January 3, 2008. Posted by Cephas Bowles.
As the General Manager of WBGO, I am a jazz fan and listen to the station quite a bit. While I work at the station, and had an above-average knowledge of jazz prior to moving back to Newark to assume this gig, I'm not all knowing and actually learn quite a bit about jazz and what I like from the station. Thank you, WBGO announcers!!!! In this short post, I want to share with you SOME of the things that I like about jazz.
I lust for the sound of a driving rhythm section. There's nothing better than being able to peck out the rhythm with one's neck (thank you Cecil Brooks III) while driving down a wide open road with jazz blasting from the radio. Drummers are among my favorites--Art Blakey, Max Roach, and Roy Haynes.
I like the melodic sound of the vibraphone played so beautifully or pretty , as Michael Bourne says, that you have to stop to listen to it. I like Bobby Hutcherson, Joe Locke and Stefon Harris. There are others but those three stand out. I love Cal Tjader and regret that I didn't go to see him when I lived out West and he was still with us!
I adore the big sound of the Hammond B-3 played by someone who knows how to get every ounce of funk and bass from this king of instruments. Add a great guitarist and drummer and you have listening heaven. The sound overwhelms you. I don't know anyone who can sit still while a good organ trio is doing its thing. I loved Charles Earland. Jimmy Smith was great but didn't move me the way the Earland did. (Yes, I realize that I've just trangressed against an icon of the B3!!!) Joey D., McGriff, Radam, they're good but nobody fills the shoes left by the Mighty One.
I like the sound of lyrical pianists who play effortlessly and take those compositions and make them sing. Horace Silver and Cyrus Chestnut are two of my favorites! I also love jazz pianists who sound like they are playing percussion. Michel Camilo, Don Pullen and Danny Mixon are examples. And, then, there are those pianists who command the instrument to perform--Harold Mabern and McCoy Tyner.
I like uncommon instruments played well. Andy Narell on steel pans; the late Roland Kirk playing nose flute, manzello and stritch; Steve Turre with his shells; Regina Carter playing lots of violin; and Toots Thielemann's whistling. Paquito D'Rivera's Tango Band includes a guest bandoneon player. I love the sound of that accordion-like instrument.
I love Latin and Brazilian jazz. Again, so rhythmic and full of fun.
There are so many great saxophonists who swing. The late great Jackie Mac, James Carter, Eric Alexander, Joe Lovano, and countless others.
I love the young guys who are working hard to develop their chops on various instruments and who value the music historically and practically.
I truly appreciate the knowledge of jazz and love of music that the WBGO announcers bring to the table each day and the fact that the station's Board of Trustees are committed to the 24/7 presentation of this music.
I value your interest in music as demonstrated by your review of this very modest post and your attention to all that WBGO does for you and other music fans. I also appreciate the opportunity to share a bit of myself with you through this blog.
Each staff person at WBGO is a fan of the music. If you come to our events or talk with us on the phone or elsewhere, you'll learn that for yourself. Many of us work in WBGO's back room. That is, the second floor of our office building where some WBGO staff members think it's too quiet and too far from the jazz action. It isn't and, best of all, we have radios and computers that bring the sound to us just fine!!!! Thanks for allowing us to do this for you and for us.
These are a few of my favorite things--some of life's simple and all-too-often unspoken pleasures. I hope that you have some and will share them with family and friends. Record parties and word-of-mouth comments work well to introduce people to this music and to whet the appetites of those unfamiliar with our favorite things.
WBGO General Manager
© 2008 WBGO
January 2, 2008. Posted by Michael Bourne.
"It's what I do ..."
I never know what to say when I get a compliment. I've always been amazed that people actually like me and like what I do -- and that I get paid to do what I do. I've sometimes felt that if I say "thank you" I feel as if I'm acknowledging that whatever nice thing someone is saying to me is true.
"I love your interviews!"
"It's what I do ..."
"You got so many pledges that last hour!"
"It's what I do ..."
I've been "doing" for 35 years on the radio, and it was only after 25 years that I felt that apparently I'm good at this, good at ... what I do.
New Year's Eve was my 21st coast-to-coast broadcast and my 23rd anniversary as a jock on WBGO. My first shift was filling for Rhonda in the afternoon, December 31, 1984. January 1st is the birthday of Milt Jackson, and so I played a day-before birthday tribute. Phone rang, and the voice said "This is Bags. Thanks." And in that moment I knew that I was a jazz jock in the jazz capitol of the world.
Even though we broadcast from Newark, and there's considerable Jersey pride at WBGO, I usually tell people elsewhere in the world that I'm from the jazz station in New York. We apparently, last I heard any numbers, have more listeners and more members in New York than in New Jersey -- although, really, I say New York mostly because I live in New York.
I only recently realized that I'm a commuter.
Back before the various large edifices that have gone up in Newark since I first came to the station -- law school, arts center, FBI, and now the Rock -- the walk on Raymond Blvd twixt train station and radio station was darker. I never felt especially in danger. I've always been quite grizzly, and I've seen folks on the street fear me. What was weird in the 80's was when folks in New York asked me if I carried a gun to protect myself in Newark.
Tempus fugit ...
23 years ...
I knocked the station off the air 20 minutes before I first came on the air. I was expected to record myself on a cassette. Remember them? Various plugs and wires were involved, and I somehow plugged the entire on-air signal into the cassette recorder. Nobody knew what was happening and the phones started ringing about the dead air. I didn't know what was happening, but I thought maybe I should un-plug the cassette recorder, and at once WBGO was resounding loudly again.
