Traditions In Swing: Sidney Bechet Needs To Be Heard
Listening is emphasized in this program on legendary Sidney Bechet recordings made in the 1920s and 1930s.
Phil Schaap (1951-2021) was a prominent voice in New York radio since 1970. He taught in the Graduate Division at Juilliard and was the academic head of Swing University for Jazz at Lincoln Center. For 14 years, Phil taught in the American Studies Department at Princeton University. He has been profiled in the New Yorker magazine for his seminal role in the preservation of Jazz music, and is widely regarded as one of its foremost scholars. The knowledge and radio broadcasts on this website are the result of his lifelong immersion in America's finest original art form, and represent the highest possible quality of information available in modern Jazz scholarship. This site is maintained by Phil's students to honor his legacy by providing accurate and explanatory Jazz information through his archival radio broadcasts and writings.
The Phil Schaap Jazz Collection at Vanderbilt University's Jean and Alexander Heard Libraries encompasses Schaap's recordings of his radio broadcasts, interviews and other live events, as well as physical materials such as personal papers, writing drafts, correspondence, ephemera, archival reels and tapes, and other published media. The collection, which is currently being processed, will be made available for educational, research and exhibit purposes in partnership with the National Museum of African American Music in Nashville. For those interested in supporting Phil Schaap's legacy, please donate to the Phil Schaap Jazz Collection Preservation Fund at Vanderbilt University, PMB 407727, 2301 Vanderbilt Place, Nashville, TN 37240-7727, or the Phil Schaap Jazz Foundation, Inc., 140 Cabrini Boulevard, Apt. 88, New York, NY 10033.
Listening is emphasized in this program on legendary Sidney Bechet recordings made in the 1920s and 1930s.
Phil explores the obscure 1933 recordings of New Orleans pianist Joe Robichaux.
Part 1 of an overview of Bird’s activities in early 1951.
Part 2 of an overview of Bird’s activities in early 1951.
Part 1 in a series acknowledges an overlooked quintet that Bird led from late 1950 to early 1951 on a hiatus from Charlie Parker with Strings.
Part 2 in a series acknowledges an overlooked quintet that Bird led from late 1950 to early 1951 on a hiatus from Charlie Parker with Strings.
Phil investigates the jam session recording of January 7, 1951 at Jimmy Knepper and Joe Maini’s apartment.
Phil plays the recordings of Bird’s January 17, 1951 studio session and examines the repertory choice of “Star Eyes”.
After a successful fundraiser, Phil takes a break from the chronology to play a selection of great BeBop by Bird.
Part 1 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 2 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 3 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 4 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Part 5 of 5 in a comprehensive examination of the lost master of the trumpet, Frankie Newton.
Phil concentrates on the recorded instrumental tracks to emphasize the greatness of Chick Webb’s orchestra.
For the closing show in his annual Black History Month series, Phil presents the music that came from Roy Eldridge integrating the Gene Krupa Orchestra.
With the 1943 demo disc recording as a framework, Phil plays every recording of Parker playing the song “Cherokee”.
Phil plays the almost complete recordings of Bird on tenor saxophone.
Phil reviews the significant 1943 demo disc session done by Bird in Kansas City.
Phil examines the possibility that Bird is present on a May of 1944 recording of the Noble Sissle Orchestra.
Phil plates the September 15, 1944 Savoy recording date of Tiny Grimes, which featured Bird.
Phil offers some brief recollections of saxophonist Kalaparusha Maurice McIntyre for the opening of a memorial program.
Phil brings forth the overlooked actions of Count Basie that justify his place in Black History Month celebrations.
Phil plays the recordings made by Clifford Brown in ensembles larger than his familiar combos.
Phil investigates the dating of the Charlie Parker overdubs of Benny Goodman small group recordings, and offers some thoughts on the 50th anniversary of the assassination of Martin Luther King Jr.
Phil investigates the dating of the Charlie Parker overdubs of Benny Goodman small group recordings.
Putting the September of 1944 Savoy session of Tiny Grimes into focus, Phil discusses the practices of the era related to composition and Bird’s original, “Red Cross”
Putting the September of 1944 Savoy session of Tiny Grimes into focus, Phil discusses the composition “I’ll Always Love You Just The Same” and Grimes’ earlier band, The Cats and the Fiddle.
