ThejazzVnU.com Classic Jazz takes listener on a journey that covers a span of over five decades of jazz music, and includes a variety of music styles (Bebop, Hard Bop, Cool Jazz, Acid Jazz, Crossover Jazz, Avant-Garde Jazz, soul jazz, Swing, Big Band, Free Jazz, Traditional Jazz, and Dixieland) rich in history and geographical significance that includes artists from around the world.
You will enjoy the music of hundreds of extraordinary artists, old masters as well as current and upcoming musicians, whose musical skills and creativity have inspired contemporaries in shaping the world of jazz.
Jazz After Midnight
Weeknights (Monday – Friday) from 12:00 AM to 3:00 AM/EST/US
Jazzites, let us keep you company weeknights (Monday - Friday), from 12:00 AM – 3:00 AM/EST/US with the best Classic Jazz music from artists such as Stanley Turrentine, Cannonball Adderley, Charlie Parker, Miles Davis, Dizzy Gillespie, Eric Dolphy, Hank Mobley, Dexter Gordon, Susanne Alt, Terence Blanchard, Thad Jones, John Coltrane...and many more.
Our music format includes a variety of styles (Latin Jazz, Bebop, Hard Bop, Cool Jazz, Acid Jazz, Crossover Jazz, Avant-Garde Jazz, Swing, Big Band, Free Jazz, Traditional Jazz and Dixieland) and interpretations by artists from around the world.
Jazzvnu Classic Morning
Weekdays, Monday through Friday, 8:00 AM to 11:00 AM/EST/US
If you are an early morning riser, join us weekdays (Monday through Friday), from 8:00 AM – 11:00 AM/EST/US, for 3-hours of the best Classic Jazz Mix.
The music is romantic, and the format is a mixture of vocal and instrumental jazz in a variety of styles (Bebop, Hard Bop, Cool Jazz, Acid Jazz, Crossover Jazz, Avant-Garde Jazz, Traditional Jazz and Popular Music) performed by musicians/artists such as Ray Bryant, Bilie Holiday, Stan Getz, Kenny Dorham, Dee Dee Bridgewater, Diana Krall, Stanley Turrentine, Art Farmer, Ella Fitzgerald, Miles Davis, Wes Montgomery, Eliane Elias.....and many more.
A legend of the tenor saxophone, Stanley Turrentine was renowned for his distinctively thick, rippling tone, an earthy grounding in the blues, and his ability to work a groove with soul and imagination. Turrentine recorded in a wide variety of settings, but was best-known for his Blue Note soul-jazz jams of the ‘60s, and also underwent a popular fusion makeover in the early ‘70s. Born in Pittsburgh on April 5, 1934, Turrentine began his career playing with various blues and R&B bands, with a strong influence from Illinois Jacquet.
Following in the footsteps of his educator-father (a trumpet player), before moving to New York in 1955. Cannonball Adderley initially planned to pursue graduate studies in Manhattan; but after sitting in with Oscar Pettiford’s band at the Cafe Bohemia, the alto saxophonist became an instant sensation, hailed by many as the musician most likely to be the mantle of the late Charlie Parker. Despite misguided promotional efforts to christen him as “the new Bird,” Adderley clearly had his own approach to the horn, which drew on the inspiration of Benny Carter as well as Parker.
He took advantage of his early notoriety, however, by forming his first quintet, which featured his younger brother Nat Adderley on cornet. While the group struggled economically, Cannonball did draw the attention of Miles Davis, who featured the alto saxophonist in the immortal Miles Davis sextet (alongside John Coltrane and either Red Garland, Bill Evans, or Wynton Kelly) for two years beginning in late 1957.
In 1945, after graduating from high school Miles Davis moved to New York City and set about finding his heroes, amongst them Charlie Parker, Thelonious Monk and Coleman Hawkins. He can be heard on sessions led by Parker released in 1945, 1946 and 1947. The same year Mile Davis All-Stars made their debut at the Savoy.
By 1949, his career was beginning to blossom, and he began to work with arranger Gil Evans, with whom he would collaborate on many works over the next twenty years.
Playing in the jazz clubs of New York, Davis was in frequent contact with illegal drugs and developed a serious heroin addiction. In 1954, he returned to Illinois, and with the help of his father, he kicked his heroin habit.
After an historic set at the Newport Jazz Festival in 1955, Davis was signed to Columbia Records, with whom he remained for the next 30 years. He returned to New York reinvigorated, and formed the first great incarnation of the Miles Davis Quintet, with John Coltrane, and Charles Mingus. Their records defined the sound of cool jazz.
John Coltrane led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.
Over the course of his career, Coltrane’s music took on an increasingly spiritual dimension. He remains one of the most influential saxophonists in music history. He received many posthumous awards, including canonization by the African Orthodox Church and a Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son, Ravi Coltrane, is also a saxophonist.