I'm still the clumsiest jock on WBGO. I'm not kidding when I get crabby about "too many buttons!" I've pushed the wrong buttons and played the wrong CDs countlessly. We didn't have CDs when I came to the station. We played music from a wall of LPs. Remember them? I remember when the first CD player came in. There was what looked like a spice rack in the studio with four CDs. One was "Glenn Miller in a Digital Mood" -- which I never played even once. I was afraid that if I endeavored to play a CD I'd blow the station off the air again.
I'm proud to say that since that first clumsiness, I have knocked the station off the air only one other time. Readings said our power was too high for the FCC max, so I pushed the button that lowers the power and the power lowered to zero. After a scramble of engineers like the code blue for a heart attack, we came back.
We now have an all-new computerized system for on-air spots, calendars, produced programs, and IDs. It's been working for almost a month now, and I've only screwed up a half dozen times. I once said to Josh Jackson, who's a whiz at working all this new tech and was so quickly and seeming effortlessly editing a special we were producing on a machine with a screen full of multi-colored squiggles, "I feel like a baboon looking at a rocket ship ..."
I'm much more technologically adept than I used to be. I'm helpless about the squiggles, but I sometimes can get through an entire shift without pushing a wrong button. Even a monkey can learn how to ride a bike.
I've actually never learned how to ride a bike -- but that's another story. Now comes ... blogging.
E-mail, I can do.
Googling, I can do.
Porn, any baboon can do.
I've owned a computer for two years, and by now I'm not as cyber-challenged as I first was.
I've actually been able to listen to baseball on my computer.
I've finally been able -- without help -- to buy stuff on my computer.
Now comes ... blogging.
I've been asked and encouraged to blather about ... whatever.
Baseball. Batman. Musicals. Traveling. Why I think of myself as Dutch. Why I've lately become obsessive about "Pride and Prejudice" and Jane Austen. And other things I love. And also ... love.
When I was initially asked to blog about what I think about, my immediate answer was "Who cares?" I'm blogging now only because my loved ones have insisted that listeners who like me might like to know ... what I do when I'm not doing what I do on WBGO. And also how I do what I do. I've been requested to explain how I program Singers Unlimited -- which will involve confessing a variety of eccentricities I've heretofore never talked about -- when the easiest answer is nonetheless
"It's what I do ..."
I'm Michael Bourne.
© 2008 WBGO
December 31, 2007. Posted by Joshua Jackson.
Since you may miss the litany of names at the end of the New York segment, meet the folks who bring you 2008. Remember that while you're binging on champagne, we usually drink ours at 12:15, when the show is over.
Becca Pulliam is our uber-producer. She coordinates each of the locations for Toast of The Nation (DC, Boston, NY, Minneapolis, Denver, and SF) into a mosaic of live music from coast to coast. Becca makes this whole party possible. Oh, and "listeners like you."
Michael Bourne is our host. You may remember him from such hit shows as - Afternoon Jazz on WBGO for the last 20+ years. Or 20+ years on Toast of the Nation. That's committment. Everything I can say about Michael, I've already said to him personally - usually while I'm helping him connect home audio devices, changing light bulbs in his apartment, or eating Cantonese specialties with him (too infrequently) at Phoenix Garden.
Steve Remote at Aurasonic is our guy for audio. He brings his 24 foot GMC truck, affectionately know as "The Breadmobile," to the gig. As you can imagine, jazz clubs in New York are short on space. That means you have to build a recording studio outside, and connect it to what's happening onstage. No small feat. Steve Remote and his band of merrymen do it with aplomb. Robert Carvell manages stage tech, and Jon D'Uva will assist the recording engineer in the truck. Jon is a vegetarian. I have no idea what he's planning to eat for dinner at the barbeque palace upstairs, Blue Smoke.
Jim Anderson is the Recording Engineer tonight. He possesses both sartorial splendor and golden ears. He will make tonight sound so good for listeners. In Jim's spare time, he's active in the New York chapter of the Audio Engineering Society. He's also the Chair of the Clive Davis School for Recorded Music at New York University. He gets some of the best drum sounds I've heard on jazz records. He also reads great books.
David Tallacksen is the Technical Director and Codec Jockey. He's the youngest member of the crew. He is responsible for the audio transmission via codec to NPR, among other things. We don't trust that job to just anyone. David also shows a tremendous amount of patience with Verizon, who installs our ISDN circuits to transmit that audio. David has tested these lines over and over and over. Two of the three circuits work, as of 12:30pm on the broadcast day. Verizon has assured us they will fix the problem with our backup transmission lines today. Fingers crossed.
Katie Simon is our Stage Manager. She makes sure the trains run on time, because I'm barking in her ear the entire show. Katie can blame her first job in public radio on WBGO. Now she's hooked. She's a producer for Storycorps, producer David Isay's oral history project for public radio. You may have heard the stories on Morning Edition every Friday. Guaranteed to make you a little teary-eyed., if you're just a wee sensitive. Michael Bourne nicknamed Katie "Supergirl" because she's just...super.
Martin Goodman is operating the house sound for Jazz Standard. He will be making sure that the artists have their sound on the stage and in the club. Martin also interfaces with our broadcast in a big way, because we share all the same microphones used on the stage.
I'm your humble field producer and director for the show. You can blame me if something goes wrong.
© 2007 WBGO