Phil tells the story of Bird’s involvement in two vocal dates on the Continental label organized by pianist Clyde Hart in January of 1945.
Phil tells the story of Bird’s involvement in two vocal dates on the Continental label organized by pianist Clyde Hart in January of 1945.
Phil takes a break from the chronology, playing Bird’s recordings with Allen Eager and Lennie Tristano.
Phil delves into one of the first BeBop recording sessions, Red Norvo’s June 6, 1945 date for Comet.
Phil delves into one of the first BeBop recording sessions, Red Norvo’s June 6, 1945 date for Comet.
Phil remembers legendary drummer Louie Bellson.
Phil remembers bassist Leonard Gaskin, the patriarch of Brooklyn BeBop.
Phil celebrates the birthday of Detroit pianist Tommy Flanagan, who made music with John Coltrane, Coleman Hawkins, Roy Eldridge, and Ella Fitzgerald.
Phil explores the concept of territory bands, featuring obscure music from the 1920s by Lloyd Scott, Cecil Scott, McKinney’s Cotton Pickers, Walter Anderson, George Osborne, Arnold Frank, The Marigold Entertainers, Wally Erickson, Slatz Randall, Charlie Creath, Oscar Celestin, and Fate Marable.
Phil discusses a Sarah Vaughan record date and two concerts, all recorded in the spring of 1945.
Phil discusses two concerts and a Red Norvo record date, all recorded in the spring of 1945.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
Phil presents the music of the Town Hall concert given on June 22, 1945 by Dizzy Gillespie’s working quintet.
After examining some miscellaneous Max Roach items, Phil jumps into a presentation on the drummer’s 1949 recordings done after leaving Charlie Parker’s group.
On the 39th anniversary of his first WKCR broadcast, Phil plays a selection of 39 different legendary to obscure Jazz records.
Phil Provides a brief biography of trombonist Benny Morton, and plays his recordings with Billie Holiday.
Phil plays the early and pioneering recordings of the legendary New Orleans Rhythm Kings from 1922 and 1923.
Phil plays the complete recordings as a leader by Coleman Hawkins done for the Keynote label in 1944.
Phil takes a break from the examination of unidentified 1951 material to celebrate the 80th birthday of pianist Joe Albany.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
Phil explores the recordings of Charlie Parker that were released and widely available in his lifetime.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Onyx Club made by Dean Benedetti in July of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Onyx Club made by Dean Benedetti in July of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Onyx Club made by Dean Benedetti in July of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Onyx Club made by Dean Benedetti in July of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Onyx Club made by Dean Benedetti in July of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Onyx Club made by Dean Benedetti in July of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings from the Three Deuces made in March of 1948.
Phil presents the recordings made by the legendary Sidney Bechet for the prestigious Victor record label.
Phil explores the multiple approaches taken by Sidney Bechet while playing with trumpeters in the New Orleans tradition.
Phil fills in for Sharif Abdus-Salaam with a program of John Coltrane music and interviews, tagged with some Charlie Parker.
Phil presents the recordings of pianist Herman Chittison, with a particular focus on his 1930s European Period.
Phil explores the early recordings of trombonist Jack Teagarden, with a particular focus on his sessions as a leader made before 1934.
Part 1 in a series following the centennial of pianist, composer, and arranger Mary Lou Williams, featuring an overview of her multifaceted greatness.
Part 2 in a series following the centennial of pianist, composer, and arranger Mary Lou Williams, featuring an overview of her early recordings with Andy Kirk.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings done at the Royal Roost and in the studio in September of 1948.
Part 1 in a series of memorial programs for pianist Hank Jones, concentrating here on his recordings with Charlie Parker.
Part 2 in a series of memorial programs for pianist Hank Jones, featuring here some brief personal recollections by Phil.
Part 3 in a series of memorial programs for pianist Hank Jones, featuring Jones’ records as a leader.
Part 4 in a series of memorial programs for pianist Hank Jones, featuring Jones’ earliest recordings.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in December of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in December of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in December of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in December of 1948.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in early 1949.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in early 1949.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in early 1949.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in early 1949.
As part of a continued series on Charlie Parker & Max Roach, Phil plays recordings of broadcasts from the Royal Roost in early 1949.
Phil explores the music of short-lived arranger, composer, and pianist Alex Hill from the late 1920s and mid-1930s.