Jazz and blues developed alongside each other, drawing on shared traditions and ideas, and were often played by the same musicians. It’s almost impossible to hear jazz without hearing some traces of the blues. MUSIC: - TEASER: Sidney Bechet’s Blue Note Jazz Men — “BLUE HORIZON” (1944) - THEME: Duke Ellington and His Orchestra — “DELTA SERENADE” (1934) SET 1: THE WHOLE FINGERPRINT - King Oliver’s Creole Jazz Band — “DIPPER MOUTH BLUES” (1923) - Louis Armstrong and His Hot Five — “SAVOY BLUES” (1927) - Count Basie and His Orchestra, Jimmy Rushing — “Sent for You Yesterday and Here You Come Today” (1938) SET 2 — TAKE AWAY THE TWELVE BARS - Mattie Hite, vocal; Cliff Jackson, piano — “ST. JOE’S INFIRMARY (THOSE - GAMBLER’S BLUES)” (1930) - McKinney’s Cotton Pickers — “PLAIN DIRT” (1929) - Fats Waller and His Buddies — “THE MINOR DRAG” (1929) - Lonnie Johnson’s Harlem Footwarmers — “MOVE OVER” (1928) SET 3 — KANSAS CITY: THE BLUES AS OPERATING SYSTEM - Count Basie and His Orchestra — “SWINGIN’ THE BLUES” (1938) - Joe Turner, vocal and Pete Johnson, piano — “ROLL ’EM PETE” (1938) - Jay McShann, piano — “CONFESSIN’ THE BLUES,” Walter Brown, vocal (1941) - Count Basie and His Orchestra — “EVERY TUB” (1938) SET 4 — THE BLUES DON’T HAVE TO BE BLUE - Bix Beiderbecke and His Gang — “Goose Pimples” (1927) - Clarence “Pinetop” Smith — “PINETOP’S BOOGIE WOOGIE” (1928) - Billie Holiday and Her Orchestra — “Billie’s Blues.” (1936)

Jazz Remotes, Transcriptions, and Airchecks, 1920s-40s.

They met in Harlem in the 1930s and briefly overlapped in the Count Basie Orchestra. She called him “The President” — “Prez” — because she considered him the finest saxophonist of them all. He called her “Lady Day.”