OnAir May 2023

ON AIR

WKCR 89.9 FM

May 2023 Vol. xxii, No. 5

OnAir · May 2023

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WKCR 89.9 FM Station Manager Ale Díaz-Pizarro stationmanager@wkcr.org Program Director Maria Shaughnessy programming@wkcr.org Director of Operations Zachary Vanderslice operations@wkcr.org Student Life Director Ted Schmiedeler studentlife@wkcr.org Publicity Director Georgia Dillane publicity@wkcr.org Jazz Head Stephen Park jazz@wkcr.org New Music Head Razvan Matei newmusic@wkcr.org Classical Head Melisa Nehrozoglu classical@wkcr.org American Head Izzy Szyfer american@wkcr.org

Dear Listeners, I am back from my brief hiatus and more excited than ever for this issue! We are introducing some innovative new techniques to make sure your reading experience never gets boring, namely: a duo chrome color palette. You may have never thought it was possible for us to break away from the monochrome look, but if there’s one thing ‘KCR is known for, it’s breaking boundaries.

The month of April brought us many wonderful things: 48 hours of Billie Holiday’s birthday, 24 hours for Mingus, Ella, and Duke’s birthdays, and sadly, for Ahmad Jamal’s memorial as well. On top of that—the main plotline for this month at WKCR was our fund drive! This fundraiser was months in the making and required all hands on deck, because it truly was the make-or-break for the station. I am glad to announce that we surpassed our $100K fundraising goal! We could not be more grateful to our wonderful donors, listeners, and alumni for keeping us on the air so that we can continue bringing you music that you can’t find anywhere else.

Speaking of which, May brings some extra fun and (almost) all-new birthday broadcasts! The jazz department will be bringing you the Red Garland Centennial and the Sun Ra Arrival Day broadcasts, while Classical brings you 24 hours of Tchaikovsky and American brings you the music of Bob Dylan (this will be our second year honoring the great folk legend). As always, thank you for reading and supporting WKCR—we couldn’t do it without you.

In All Languages Head Ann Vettikkal ial@wkcr.org

Happy Listening!

Latin Head Leni Bryan latin@wkcr.org News & Arts Head Josh Kazali news@wkcr.org Sports Head August Phillips sports@wkcr.org

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Maria Shaughnessy Program Director Cover photo by unknown, most likely Francis Ing.

Mailing Address

CONTACT US

2920 Broadway General Inquiries: board@wkcr.org New York, NY 10027 Listener Line: 212-854-9920 USA ©Copyright 2023 WKCR FM NYC

This Month OnAir New York, Through Tchaikovsky's Eyes . . . page 4

An Interview with Sun Ra . . . page 6

Weekly Schedule . . . page 8

Special Broadcasts & Themed Shows . . . page 10

Show Listings for WKCR Listeners . . . page 11

WKCR's Favorite Drum Solos . . . page 14

Thank You! . . . page 16

OnAir · May 2023

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FEATURE PIECE

“5

New York, Through Tchaikovsky's Eyes

by Alejandra Díaz-Pizarro

1 years old. In the morning I was than the average, with the thought that his terribly worried about this day.” family might later read them—offer a glimpse So begins Tchaikovsky’s diary entry into the inner discourse of a deeply selffor May 7th, 1891, about halfway through his trip conscious man. Despite already enjoying the to New York City, where he had been invited to status of a beloved composer, Tchaikovsky conduct at the inaugural concerts for Carnegie was profoundly concerned with how he was Hall—then still named perceived: the journal quite simply the “Music entry from the day before Hall.” His arrival in the U.S. reveals a Tchaikovsky who, on April 26th was less than when reading the reviews enthusiastic: a few days of his conducting, reads earlier, before crossing them not for praise of his the Atlantic, he had read performance but fixates of his sister’s death in the bitterly on their remarks newspaper, and only a large on his older appearance advance payment for his and awkward demeanor.

