Jazz

This week — when many of us at NPR rushed to file our U.S. federal income-tax returns, then moved to a new headquarters — I'm reminded of a moment in jazz history. Namely, the mid-1940s, when a new style called bebop came into popularity.

Pianist and 2010 Grammy winner Laurence Hobgood was born in Salisbury, N.C., and grew up in Texas and Illinois. He took up piano at age 6 and showed a knack for improvisation early on, playing his own versions of pieces by Bach and Chopin. In 1988, Hobgood relocated to Chicago, where he met an up-and-coming vocalist named Kurt Elling.

On this episode of Piano Jazz, pianist and 2013 NEA Jazz Master Eddie Palmieri brings along bassist Hugo Duran and percussionists Jose Claussell, Richie Flores, and Mark Quinones for a raucous set of original tunes with an Afro-Caribbean flavor.

By 1928, Earl Hines was jazz's most revolutionary pianist, for two good reasons. His right hand played lines in bright, clear octaves that could cut through a band. His left hand had a mind of its own. Hines could play fast stride and boogie bass patterns, but then his southpaw would go rogue — it'd seem to step out of the picture altogether, only to slide back just in time.

The Umbria Festival in Italy turns 40 this summer. Umbria presents jazz indoors and out in two historic cities — Perugia in summer, Orvieto in winter. Marching bands parade; gospel choirs sing. Concerts start at noon, midnight and all the hours in between. (The New Year's Eve show in Orvieto begins at 1 a.m. on New Year's Day.) And the musicians can be delightfully unfamiliar, at least to American ears.

The 12th official Jazz Appreciation Month began when April did. But today, the Smithsonian Museum of American History, which founded the JAM campaign, kick started its own celebration with a series of performances, discussions and ceremonies.

Influential vocalist and pianist Mose Allison joins Piano Jazz host Marian McPartland for a set of originals, as well as a few favorite tunes by Duke Ellington, Hoagy Carmichael and more.

Originally recorded in 1988.

Tootie Heath says the drummer's responsibility is to be happy. There's no better believer in the happiness ethic than Matt Wilson — and we're happy, too, grooving first to Heath, then Wilson, in highlights of sets from August and September 2012.