Wes Montgomery is universally acknowledged as one of the greatest guitarists in the history of jazz. He virtually defined modern jazz guitar during the 1950s and ’60s. His unique idiomatic conception to the instrument and the power of his soloing influenced generations of players who followed him; guitar icons such as George Benson, Pat Martino, Larry Coryell, John Scofield, Pat Metheny, Lee Ritenour and Russell Malone.
Historically, Wes Montgomery’s relatively short career arose in the era after Charlie Christian and Django Reinhardt had established the prevailing standard for jazz guitar in the early and mid-twentieth century. Indeed, Wes was heavily influenced by Charlie Christian in particular, but Wes changed the language of jazz guitar, harmonically, melodically and technically.
Chet Baker’s earliest notable professional gigs were with saxophonist Vido Musso’s band, and also with tenor saxophonist Stan Getz, though he earned much more renown in 1952 when he was chosen by Charlie Parker to play with him for a series of West Coast engagements.
In 1952, Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. Several things made the Mulligan/Baker group special, the most prominent being the interplay between Mulligan’s baritone sax and Baker’s trumpet. Rather than playing identical melody lines in unison like bebop giants Charlie Parker and Dizzy Gillespie, the two would complement each other’s playing with contrapuntal touches, and it often seemed as if they had telepathy in anticipating what the other was going to play next. The Quartet’s version of “My Funny Valentine”, featuring a Baker solo, was a hit, and became a tune with which Baker was intimately associated.
The late Oscar Peterson had an illustrious career that spanned over six decades, and during that period he performed with some of the biggest names in jazz, Count Basie, Dizzy Gillespie, Herbie Hancock, Jon Faddis, Ella Fitzgerald, Carmen McCrae, Ray Brown and Herb Ellis to name a few.
He was a giant among giants, and was so admired by his peers that they described his piano playing excellence in ways that let you know he was one of the best in the business. Duke Ellington referred to him as “The Maharajah of the keyboard”, Count Basie said, “Oscar Peterson plays the best ivory box I've ever heard,” and Marian McPartland referred to him as “the finest technician that I have seen.” Oscar Peterson released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honors.
Gene also known as "The Boss", was a jazz tenor saxophonist. The son of boogie-woogie pianist Albert Ammons, Gene Ammons is remembered for his accessible music, steeped in soul and R&B.
Gene Ammons studied music with instructor Walter Dyett at DuSable High School, and began to gain recognition while still at high school, when in 1943, at the age of 18, he went on the road with trumpeter King Kolax's band. In 1944 he joined the band of Billy Eckstine (who bestowed on him the nickname "Jug" when straw hats ordered for the band did not fit), playing alongside Charlie Parker and later Dexter Gordon.
Notable performances from this period include "Blowin' the Blues Away," featuring a saxophone duel between Ammons and Gordon. After 1947, when Eckstine became a solo performer, Ammons then led a group, including Miles Davis and Sonny Stitt that performed at Chicago's Jump-town Club. In 1949 Ammons replaced Stan Getz as a member of Woody Herman's Second Herd, and then in 1950 formed a duet with Sonny Stitt.
Sandoval is also a renowned classical musician, performing regularly with the leading symphony orchestras from around the world. Arturo has composed his own “Concerto for Trumpet & Orchestra”, which can be heard on “Arturo Sandoval: “The Classical Album.” Arturo has performed with the foremost orchestras in the country as well as abroad and recorded John Williams’ Trumpet Concerto with the London Symphony Orchestra. His classical artistry has earned him the respect and admiration from the most prestigious conductors, composers and symphony orchestras worldwide.
Arturo Sandoval’s versatility can be heard on recordings with everyone from Dizzy Gillespie, Woody Herman, Woody Shaw, Michel Legrand, Josh Groban, Tony Bennett, Bill Conti, and Stan Getz to Johnny Mathis, Frank Sinatra, Paul Anka, Rod Stewart and Alicia Keys amongst many others. He has performed with John Williams with the Boston Pops, and in the Super bowl with Tony Bennett and Patti LaBelle. Sandoval is the recipient of 10 Grammy Awards,; he has also received 6 Billboard Awards and an Emmy Award.
A major early influence on Brown’s bass playing was the bassist in the Duke Ellington band, Jimmy Blanton. As a young man Ray Brown became steadily better known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating from high school, hearing stories about the burgeoning jazz scene on52nd Street, in New York City, he bought a one way ticket to New York. Arriving in New York at the age of twenty, he met up with Hank Jones, with whom he had previously worked, and was introduced to Dizzy Gillespie, who was looking for a bass player. Gillespie hired Brown on the spot and he soon played with such established musicians as Art Tatum and Charlie Parker.
A master at writing miniatures for the three-minute 78 rpm recording format, the late Duke Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, with many of his pieces having become standards. Ellington also recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", and "Perdido", which brought a Spanish tinge to big band jazz.
In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours.
He led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. By 1932 his orchestra consisted of six brass instruments, four reeds, and a four-man rhythm section. As a bandleader, Ellington was not a strict disciplinarian; he maintained control of his orchestra with a combination of charm, humor, flattery and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself.