-two year-old Sahib Shihab and seventeen-year-old Danny Quebec West on alto saxophones; Billy Smith on tenor; and bassists Gene Ramey and John Simmons. On some recordings Monk employed veteran Count Basie drummer Rossiere “Shadow” Wilson; on others, the drum seat was held by well-known bopper Art Blakey. His last Blue Note session as a leader in 1952 finds Monk surrounded by an all-star band, including Kenny Dorham (trumpet), Lou Donaldson (alto), “Lucky” Thompson (tenor), Nelson Boyd (bass), and Max Roach (drums). In the end, although all of Monk’s Blue Note sides are hailed today as some of his greatest recordings, at the time of their release in the late 1940s and early 1950s, they proved to be a commercial failure.

Harsh, ill-informed criticism limited Monk’s opportunities to work—opportunities he desperately needed especially after his marriage to Nellie Smith in 1947, and the birth of his son, Thelonious, Jr., in 1949. Monk found work where he could, but he never compromised his musical vision. His already precarious financial situation took a turn for the worse in August of 1951, when he was falsely arrested for narcotics possession, essentially taking the rap for his friend Bud Powell. Deprived of his cabaret card—a police-issued “license” without which jazz musicians could not perform in New York clubs—Monk was denied gigs in his home town for the next six years. Nevertheless, he played neighborhood clubs in Brooklyn—most notably, Tony’s Club Grandean, sporadic concerts, took out-of-town gigs, composed new music, and made several trio and ensemble records under the Prestige Label (1952-1954), which included memorable performances with Sonny Rollins, Miles Davis, and Milt Jackson. In the fall of1953, he celebrated the birth of his daughter Barbara, and the following summer he crossed the Atlantic for the first time to play the Paris Jazz Festival. During his stay, he recorded his first solo album for Vogue. These recordings would begin to establish Monk as one of the century’s most imaginative solo pianists.

In 1955, Monk signed with a new label, Riverside, and recorded several outstanding LP’s which garnered critical attention, notably Thelonious Monk Plays Duke Ellington, The Unique Thelonious Monk, Brilliant Corners, Monk’s Music and his second solo album, Thelonious Monk Alone. In 1957, with the help of his friend and sometime patron, the Baroness Pannonica de Koenigswarter, he had finally gotten his cabaret card restored and enjoyed a very long and successful engagement at the Five Spot Café with John Coltrane on tenor saxophone, Wilbur Ware and then Ahmed Abdul-Malik on bass, and Shadow Wilson on drums. From that point on, his career began to soar; his collaborations with Johnny Griffin, Sonny Rollins, Art Blakey, Clark Terry, Gerry Mulligan, and arranger Hall Overton, among others, were lauded by critics and studied by conservatory students. Monk even led a successful big band at Town Hall in 1959. It was as if jazz audiences had finally caught up to Monk’s music.

By 1961, Monk had established a more or less permanent quartet consisting of Charlie Rouse on tenor saxophone, John Ore (later Butch Warren and then Larry Gales) on bass, and Frankie Dunlop (later Ben Riley) on drums. He performed with his own big band at Lincoln Center (1963), and at the Monterey Jazz Festival, and the quartet toured Europe in 1961 and Japan in 1963. In 1962, Monk had also signed with Columbia records, one of the biggest labels in the world, and in February of 1964 he became the third jazz musician in history to grace the cover of Time Magazine.

However, with fame came the media’s growing fascination with Monk’s alleged eccentricities. Stories of his behavior on and off the bandstand often overshadowed serious commentary about his music. The media helped invent the mythical Monk—the reclusive, naïve, idiot savant whose musical ideas were supposed to be entirely intuitive rather than the product of intensive study, knowledge and practice. Indeed, his reputation as a recluse (Time called him the "loneliest Monk") reveals just how much Monk had been misunderstood. As his former sideman, tenor saxophonist Johnny Griffin, explained, Monk was somewhat of a homebody: "If Monk isn't working he isn't on the scene. Monk stays home. He goes away and rests." Unlike the popular stereotypes of the jazz musician, Monk was devoted to his family. He appeared at family events, played birthday parties, and wrote playfully complex songs for his children: "Little Rootie Tootie" for his son, "Boo Boo's Birthday" and “Green Chimneys” for his daughter, and a Christmas song titled “A Merrier Christmas.” The fact is, the Monk family held together despite long stretches without work, severe money shortages, sustained attacks by critics, grueling road trips, bouts with illness, and the loss of close friends.

