Jazz and blues developed alongside each other, drawing on shared traditions and ideas, and were often played by the same musicians. It’s almost impossible to hear jazz without hearing some traces of the blues. MUSIC: - TEASER: Sidney Bechet’s Blue Note Jazz Men — “BLUE HORIZON” (1944) - THEME: Duke Ellington and His Orchestra — “DELTA SERENADE” (1934) SET 1: THE WHOLE FINGERPRINT - King Oliver’s Creole Jazz Band — “DIPPER MOUTH BLUES” (1923) - Louis Armstrong and His Hot Five — “SAVOY BLUES” (1927) - Count Basie and His Orchestra, Jimmy Rushing — “Sent for You Yesterday and Here You Come Today” (1938) SET 2 — TAKE AWAY THE TWELVE BARS - Mattie Hite, vocal; Cliff Jackson, piano — “ST. JOE’S INFIRMARY (THOSE - GAMBLER’S BLUES)” (1930) - McKinney’s Cotton Pickers — “PLAIN DIRT” (1929) - Fats Waller and His Buddies — “THE MINOR DRAG” (1929) - Lonnie Johnson’s Harlem Footwarmers — “MOVE OVER” (1928) SET 3 — KANSAS CITY: THE BLUES AS OPERATING SYSTEM - Count Basie and His Orchestra — “SWINGIN’ THE BLUES” (1938) - Joe Turner, vocal and Pete Johnson, piano — “ROLL ’EM PETE” (1938) - Jay McShann, piano — “CONFESSIN’ THE BLUES,” Walter Brown, vocal (1941) - Count Basie and His Orchestra — “EVERY TUB” (1938) SET 4 — THE BLUES DON’T HAVE TO BE BLUE - Bix Beiderbecke and His Gang — “Goose Pimples” (1927) - Clarence “Pinetop” Smith — “PINETOP’S BOOGIE WOOGIE” (1928) - Billie Holiday and Her Orchestra — “Billie’s Blues.” (1936)

Jazz broadcasts, airchecks, and transcriptions from 1920s-40s

Jazz Remotes, Transcriptions, and Airchecks, 1920s-40s.

They met in Harlem in the 1930s and briefly overlapped in the Count Basie Orchestra. She called him “The President” — “Prez” — because she considered him the finest saxophonist of them all. He called her “Lady Day.”

Pittsburgh jazz in the early and mid part of the 20th century. Earl Hines, Mary Lou Williams, Billy Strayhorn, Lena Horne, Billy Eckstine, Roy Eldridge, Maxine Sullivan, Erroll Garner, and others.

At the Jazz Band Ball - Kevin McLaughlin
Jazz spring songs 1920s-40s, and commentary.

Halloween’s ghosts and goblins found a natural home in New Orleans — cradle of jazz, city of spirits and second-line magic, and where the music can rouse the dead… or at least get the ghosts dancing.

Music: The Skeleton in the Closet - Louis Armstrong, Jimmy Dorsey Orch. (1936 ); Theme: Delta Serenade - Duke Ellington (1940); I'm a Jazz Vampire (1920) - Marion Harris; Dry Bones -Fats Waller and His Rhythm 1940; Skull Duggery - Hot Lips Page and His Band (1938); Boogaboo - Jelly Roll Morton (1928); A Ghost of a Chance - Mildred Bailey (1939); Mr. Ghost Is Goin’ to Town - Louis Prima (1936); The Ghost of Smokey Joe - Cab Calloway (1939); Abercrombie Had A Zombie - Fats Waller and His Rhythm (1940); Haunted House Blues - Bessie Smith (1924); Blue Spirit Blues - Bessie Smith (1929); Ghost of Yesterday - Billie Holiday (1940);

Sleigh rides in July, swinging Santas, holidays in Harlem, ca. 1920s-1940s. Music: Swingin' Them Jingle Bells (1936) - Fats Waller & His Rhythm; Santa Claus Came in the Spring (1935) - Benny Goodman & His Orchestra; Santa Claus Blues (1924) - Eva Taylor, Clarence Williams' Blue Five; I Told Santa Claus to Bring Me You (1937) - Bernie Cummins, Holiday in Harlem (1937) - Ella Fitzgerald, Chick Webb; Snowy Morning Blues (V-disc 1943) - James P. Johnson; Winter Weather (1941) - Fats Waller & His Rhythm; Snowfall (1941) - Claude Thornhill & His Orchestra; I’ve Got My Love to Keep Me Warm (1937) - Billie Holiday; Christmas Morning Blues (1926) - Victoria Spivey, Lonnie Johnson; Santa Claus Crave (1927) - Elzadie Robinson; Santa Claus, Bring My Man Back (1928) - Ozie Ware, Duke Ellington Hot Five; At the Christmas Ball (1925) - Bessie Smith; Christmas Night in Harlem (1934) - Paul Whiteman; Winter Weather (1941) - Peggy Lee, Benny Goodman.