Traditions In Swing: Sidney Bechet Needs To Be Heard
Listening is emphasized in this program on legendary Sidney Bechet recordings made in the 1920s and 1930s.
Listening is emphasized in this program on legendary Sidney Bechet recordings made in the 1920s and 1930s.
Phil explores the obscure 1933 recordings of New Orleans pianist Joe Robichaux.
Part 1 of an overview of Bird’s activities in early 1951.
Part 2 of an overview of Bird’s activities in early 1951.
Part 1 in a series acknowledges an overlooked quintet that Bird led from late 1950 to early 1951 on a hiatus from Charlie Parker with Strings.
Part 2 in a series acknowledges an overlooked quintet that Bird led from late 1950 to early 1951 on a hiatus from Charlie Parker with Strings.
Phil investigates the jam session recording of January 7, 1951 at Jimmy Knepper and Joe Maini’s apartment.
Phil plays the recordings of Bird’s January 17, 1951 studio session and examines the repertory choice of “Star Eyes”.
After a successful fundraiser, Phil takes a break from the chronology to play a selection of great BeBop by Bird.
Part 1 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 2 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 3 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 4 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 5 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Phil concentrates on the recorded instrumental tracks to emphasize the greatness of Chick Webb’s orchestra.
For the closing show in his annual Black History Month series, Phil presents the music that came from Roy Eldridge integrating the Gene Krupa Orchestra.
With the 1943 demo disc recording as a framework, Phil plays every recording of Parker playing the song “Cherokee”.
Phil plays the almost complete recordings of Bird on tenor saxophone.
Phil reviews the significant 1943 demo disc session done by Bird in Kansas City.
Phil examines the possibility that Bird is present on a May of 1944 recording of the Noble Sissle Orchestra.
Phil plates the September 15, 1944 Savoy recording date of Tiny Grimes, which featured Bird.
Phil offers some brief recollections of saxophonist Kalaparusha Maurice McIntyre for the opening of a memorial program.
Phil brings forth the overlooked actions of Count Basie that justify his place in Black History Month celebrations.
Phil plays the recordings made by Clifford Brown in ensembles larger than his familiar combos.
Phil investigates the dating of the Charlie Parker overdubs of Benny Goodman small group recordings, and offers some thoughts on the 50th anniversary of the assassination of Martin Luther King Jr.
Phil investigates the dating of the Charlie Parker overdubs of Benny Goodman small group recordings.
Putting the September of 1944 Savoy session of Tiny Grimes into focus, Phil discusses the practices of the era related to composition and Bird’s original, “Red Cross”
Putting the September of 1944 Savoy session of Tiny Grimes into focus, Phil discusses the composition “I’ll Always Love You Just The Same” and Grimes’ earlier band, The Cats and the Fiddle.
Phil tells the story of Bird’s involvement in two vocal dates on the Continental label organized by pianist Clyde Hart in January of 1945.
Phil tells the story of Bird’s involvement in two vocal dates on the Continental label organized by pianist Clyde Hart in January of 1945.
Phil takes a break from the chronology, playing Bird’s recordings with Allen Eager and Lennie Tristano.
Phil delves into one of the first BeBop recording sessions, Red Norvo’s June 6, 1945 date for Comet.
Phil delves into one of the first BeBop recording sessions, Red Norvo’s June 6, 1945 date for Comet.
Phil remembers legendary drummer Louie Bellson.
Phil remembers bassist Leonard Gaskin, the patriarch of Brooklyn BeBop.
Phil celebrates the birthday of Detroit pianist Tommy Flanagan, who made music with John Coltrane, Coleman Hawkins, Roy Eldridge, and Ella Fitzgerald.
Phil explores the concept of territory bands, featuring obscure music from the 1920s by Lloyd Scott, Cecil Scott, McKinney’s Cotton Pickers, Walter Anderson, George Osborne, Arnold Frank, The Marigold Entertainers, Wally Erickson, Slatz Randall, Charlie Creath, Oscar Celestin, and Fate Marable.
Phil discusses a Sarah Vaughan record date and two concerts, all recorded in the spring of 1945.
Phil discusses two concerts and a Red Norvo record date, all recorded in the spring of 1945.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
After examining some miscellaneous Max Roach items, Phil jumps into a presentation on the drummer’s 1949 recordings done after leaving Charlie Parker’s group.
On the 39th anniversary of his first WKCR broadcast, Phil plays a selection of 39 different legendary to obscure Jazz records.
Phil Provides a brief biography of trombonist Benny Morton, and plays his recordings with Billie Holiday.
Phil plays the early and pioneering recordings of the legendary New Orleans Rhythm Kings from 1922 and 1923.
Phil plays the complete recordings as a leader by Coleman Hawkins done for the Keynote label in 1944.
Phil takes a break from the examination of unidentified 1951 material to celebrate the 80th birthday of pianist Joe Albany.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil celebrates the 80th birthday anniversary of the legendary alto saxophonist Julian “Cannonball” Adderley with a program on his earliest recordings.
Phil celebrates the 80th birthday anniversary of the legendary alto saxophonist Julian “Cannonball” Adderley with a program on his late 1950s recordings with Miles Davis.