During the 1960s, Monk scored notable successes with albums such as Criss Cross, Monk’s Dream, It’s Monk Time, Straight No Chaser, and Underground. But as Columbia/CBS records pursued a younger, rock-oriented audience, Monk and other jazz musicians ceased to be a priority for the label. Monk’s final recording with Columbia was a big band session with Oliver Nelson’s Orchestra in November of 1968, which turned out to be both an artistic and commercial failure. Columbia’s disinterest and Monk’s deteriorating health kept the pianist out of the studio. In January of 1970, Charlie Rouse left the band, and two years later Columbia quietly dropped Monk from its roster. For the next few years, Monk accepted fewer engagements and recorded even less. His quartet featured saxophonists Pat Patrick and Paul Jeffrey, and his son Thelonious, Jr., took over on drums in 1971. That same year through 1972, Monk toured widely with the "Giants of Jazz," a kind of bop revival group consisting of Dizzy Gillespie, Kai Winding, Sonny Stitt, Al McKibbon and Art Blakey, and made his final public appearance in July of 1976. Physical illness, fatigue, and perhaps sheer creative exhaustion convinced Monk to give up playing altogether. On February 5, 1982, he suffered a stroke and never regained consciousness; twelve days later, on February 17th, he died.

Today Thelonious Monk is widely accepted as a genuine master of American music. His compositions constitute the core of jazz repertory and are performed by artists from many different genres. He is the subject of award winning documentaries, biographies and scholarly studies, prime time television tributes, and he even has an Institute created in his name. The Thelonious Monk Institute of Jazz was created to promote jazz education and to train and encourage new generations of musicians. It is a fitting tribute to an artist who was always willing to share his musical knowledge with others but expected originality in return.

Robin D. G. Kelley Ph.D.

Robin D. G. Kelley, a Professor of Anthropology, African American Studies and Jazz Studies at Columbia University, has published several books on African American culture and politics. His most recent book is Freedom Dreams: The Black Radical Imagination (2002). His articles on music have appeared in the New York Times, Black Music Research Journal, The Nation, Lenox Avenue, Rolling Stone, American Visions, among others. He is currently completing two books: Thelonious: A Life (The Free Press, forthcoming 2009), and Speaking in Tongues: Jazz and Modern Africa (Harvard University Press, forthcoming 2006)



Passed by the 100th Congress of the United States of America

Introduced by the Honorable John Conyers Jr.


H.CON.RES 57

Whereas, jazz has achieved preeminence throughout the world as an indigenous American music and art form, bringing to this country and the world a uniquely American musical synthesis and culture through the African-American experience and
1. makes evident to the world an outstanding artistic model of individual expression and democratic cooperation within the creative process, thus fulfilling the highest ideals and aspirations of our republic,
2. is a unifying force, bridging cultural, religious, ethnic and age differences in our diverse society,
3. is a true music of the people, finding its inspiration in the cultures and most personal experiences of the diverse peoples that constitute our Nation,
4. has evolved into a multifaceted art form which continues to birth and nurture new stylistic idioms and cultural fusions,
5. has had an historic, pervasive and continuing influence on other genres of music both here and abroad, and
6. has become a true international language adopted by musicians around the world as a music best able to express contemporary realities from a personal perspective;
Whereas, this great American musical art form has not yet been properly recognized nor accorded the institutional status commensurate with its value and importance;
Whereas, it is important for the youth of America to recognize and understand jazz as a significant part of their cultural and intellectual heritage;
Whereas, in as much as there exists no effective national infrastructure to support and preserve jazz;
Whereas, documentation and archival support required by such a great art form has yet to be systematically applied to the jazz field; and
Whereas, it is now in the best interest of the national welfare and all of our citizens to preserve and celebrate this unique art form;
Now, therefore be it Resolved by the House of Representatives (the Senate concurring), that it is the sense of the Congress that jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated.

Passed by the House of Representatives September 23, 1987 Passed by the Senate December 4, 1987


"What is music to you ? What would you be without music ? Music is everything. Nature is music...The sea is music, the wind is music. The rain drumming on the roof and the storm raging in the sky are music. Music is the oldest entity. The scope of music is immense and infinite. It is the ‘esperanto’ of the world." ~ Edward Kennedy "Duke" Ellington



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Michael smith

Rajasthan and Taj Mahal Tour on Trip to India

Globally famous the grandeur, glory and history, Rajasthan the royal state of India is the most visited tourists destination of India. It is globally famous for its enchanting monumental beauty, rich culture, colourful fairs and festivals and lively environment. In this royal state each and everything is enchanting and it is true that are worthy of admiration. Every year tourist from all the nook and corner of the world come to Rajasthan in India to spend their holidays wandering and exploring t… Continue

Posted by Michael smith on November 3, 2009 at 3:32am

Michael smith

Delhi car Rental Companies

Delhi is one of the most beautiful cities of India. It is the capital city of India and a well known tours and travel destination of the country. It show case the great amalgamation of the medieval and modern age that one tourist can get fascinated with the charming and mind blowing look. It has seen the rise and fall of many great kingdoms, change of the season, change of the generation and many other great happenings. It is the perfect destination to escape from your routine life and enjoy del… Continue

Posted by Michael smith on November 3, 2009 at 3:31am

Michael smith

India Tour- Amazingly Delightful

Welcome to India the perfect tours and travel destination in the sub continent of Asia. Over the few decades India has become the major tourist destination on the global map. With its enchanting tourists destinations, rich heritage consisting of rich culture, beguiling beaches fringed by palm trees, natural beauty with refreshing views, cascading waterfalls, exotic flora and fauna, colorful fairs and festivals, luxurious accommodation, traditional villages, picturesque backwaters, etc, India, dr… Continue

Posted by Michael smith on November 3, 2009 at 3:31am

Aja

Ketch A Vibe Show 2 Playlist 25th October



"Ketch A Vibe Show 2" UK Jazz Radio

www.ukjazzradio.com

first airing 25th October



Light House-The Five Corners Quintet

I'll Be Your Wing's-The Invisible Session

A Handfull Of Soul-Mario Biondi And The High Five Quintet

I See All Shades Of You-Nicola Conte

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Posted by Aja on October 30, 2009 at 10:51am

tommie

Tommie Brewster gets record Third month as Blues Featured artist on mystagemusic.............



I was nominated for a third month as Blues Featured Artist on
mystagemusic and I have to say a big big thankyou to all
my friends and fellow musicians who voted overwhelmingly
for me on there!!

I now have a record Third month as Blues Featured Artist -
for November!! - and am delighted of course!… Continue

Posted by tommie on October 30, 2009 at 1:11am

Notes

ESP-DISK

ESP-Disk is a New York-based record label, founded in 1966 by the lawyer Bernard Stollman, originally f

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Created by THE GLOBAL JAZZ NETWORK Aug 20, 2008 at 5:56pm. Last updated by THE GLOBAL JAZZ NETWORK Aug. 21, 2008.

Notes Home

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Created by Jun 9, 2008 at 10:43am. Last updated by THE GLOBAL JAZZ NETWORK Jun. 9, 2008.

BBC-UK JAZZ

Fire! - You Liked Me Five Minutes Ago

A white-knuckle ride from start to finish.

trioVD - Fill It Up With Ghosts

The flow of brilliant and busy ideas is unstoppable and breathtaking.

Tord Gustavsen Ensemmble - Restored, Returned

Bolsters the man’s already admirable jazz credentials.

Various Artists - Piazzolla and Beyond (London Concertante)

A riveting, dramatic, and even sexy listen.

Huw Warren - Hermeto +

Packed with outstanding tracks, this hour-long listen feels like a suite.

NPR - JAZZ & BLUES

Aaron Diehl On Piano Jazz

Pianist Aaron Diehl is a fresh graduate of The Juilliard School of Music, but he's most assuredly an up-and-coming force in jazz. Dubbed "The Real Diehl" by Wynton Marsalis, Diehl displays brilliant technique and a truly creative approach to music, whether he's interpreting Tatum, Ellington or Mozart. He joins Marian McPartland on "Afternoon in Paris" and "One Morning in May."

Phoenix: Jagged Pop For Francophiles

The four friends in Phoenix started out playing Hank Williams and Prince covers in area bars, but eventually landed a slot as a backing band for Air. Nearly a decade later, Phoenix has propelled itself into international renown. Its latest album, Wolfgang Amadeus Phoenix, blends catchy pop songwriting with a heavier rock sound.

Kristina Train: No Crying Over 'Spilt Milk'

Train possesses a singing voice from another era, but her speaking voice is surprisingly youthful and down-to-earth — a compelling combination, to be sure. Hear the singer-songwriter in a session from WFUV.

Hugh Cornwell: U.K. Punk, Yours For Free

A onetime frontman for The Stranglers and part of the first wave of British punk, Cornwell has long been known as a top songwriter and performer in the U.K. His seventh and latest album, Hoover Dam, is a garage-rock homage. Hear him in a session on World Cafe.

Guy Clark: A Folk Icon Looks Forward

Throughout the '60s and early '70s, Clark lived as something of an itinerant musician and luthier. Eventually settling in Nashville in the '70s, he emerged as an refreshing new songwriter. Clark's songs are largely narrative, inspired by the storytelling poems of Robert Frost and Stephen Vincent Benet. Hear him perform a session from World Cafe.

Marian McPartland Piano Jazz

Aaron Diehl On Piano Jazz

Pianist Aaron Diehl is a fresh graduate of The Juilliard School of Music, but he's most assuredly an up-and-coming force in jazz. Dubbed "The Real Diehl" by Wynton Marsalis, Diehl displays brilliant technique and a truly creative approach to music, whether he's interpreting Tatum, Ellington or Mozart. He joins Marian McPartland on "Afternoon in Paris" and "One Morning in May."

In Memoriam: Blossom Dearie On Piano Jazz

Host Marian McPartland calls Dearie an "incandescent singer and pianist" whose "delicate, swinging style makes every song a musical gem." The vocalist and pianist died this past year of natural causes. Piano Jazz remembers her life and music in an archival interview and performance.

Stars Celebrate 30 Years Of Piano Jazz: Set III

The Piano Jazz 30th-anniversary concert concludes with more all-star performances from the likes of pianist Cedar Walton, singer/pianist Dena DeRose and bandleader/pianist Arturo O'Farrill. Vocalist Karrin Allyson joined host Marian McPartland in a performance of "Twilight World," while jazz giant Randy Weston celebrated musicians everywhere with his tune "The Healers."

Stars Celebrate 30 Years Of Piano Jazz: Set II

The second set of music from Piano Jazz's 30th-anniversary celebration opens with a flurry of pianists, including Taylor Eigsti, Cyrus Chestnut and Kenny Werner. Teen jazz sensation Grace Kelly joins Piano Jazz host Marian McPartland for a performance of "Caravan," and pianist John Bunch joins the Pizzarelli brothers — John and Martin — to put an exclamation point on Set II of this all-star concert.

Stars Celebrate 30 Years Of Piano Jazz: Set I

For three decades, Marian McPartland has showcased both jazz veterans and young stars on Piano Jazz, her hour-long NPR program. For the anniversary, past guests Kurt Elling, Karrin Allyson, Randy Weston and many others showed up at Dizzy's Club Coca-Cola to celebrate a jazz radio institution.

