Traditional Jazz this week from the great Louis Armstrong, recorded live at Basin Street on New York's famed 52nd Street on May 7, 1955.

For those of you interested in the great "Mouldy Fig vs. Chinese Music" controversy (i.e. Dizzy Gillespie, high priest of Be-Bop, once proclaimed Louis Armstrong's Traditional Jazz as Mouldy Fig music and Armstrong fired back saying Gillespie was playing Chinese Music), Armstrong gets in a not-so-subtle dig at Gillespie mid-way through the broadcast.

All good fun and all good musical history via the weekly All-Star Parade Of Bands broadcasts.

Continuing our Post-World War 2 Jazz excursion with the immortal Dizzy Gillespie, the man who turned Jazz inside out and freed everybody up in the process. Tonight it's his 1947 classic for RCA-Victor Manteca, a track he co-wrote with Cuban percussionist Chano Pozo, a primary figure in Gillespie's exploration of Afro-Cuban rhythms. Pozo was only briefly with the band, as his untimely death in 1948 robbed the Jazz world of a major contributor. But Pozo's influence carried on for decades and it was this new aspect of Jazz that stayed with Gillespie. And this 1947 original explains why. Incidentally, it's off an original 78 and not from the CD reissue, so it might sound a bit different.

It's been recorded by Dizzy Gillespie many times over the years - but this is the first one, recorded on December 1947 and it features Chano Pozo on percussion.

(Boyd Raeburn - One of the greater unknowns of Jazz)

Mellow, as promised. This one features Boyd Raeburn and His Orchestra from 1944. The track is Bobby Sox, although it bears a striking resemblance to a Gerry Mulligan composition Bernie's Tune.

Raeburn was one of those musicians, like his contemporary Claude Thornhill, in whose ranks were some of the greats of the Jazz world. Case in point - this track is rumored to feature a young Dizzy Gillespie on trumpet solo. Raeburn was experimental and, like Thornhill, was a master at shading and color in his arrangements and he was never afraid to try new things. He came along at a time when the whole Jazz idiom was about to undergo a great change.

He was there to help point it in the right direction.