JazzStories

The self-taught pianist Vijay Iyer is one of the most original musicians currently working in jazz. His music is based firmly in the jazz tradition, but also encompasses a wide range of western and non-western sources including his South Asian roots. An accomplished electronic musician as well, Iyer's work is also informed by his academic background which includes a Phd. in music and technology from the University of California at Berkeley.

To celebrate his 50th birthday, we let the up-and-coming generation of jazz players from the Essentially Ellington Festival and Competition interview Wynton Marsalis. He shares his personal stories on growing up in the Marsalis family and the music, history and community of jazz.

Within a film, the music can have a great influence on the narrative; influencing mood, pacing and tone. Filmmakers Ken Burns and Lynn Novick and musician Doug Wamble discuss their unique approach to scoring music for the films 'Prohibition' and 'The War.'

Alto saxophonist Rudresh Mahanthappa is one of the most innovative young musicians and composers in jazz today and has been named Alto Saxophonist of the Year for two years by the Jazz Journalists Association. Rudresh has incorporated the culture of his Indian ancestry into his music. He speaks about his work with his mentor Bunky Green and how the two are trying to put the spotlight on the alto sax.

Henry Threadgill has revolutionized the sound of jazz through carefully textured compositions for his unique ensembles that have combined everything from electric guitars, tubas, brass, drums and the North African and Middle Eastern oud. In this talk, Threadgill vividly describes composing music "without sharp corners," that may sometimes make the listener feel uncomfortable

Dancers Harold "Stumpy" Cromer and Jared Grimes are separated by 60 years in age, but between the two of them they have worked with Frank Sinatra, Duke Ellington, Betty Grable, Ethel Merman, Gregory Hines, The Roots and Mariah Carey. They discuss (and dance) the history of tap through the generations with Dr. Lewis Porter.

The late saxophonist Frank Foster worked as a staff arranger for Count Basie's "New Testament" band, in the early nineteen fifties. He learned his craft from writers like Neal Hefti and even from his boss-though the bandleader never wrote down his notes."

Vocalist Jose James' collaborations range from jazz standards to British dubstep – working with McCoy Tyner , Chico Hamilton, experimental producer Flying Lotus and indie tastemaker Gilles Peterson. For James, music is always a personal exploration. For JazzStories, he recalls his own path of musical discovery.

Bassist Ron Carter has appeared on over 2500 recordings with everyone from Miles Davis to A Tribe Called Quest. The seeds of his diversity lie in his solid classical music training at Detroit's Cass Technical High School, and the Eastman School of Music.

Drummer Roy Haynes has played and recorded with every important jazz musician of the last 70 years -- Charlie Parker, Sarah Vaughan, John Coltrane and Thelonious Monk—and he continues to tour the world. He spoke about his first high-profile job, working with tenor saxophonist Lester Young.

Before Motown, Detroit had "Black Bottom" -- a neighborhood that grew out of segregation and thrived in music, culture and the arts, but was cut short by urban development. Violinist Regina Carter grew up in that musically rich city and discusses several areas and aspects of Detroit that are gone but not forgotten.

A trip to the Phillipines inspired percussionists Susie Ibarra and Roberto Rodriguez to document the music of its indigenous cultures on film, and found a humanitarian organization, Song of the Bird King.

In 1964, Peter O'Brien was a Jesuit seminary student searching for a life when he met his spiritual adviser -- the late pianist Mary Lou Williams. Father O'Brien remembers his deep friendship and his role as manager that would last throughout Williams' life.

"What first came to mind was Duke Ellington telling me long ago that in the 1920s, he went to Fletcher Henderson and said, "Why don't we drop the word 'jazz' and call what we're doing 'Negro music'? Then there won't be any confusion." --Nat Hentoff Since the 1960s, writer and producer Nat Hentoff has confronted the question "Is jazz black music.' He discusses the issue in a 2008 conversation with Dr. Lewis Porter and musician Don Byron.

In a freewheeling conversation, Brazilian musicians Duduka Da Fonseca, Helio Alves, and Maucha Adnet discuss Samba Jazz, the Bossa Nova, the real Girl From Ipanema, and whose name to drop for a free beer at the bar she would pass by every day.