Jazz Through the Day

Monday through Saturday, 6 am to 6 pm
  • Hosted by heard on HD-2 and the jazz stream

Join us for an exploration of the American treasure we all know as jazz - great sounds from great artists, featuring music by the masters as well as those who are new on the scene.

It’s the 20th Anniversary of The Bridge with J. Michael Harrison, which airs every Friday night at 10 pm. It's “the Bridge between BeBop and Hip Hop, and everything in between." WRTI’s Maureen Malloy reports that J. Michael has always set his sights on music that makes the listener wonder...“Is that jazz?”

The summer jazz festival season is about to start. Blockbuster performances at the “Big Three” longest-running summer jazz fests still engender re-makes and recordings. These historic performances live on as benchmarks. Now, starting with the Montreux Jazz Festival — founded in 1967 — WRTI examines highlights from Montreux, Newport, and Monterey.

Opera Philadelphia's production of Charlie Parker's YARDBIRD tells the compelling story of a legendary jazz icon in a way that's meant to broaden and diversify opera’s audience. The role of saxophonist Charlie Parker was composed by Daniel Schnyder with tenor Lawrence Brownlee in mind.

Jerry Stoll / Monterey Jazz Festival

You won’t find a blue-ribbon pie at this northern California fairground this weekend. But the place will be filled with multiple stages and wall-to-wall music. Here's Meridee Duddleston's take on the Monterey Jazz Festival.

Decades ago, jazz on television may have been restricted to the occasional theme song or even an appearance by Ella Fitzgerald on a talk show. But, as WRTI’s Maureen Malloy reports, someone else now joins the big names of the past.

Though she was blessed with impeccable intonation, a distinctive sound, and a superb sense of timing, Ella Fitzgerald was hindered in her early years by the limitations of the repertoire she sang. It took some time, determination, and visionary collaboration for Ella to find her voice.

There's no shortage of poignant moments in I Called Him Morgan, Kasper Collin's mesmerizing new documentary about the life and death of jazz trumpeter Lee Morgan. One moment, about half an hour into the film, has stuck with me since I first saw it, lingering like an afterimage or the hook from a song.

In an era when everything musical is available all the time, I'm still puzzling why I ordered an overwhelmingly large box set of recordings by the French chanteuse Edith Piaf.

Since it opened its doors in 1913, the Apollo Theater has survived a series of iterations, closures, renovations, and shifts in direction. Its allure as a venue for jazz began in the 1930s with the debut of Jazz a la Carte, a show with an all-black cast.

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