Phil celebrates the 80th birthday anniversary of the legendary alto saxophonist Julian “Cannonball” Adderley with a program on his 1960s recordings as a leader.
Phil remembers and pays tribute to trumpeter Freddie Hubbard.
Phil remembers and pays tribute to trumpeter Freddie Hubbard.
Phil remembers and pays tribute to trumpeter Freddie Hubbard.
Phil summarizes the information known about the 1942 to 1944 activities and recordings of Charlie Parker.
Phil discusses the 1945 Clyde Bernhardt demo disc jump and blues session, which also included Jay McShann and his rhythm section reuniting with Bird.
Phil examines the January 17, 1951 recording date done for Norman Granz.
Phil examines Dizzy Gillespie-led sessions made in early 1945 that did not feature Bird.
Phil examines Dizzy Gillespie-led sessions made in early 1945 that did not feature Bird.
Phil focuses on Charlie Parker’s month with Cootie Williams’ orchestra at the Savoy Ballroom in February of 1945.
Phil plays a selection of miscellaneous Bird items, including late Dial recordings, the session with Gil Evans, and a possible recording with Cootie Williams.
Phil celebrates two great pianist-composers with Jelly Roll Morton’s Jazz-Age Big Band sides, and a rare recording of an interview with Herbie Nichols.
In part 1 of an extended Bix Beiderbecke celebration, Phil focuses on Bix’s talents as a composer by playing recordings of his 5 originals made by others.
Phil explores the mid-1930s recordings of trumpeter and singer Wingy Manone and their connection to the early Swing Song Tradition. Includes an interview segment with Irv Shenkler.
Phil presents an overview of Bird’s activities in the 1950s, the last years of his life.
Phil presents an overview of Bird’s activities in the 1950s, the last years of his life.
Phil presents an overview of Bird’s activities in the 1950s, the last years of his life.
Phil presents an overview of Bird’s activities in the 1950s, the last years of his life.
Phil presents an overview of Bird’s activities in the 1950s, the last years of his life.
Phil presents an overview of Bird’s activities in the 1950s, the last years of his life.
Phil celebrates the 88th birthday of drummer Roy Haynes with several recordings he made alongside Bird.
Phil explores the many new adventures in music attempted by Charlie Parker after the dissolution of his working bands in the last years of his life.
Phil explores the many new adventures in music attempted by Charlie Parker after the dissolution of his working bands in the last years of his life.
Phil explores the many new adventures in music attempted by Charlie Parker after the dissolution of his working bands in the last years of his life.
Phil explores the many new adventures in music attempted by Charlie Parker after the dissolution of his working bands in the last years of his life.
Phil explores the many new adventures in music attempted by Charlie Parker after the dissolution of his working bands in the last years of his life.
Phil examines a studio session of August 1951, Bird’s last recording of that year, and specifically the intriguing “Blues for Alice”.
Phil explores the alternate takes of Bird’s August 8, 1951 Norman Granz session.
Phil celebrates Europe’s greatest Jazz band, the Quintet of the Hot Club of France, and its’ master musicians Django Reinhardt and Stephane Grappelli.
Phil belatedly celebrates the 87th birthday of Sweet Papa Lou Donaldson with a set of his recordings made with organist Jimmy Smith in 1957 and 1958.
Phil gives his musings on the MLK holiday, and presents music of significance related to it.
Phil presents the music from the most historically important Jazz concert of all time - Benny Goodman’s January 16, 1938 Carnegie Hall debut.
In his annual celebration of the music of Lester Young, Phil plays the President’s recordings made after leaving Count Basie in 1940.
Phil examines extensive but underdocumented recordings by a Charlie Parker quintet likely from the first part of 1951 and reported to be from Boston.
Phil examines extensive but underdocumented recordings by a Charlie Parker quintet likely from the first part of 1951 and reported to be from Boston.
Phil examines extensive but underdocumented recordings by a Charlie Parker quintet likely from the first part of 1951 and reported to be from Boston.
Phil examines an informal recording thought to have been made in Philadelphia in either June or November of 1951.
Phil examines an informal recording thought to have been made in Philadelphia in either June or November of 1951.
Phil examines an informal recording thought to have been made in Philadelphia in either June or November of 1951.
Phil examines a recording of the working Charlie Parker Quintet, done on Brooklyn’s Eastern Parkway on June 23, 1951.
Phil examines a recording of the working Charlie Parker Quintet, done on Brooklyn’s Eastern Parkway on June 23, 1951.
Phil examines a recording of the working Charlie Parker Quintet, done on Brooklyn’s Eastern Parkway on June 23, 1951.
Phil starts the new year with a broad examination of the later years of Bird’s life.
Phil starts the new year with a broad examination of the later years of Bird’s life.
Phil starts the new year with a broad examination of the later years of Bird’s life.
Phil explores several mid-1960s Charles Mingus Jazz Workshop concerts given by two distinct bands.
In part 4 of a long-form celebration of Coleman Hawkins’ artistry, Phil examines the recordings Coleman Hawkins made upon his return to the United States from 1939 to 1945.