Dave McKenna Tribute On Piano Jazz

In tribute to Dave McKenna, Marian McPartland asked pianist and singer Daryl Sherman to guest host this remembrance that includes clips from the two programs McKenna did with McPartland in 1979 and 1994. Sherman also puts a delightful twist on "Rhode Island is Famous for You" and "Teddy Ballgame."

Roy Eldridge On Piano Jazz

Roy "Little Jazz" Eldridge was one of the great trumpeters of the swing era. On this program from 1987, Eldridge talked about a career including collaborations with Fletcher Henderson, Gene Kruppa and Billie Holiday. Eldridge shows off his piano chops, joining McPartland for a duet on "Ball of Fire," and sings on several numbers, including "I Want a Little Girl."

Matthew Shipp On Piano Jazz

Pianist and composer Matthew Shipp has an intricate and heady approach to his music, with avant-garde impulses that have led him to experiment with free jazz styles, tape loops and even turntable artists. Here, Shipp settles into one of his favorite environs, the duo format, as he and McPartland explore the outer reaches on "Naima" and Shipp's own "Gamma Ray."

Remembering Bud Shank On Piano Jazz

Piano Jazz remembers alto saxophonist Bud Shank, a West Coast jazz institution with a cool swinging sound that was instantly recognizable among jazz enthusiasts. Shank joined McPartland in 2006 and brought along bassist Martin Wind and drummer Tim Horner to perform "Lover Man" and "My Romance."

Keith Jarrett On Piano Jazz

For years Marian McPartland has been trying to line up Keith Jarrett for a Piano Jazz session. Following his stellar performance at Carnegie Hall in 2005, Marian confronted the elusive performer and convinced him to put in an appearance on her show. Hear an interview and performance.

Allen Toussaint, Elvis Costello On Piano Jazz

Marian McPartland asked her friend Elvis Costello to sit in as guest host for this episode of Piano Jazz. The session features New Orleans legend Allen Toussaint, who sings and plays his hit tune "Southern Nights" and performs a duet with Costello on the pair's recent collaboration "Ascension Day."

Dave Samuels With Alain Mallet On Piano Jazz

Here, Piano Jazz showcases vibraphone virtuoso Dave Samuels along with pianist Alain Mallet. Samuels' gift for evocative melody and his rhythmic versatility make him one of the leading mallet players of his generation.

Jeremy Siskind On Piano Jazz

Piano Jazz showcases another bright young pianist, Jeremy Siskind. Having recently graduated from the Eastman School of Music, Siskind has already won several impressive competitions and attracted the attention of Piano Jazz's host. His skills have taken him to Japan and around the U.S.

Remembering Les Paul On Piano Jazz

Phenomenal guitarist and audio pioneer Les Paul has been a major influence in 20th-century music, both as a performer and technical innovator. The guitar legend made a rare appearance on Piano Jazz, bringing with him his trio — Lou Paulo on guitar and Paul Nowinski on bass.

Michel Petrucciani On Piano Jazz

French pianist Michel Petrucciani lit up the jazz world during his brief life. A genetic disease left him standing only three feet tall as an adult, but he overcame his disabilities to become one of the most compelling and passionate pianists of the last several decades. In this program from 1987, Petrucciani, then 23, performs his own tune, "The Prayer," and host Marian McPartland joins him on "My Funny Valentine."
 
 

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Hi Tamm E!

I was just saying that you knocked this out of the park with TGJN. We have needed something like this for so long and I am telling my friends about this. I said that it is sort of like a myspace for jazz but it is actually so much more. This is real. The people here truly love jazz and we know people like that are not your average people.

I have felt for a long time that straight-ahead jazz has been slipping away from us. I have hope now that there will be a resurgence (or shall I say an insurgency:-) to bring this baby back full force!

You just knocked it out of the park. Thanks again.

xoxo,
Janie

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New Music From Long-Dead People

In 'What's in a Song,' our occasional series from the Western Folklife Center, we learn of one man's quest to channel the music of the Aztecs and Mayans through new compositions that combine inspiration with scholarly research.

