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Rimsky-Korsakov was not a man given to high praise. So when he wrote the words "Not bad" in his diary about the music of one of his students, that was…

The songs were a byproduct of slavery in the U.S. But after being passed along by generations of African-American musicians, they were later embraced by a variety of improvisers, including Sister Rosetta Tharpe, Grant Green and John Coltrane.

Explore two sides of Mark Guiliana's creative brain, with two different sounding bands, from two hemispheres of the globe: The Mark Guiliana Jazz Quartet from Amsterdam and Beat Music from Brooklyn.

Long hailed as one of the world’s finest tenor sax players, Larry McKenna possesses a fluid sound enhanced by bebop-inspired improvisations that has been…

An avid amateur musician, France's next president studied at the conservatory in his native Amiens as a child.

The Philadelphia Flute Quartet brings its distinctive sound to our WRTI performance studio on Thursday, November 1 at 12:10 pm for a live broadcast of…

In the grand scheme of Tyner's discography (one of postwar jazz's most consistently invigorating), the duets collection Guitars feels like more of a curious one-off than a significant late-career addendum. In his new reinvention of "Greensleeves," the jazz-piano legend collaborates with blues guitarist Derek Trucks.

Trumpeter Arturo Sandoval and his Afro-Cuban band show some Miami style while pianist Cyrus Chestnut sets the direction for his show with the title "Spirituals to Swing." JazzSet mixes these two concerts from January 2008, recorded at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

When people think of Latin jazz, they often think of just one name: Tito Puente. Nicknamed "The King of Mambo," the Puerto Rican recorded more than 100 albums and won multiple Grammy Awards. In 1984, Puente performed his Latin magic in front of a San Francisco audience, resulting in El Rey: Live 1984.

Mitchell's work took an unexpected turn with Mingus, her streaky and often brilliant 1979 collaboration with jazz bassist Charles Mingus. After it, she sounded wiser and hipper, a jazz sophisticate whose melodies came bunched in waves and bursts of scat-singing capriciousness.