In this episode, thanks to W. Eugene Smith's tape recorders, we get to experience something audiences rarely hear - the unrehearsed, imperfect, open-ended, overlong, rough-around-the-edges music that jazz players made when they got together to jam at 821 Sixth Avenue. No audience present. Just the musicians playing.

The late vibes player Teddy Charles said it best in an interview:

When nobody's around, and you're just by yourself, that's when the best jazz happens. Really incredible stuff. You take chances on things. The real excitement of jazz is taking chances. Whether you make it or not. You try for something even if it doesn't happen. And that's what makes Jazz really exciting.

Featured in this episode are jam sessions with:

1 - Dave McKenna, piano; Fred Greenwell, sax; Bill Takas, bass; Ron Free, drums
2 - Bill Potts, piano; Zoot Sims, tenor sax; Ron Free, drums
3 - Paul Bley, piano; Jimmy Stevenson, bass; Roland Alexander, tenor sax; Eddie Listengart, trumpet; Lex Humphries, drums
4 - Sonny Clarke, piano; other unidentified players
5 - Chick Corea, piano; Jimmy Stevenson, bass; Joe Hunt, drums

Few people in history had as much access to the greatest jazz musicians of our time as W. Eugene Smith. The famous LIFE magazine photographer moved in 1957 to a rundown, bohemian loft on 6th avenue, in the heart of Manhattan’s Flower District. During this time, the likes of Thelonius Monk, Chick Corea and Hall Overton slept here, smoked here, and played here—and Smith captured nearly of all it on a series of unparalleled audio recordings. Those tapes finally resurfaced, more than two decades after Smith’s death in 1978. Producer Sara Fishko first made use of Smith's archive to create these pictures in sound, giving us intimate access to a time and a place long gone.

Before photographer W. Eugene Smith lived in a rundown loft in the thick of New York’s jazz scene, he lived in another world. A native Kansan who earned a scholarship to Notre Dame, Smith was a staff photographer for LIFE magazine -- considered photojournalism's top job in an era when photographers were major stars. What compelled him to leave that life behind?