By now you’ve probably heard about the silly web post that The New Yorker ran purportedly quoting Sonny Rollins (In His Own Words) on his career in jazz. I was alerted to it by readers wondering…

Don't be shocked by the 23-year-old jazz singer's breakneck rise from precocious college student to best new artist Grammy nominee. In those few years, she's been building three careers at once.

Watch Lara Downes' conversation with the 23-year-old, Grammy-nominated sensation about balancing the demands of a surging career and the women artists who paved the way.

The saxophonist and composer resisted his Japanese American heritage for decades. He now funnels that painful and triumphant personal history into a string of vital records.

Mait Eady, the host of this 1962 broadcast on WBAI, says he's "feeling evangelical" about the interview he's about to conduct with Herbie Nichols. I dare say that's how virtually everyone feels once they've made their own discovery of Nichols, a highly original composer and pianist who recorded three albums for Blue Note yet came close to being completely overlooked during his 44-year-long life, which ended in 1963.

I assume the Danes who filmed Louis Armstrong in 1933 knew what a service they were providing humanity. There’s no shortage of film on the great trumpeter later in his career, but this is the first footage we have of Pops in his early prime.

My favorite version of the Louis Armstrong-Jack Teagarden staple “Rockin’ Chair” is from a 1957 television special seen below. Armstrong had first recorded this homespun lament by Hoagy Carmichael on December 13, 1929, with the composer in the voice of the aging father and Armstrong as the dutiful son.

Joe Albany wasn’t the first seeker to find his true voice in jazz, but he was among the more forthright about what the music meant to him. In the 1980 documentary, Joe Albany: A Jazz Life, he puts it in both spiritual and psychological terms.

Benny Golson composed “I Remember Clifford” in memory of Clifford Brown, whom he called his “friend forever.” They’d been colleagues in Tadd Dameron’s orchestra in 1953 and had played together on Philadelphia’s thriving jazz scene in the early fifties. This best known of jazz elegies was premiered in January 1957.

Toussaint was magisterial and confidently soft-spoken, and he possessed a piano lyricism of great depth and beauty. But he was unduly modest about his vocal abilities.