Studs Terkel and John McDonough talk with jazz pianist Teddy Wilson about his influences and career. Wilson was initially strongly influenced by Fats Waller and later came to highly admire Earl Hines. He adapted their clean and clear piano style to his own work. Wilson aspired to be a classical musician but felt he could not attain the performance level required because his time was spent in jazz. He was an original member of the Benny Goodman trio alongside both Goodman and Krupa. He was a part of the first inter racial group to play in public.

Don DeMichael, editor-in-chief of DownBeat, has brought a collection of jazz duets and critiques and evaluates the songs with Studs Terkel.

Studs interviews jazz and pop critic, and founding editor of "Rolling Stone" magazine, Ralph Gleason while in Berkeley, California (3 parts). Topics include the history of jazz, blues, and jazz culture, and how race played in the development and distribution of the music. Songs include Louis Armstrong's "(I'll Be Glad When You're Dead) You Rascal You."

Marian McPartland discusses her career, the role of women in jazz, and jazz music.

Bandleader, jazz musicologist and composer James Dapogny discusses his work in reviving the sound and art of jazz. Dapogny's work is mainly associated with his group James Dapogny's Chicago Jazz Band and his career in publishing lost works of Ferdinand "Jelly Roll" Morton.

Earl "Fatha" Hines discusses various musicians he's worked with including Louis Armstrong, Charlie Parker, and Dizzy Gillespie. He remembers that bands became bigger after needing to add members to play bigger venues because people liked to dance. He also talks about how he liked to work to create shows and his approach to jazz composition. Music is played throughout: "Weather Bird" with Louis Armstrong, "My Monday Date", "Cavernism", "Boogie Woogie On St. Louis Blues", "Rosetta", and "Second Balcony Jump". Music has been removed from this file for copyright reasons.

Studs Terkel and Billy Taylor discuss the book "Jazz Piano: History and Development". They discuss jazz musicians and the history of jazz music. Includes excerpts of drums, piano, and orchestra playing in the background.

Dempsey Travis presents a jazz program and discusses the life, the music, and the community of Chicago jazz from before The Great Depression until World War II. Travis discusses 1920s-1930s Chicago for Black families including rent parties, breakfast dances, employment opportunities, union strikes, and jazz.

Dempsey Travis, author and jazz historian, recalls his memories meeting Jazz artists of the 1920-1940s. Some artists discussed include Jimmie Lunceford, Sy Oliver, Duke Ellington, Chick Webb, Chu Berry, Andy Kirk and others. Travis also discusses his father and his own time playing Jazz.

Dempsey Travis talks about his book, "An Autobiography of Black Jazz," as he recalls his childhood memories of Jazz, Blues, and Boogie-Woogie artists that he met.

Dempsey Travis, real estate entrepreneur and civil rights activist turned historian and author, recalls his earlier days meeting and listening to many of the African American jazz artists. Some of the musicans mentioned are Louis Armstrong, Jimmie Lunceford, Fletcher Henderson, Duke Ellington, Earl Hines, Art Tatum, Cab Calloway, Nat King Cole, and Benny Goodman.

Editor Ben Burns discusses and reads from his book “Nitty Gritty: A White Editor in Black Journalism.” Burns discusses his experience as an editor of black publications including the "Chicago Daily Defender," "Ebony," and "Jet." Studs plays "Billie's Blues" - Billie Holiday (1936); "Goin' to Chicago Blues" - Count Basie and His Orchestra (1941); and "Rosetta" - Earl Hines (1934).