Jazz Library

Wynton Kelly was one of the most individual pianists in jazz, famous for his work with Miles Davis, Dizzy Gillespie and Wes Montgomery. He also led his own trio - often with fellow Miles Davis sidemen Paul Chambers (bass) and Jimmy Cobb (drums) who played with him on "Kind of Blue". Tim Richards guides Alyn Shipton through Kelly's impressive catalogue of recordings.

Richard Pite joins Alyn Shipton to pick the best discs by the founder of modern jazz drumming, Max Roach. They include pieces by many of Roach's own groups.

Despite a recording career that lasted only from 1924 to 1931, Bix Beiderbecke changed the way jazz soloists played. An influence on a par with Louis Armstrong or Sidney Bechet, his discs had an immediate and long-lasting effect.

Ian Smith joins Alyn Shipton to explore the legend of the tragically short-lived Beiderbecke, and to choose his key recordings, including his small group masterpieces "Singing the Blues" and "I'm Coming Virginia" plus his later work with the big bands of Jean Goldkette and Paul Whiteman. Beiderbecke's piano compositions are also discussed, and his pioneering use of the language of French impressionism in jazz.

Ahead of the launch of his Later Works at this year's Gateshead International Jazz Festival at the Sage, Stan Tracey joined Alyn Shipton to look back at his recording career. As well as work with visiting Americans such as Zoot Sims, Ben Webster and Sonny Rollins, Stan discusses his fascination with Duke Ellington, his own big bands and quartets, his suite Alice in Jazzland, and the story behind his most recent recordings.

Clarinettist, soprano, alto and tenor saxophonist Tony Coe is one of Britain's most brilliant jazz musicians, the first non-American to be awarded the "jazz Oscar" by Denmark's "Jazzpar" prize committee.

In this programme he joins Alyn Shipton to select his finest recordings, including work by his own groups, as well as with Franz Koglmann, Neil Ardley and the Kenny Clarke / Francy Boland Big Band. Coe also has strong views about the sound of the soprano saxophone and clarinet, and provides an illuminating commentary as to how he approaches playing these instruments.

As a vocalist, Shirley Horn was expert at lending subtle treatment to old jazz standards. She was also a fine pianist, and in this week's Jazz Library singer Christine Tobin discusses the American's intimate trio sound as well as Horn's work with some of the finest big bands of the 1960s. Taking time out to raise a family, Horn returned in the 1980s and 1990s to make some of her finest recordings, including the Grammy-winning I Remember Miles.

Benny Powell grew up in New Orleans to the sound of marching bands and jazz in the air. He joined Lionel Hampton in the 1940s and went on to be a key member of the 1950s Count Basie Orchestra, staying for several years. He joins Alyn Shipton to pick highlights from his records with both leaders, plus examples of his work with Duke Ellington and also his long-running association with pianist Randy Weston, which fuses jazz and African music.

Bassist Arvell Shaw was the longest-serving member of Louis Armstrong's All Stars. As well as picking his finest discs with Armstrong (including the big band recordings) in an interview recorded in 2001, he guides Alyn Shipton through his best work with Sidney Bechet, Teddy Wilson, Benny Goodman, and Earl Hines.

Barney Kessel is one of the most prolific recording artists in jazz, yet one of the least well-known names. Fellow guitarist John Etheridge delves into Kessel's extensive catalogue to explore his legacy and help Alyn Shipton suggest the essential Kessel recordings, including early efforts with Charlie Parker, his pioneering years with Oscar Peterson and his dazzling triumphs as a West Coast studio player.

In later life, reclusive and swathed in a jewelled scarf, Peggy Lee had come a long way from her origins as a jazz singer. In this programme, Gwyneth Herbert, herself a fine interpreter of Lee's songs, explores the singer's earlier work, with Benny Goodman, as a broadcasting artist and as a pure jazz singer. As well as Peggy Lee standards such as Why Don't You Do Right and Fever, there are many examples of her jazz excellence in lesser known songs.