Jazz Library

Singer Gwyneth Herbert has proved herself an insightful commentator on the recordings of fellow vocalists on Jazz Library, but in this week's programme she shares her enthusiasm for the pianist Brad Mehldau, who is one of the most challenging and innovative of contemporary jazz players. With a repertoire ranging from Broadway songs to the works of contemporary rock players, his music seldom stands still. He is a romantic player in the grand tradition of Bill Evans and Keith Jarrett, but also a fearless experimenter with time, and musical structure.

Gwyneth Herbert joins Alyn Shipton to pick Mehldau's finest recordings, as a soloist, with his trio and with the bands of Lee Konitz and Charles Lloyd.

Brad Mehldau performs at the 2010 London Jazz Festival.

The tenor saxophonist Dexter Gordon was one of the first tenor saxophonists in jazz to adopt the bebop style in the 1940s, going on to become one of the most influential and distinctive soloists of the 60s and 70s. Soweto Kinch joins Alyn Shipton to select Gordon's finest recordings, ranging from his early days with Billy Eckstine to his Oscar-nominated performance in Bertrand Tavernier's film "Round Midnight".

Alyn Shipton is joined by vintage-drum expert Richard Pite to select the highlights from Krupa's many recordings. As well as his work with Benny Goodman, the programme spans Krupa's playing from the 1920s to the late 1950s, including his epic battles with Buddy Rich and his famous recordings with Anita O'Day and Roy Eldridge.

Trumpeter, author and broadcaster Ian Carr is considered by some to be one of the most influential figures in British jazz.

Alyn Shipton features an archive interview, in which Carr selects some of his finest recordings. These include music by the Rendell-Carr Quintet, the Emcee Five and Nucleus, as well as movements from Neil Ardley's suite Kaleidoscope of Rainbows.

Alyn Shipton interviews veteran saxophonist Benny Golson, who turns 80 in 2009, and who is to be honoured at the Kennedy Centre in Washington DC for his lifetime achievements in jazz. The programme features Golson looking back at his career with musicians including Art Blakey, Lee Morgan and Dizzy Gillespie as well as his own Jazztet, plus a preview of his new 80th birthday album New Times, New 'Tet.

Alyn Shipton talks to the prolific American composer and alto saxophonist about the landmarks in his career, beginning with his early days with Claude Thornhill and Stan Kenton and progressing to his work on Miles Davis's Birth of the Cool and with Lennie Tristano and his circle.

Alyn Shipton explores the best examples of recordings by pianist Bud Powell, who died in 1966 aged 41 and altered the course of jazz piano through his bebop innovations of the 1940s.

He left an impressive legacy of recorded work, although this also charts his slow decline as a consequence of mental illness and addiction problems.

Shipton is joined by pianist Geoff Eales to consider the largest body of Powell's work, for the Blue Note label.

Alyn Shipton and Gwyneth Herbert select highlights from the recorded catalogue of the jazz singer and pianist known as the High Priestess of Soul. The programme includes part of an archive interview by Alyn with Nina herself, recorded on her last visit to Britain, as well as her best songs ranging from Porgy through Mississippi Goddam to I Put a Spell on You.

Author and critic Brian Morton joins Alyn Shipton to select the essential examples of bandleader Sun Ra's work.

Born Herman Blount, he was as famous for his exotic headgear and claims that his inspiration and music came from outer space, as his band The Arkestra. Yet beneath the exotic image, Ra was a highly creative musician, redefining the structure and sound of the jazz big band.

The King of Swing, and one of the finest of all jazz clarinetists, Benny Goodman recorded prolifically, and was as dazzlingly talented in a big band setting as in a small group. He encouraged multi-racial bands, with his trio, quartet and sextet, and helped bring guitarist Charlie Christian to a wider audience.

Alyn Shipton is joined by John Dankworth, who shares some of his keen insights into Goodman's style, his selection of key recordings and his personal reminiscences of Benny, with whom he played for the first time in 1949.