A Raelette On Ray Charles

As a backup singer, Angela Workman was one of Weekend Edition host Liane Hansen's first music interviews. For Hansen's 20th anniversary show, Workman spoke about the legacy of Ray Charles, and what she's been up to since.

Music For Sting's Favorite Season

For the former Police frontman, the winter months are a time for imagination and reflection. His new album, If on a Winter's Night, takes traditional songs from his native British Isles as its starting point. Here, he performs one of them and speaks with Scott Simon.

Out Of Paul Simon's Shadow, A Son Rises

With the help of legendary Nashville session musicians and a little paternal assistance from Paul Simon, Harper Simon has just released his solo debut. But don't be fooled by his pedigree: The younger musician has his own sound.

New York City Opera Rises From Turmoil

A longtime scrappy alternative to the plush Metropolitan Opera, City Opera struggles to make a comeback with a new general manager, a renovated theater and a shorter but smarter season of operas.

Weird Al's Ode To The Trashmen

According to Weird Al, not only were The Trashmen arguably the best surf band ever to come out of Minneapolis, but with their 1964 hit "Surfin' Bird," they distilled rock music to its essence.

Are We Eavesdropping On Rihanna And Chris Brown?

Back in February, Rihanna and her boyfriend, fellow pop star Chris Brown, got into an altercation as they were heading to perform at the Grammy Awards. In late August, he was sentenced to five years' probation for felony assault. Today, it might be possible to pick up on how Brown and Rihanna are doing via their music.

Roc Raida: A Grandmaster Gone

In the last few months, DJ AM died of an apparent drug overdose, while a heart attack took the life of New York radio pioneer Mr. Magic. But the least publicized in a tragic and eerily timed trilogy of DJ deaths was that of Anthony Williams, better known as Grandmaster Roc Raida.

R&B Singer Monica 'Still Standing' After Tragedy, Struggles

R&B songstress Monica made a strong debut as a teenager in 1995 with the album Ms. Thang. But the Atlanta-born singer's life and career took a devastating turn after she witnessed her boyfriend commit suicide with a self-inflicted gunshot wound. Monica is staging a comeback with a new life and a new album. The Grammy-award winning singer talks to host Michel Martin about motherhood, faith, music and her new reality TV show "Still Standing."

Rocky Mountain Activist Carole King

Carole King's Tapestry has become one of the biggest selling albums of all time. Now, the singer-songwriter is focused on environmental activism, and is working to push Congress to pass a bill to help the Northern Rockies.

Bach's Best 'Brandenburg' Concertos

Subtle and brilliant at the same time, J.S. Bach's Brandenburg Concertos are a microcosm of Baroque music. They contain an astonishingly vast sample of that era's emotional universe.

Lissie Maurus: Songs For Solitude

Shifting from upbeat tunes to soft-spoken country, hints of '60s soul and subtle pop, Maurus' sweet and rustic voice ties each track together seamlessly. Hear two songs from her upcoming debut EP, Why You Runnin', on World Cafe: Next.

Andy Williams: Memoirs Of Moon River

His career is filled with highs — radio and television stardom — and lows — scraping by on dog food and obscure gigs in seedy nightclubs. Upon the release of a new book, the great entertainer speaks on all seven decades of his life in show business.

Saving The Sacred Blues Of Highway 61

Driving his Chevrolet Nova up and down Highway 61 in Mississippi, William Ferris stopped at churches and juke joints and penitentiaries to record the music he found. In his new book, Give My Poor Heart Ease, Ferris explores the legacy of the "The Blues Highway."

The Swell Season: Redemption Songs

Glen Hansard and Marketa Irglova, stars of the hit 2007 movie Once, recently sat down with NPR's Melissa Block. Now performing as The Swell Season, they discuss their new album (Strict Joy), perform two songs and surprise each other with new revelations about a song's meaning.
 

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