American tour had stopped “It makes me angry,” he him from canceling it writes, “that they not only altogether and returning write about music, but to Russia. Nonetheless, the about me personally.” morning of May 7th, what Perhaps only a man that Tchaikovsky was “terribly so agonized about being worried” about was not observed could’ve yielded homesickness, or grieving, as deeply observant a or aging. It was conducting. portrait of New York City The full first paragraph as Tchaikovsky does in Signed portrait of Tchaikovsky, taken during his of the diary entry reads: “51 his journal entries. He visit to New York (Carnegie Hall Archives). years old. In the morning I comments on a Central was terribly worried about this day. At 2 o'clock I Park that is freshly fifteen years old since its had to conduct the concert with the suite [Suite 1876 completion, hailing it as modern and No. 3]. This particular fear is a extraordinary commenting on its charms (”although the trees thing. How many times have I conducted this are still not all that old,” he adds, somewhat self same suite! It goes splendidly; why am I derisively). He marvels at the size of “the houses afraid? And yet I suffer unbearably!”

Down Town,” which “are gigantic to the point Tchaikovsky was a prolific and devoted of absurdity; at any rate I refuse to understand diary-keeper, and the entries for his New how one could live on the 13th floor.” He puzzles York trip—longer and more comprehensive over, and ultimately dismisses, a Socialist

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rally he stumbles upon. He delights in walking along Broadway, waxing about a walk that lasted “an hour-and-a-half!

Such a walk might give one an idea of the length of Broadway. We walked for 1½ hours, and barely covered one third of this street!!!”

Tchaikovsky’s vision of New York, of course, rose above sightseeing: as a guest conductor for the opening of the foremost concert hall in America, Tchaikovsky was treated to every luxury that befitted a composer of his stature. Yet this luxury, which earns a few obligatory mentions in his journal, is not what appeals to him—in fact, he deems it “completely unnecessary.”

No, what Tchaikovsky is enchanted by The poster for the Music Hall's Inauguration Festival. Tchaikovsky is are the ordinary qualities of the people in the rhombus in the top center (Carnegie Hall Archives). he meets.

Though he moves in a sphere of high-profile any man, and he strikes me as extraordinarily characters, Tchaikovsky is disenchanted by considerate, perhaps because of the way in social obligation and drawn not to names but which he has been so filled with kindness to human qualities: composers like Damrosch towards me.”

It is not just in his New York trip that and some of the crème de la crème of the New Tchaikovsky appears as a man concerned with York music world (like Morris Reno, manager of the Music Hall, and William von Sachs, the minutiae of human life beyond the sheen prominent critic & journalist) are cursorily of genius. His faithful diary-keeping was an named despite being Tchaikovsky’s regular attempt to stave off the fear that he might escort party. Meanwhile, the young Russian- have lived even a single day only to forget it, born hotel valet Max, who offers the composer and his devoted letters to his brother Modest one of the only tastes of his own language in an and his friend (and patroness) Nadezhda von English-speaking land, appears and reappears Meck reveal a man who deeply valued human with a telling tenderness in the journal’s connection. But it is when he is dropped in the middle of New York City, with its relentless recollections.

Perhaps the best illustration areTchaikovsky’s hustle and bustle and its swirl of people-placesencounters with Andrew Carnegie, the and-things and its booming urban character, benefactor of the very hall Tchaikovsky has that this side of him truly shines through.

Tchaikovsky returns to New York for his been invited to inaugurate. Despite this, he is plainly described as “little old Carnegie, the birthday this Sunday, May 7th, all day on the admirer of Moscow and owner of 40 million airwaves of WKCR-FM NY 89.9. dollars,” and only once is Carnegie mentioned without Tchaikovsky amusedly remarking on Thank you to Maria Shaughnessy for pointing his extraordinary resemblance to the Russian me in the direction of Tchaikovsky’s New York playwright Alexander Ostrovsky. Tchaikovsky’s journals. Full transcriptions of Tchaikovsky’s most effusive comments on Carnegie, rather diaries are available at Tchaikovsky Research than be about his wealth, are that “he remains (tchaikovsky-research.net), both in the original simple and modest, not turning up his nose at Russian and translated into English.

OnAir · May 2023

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FROM THE ARCHIVE

An Interview With Sun Ra

This interview was originally published in the January-February 1989 issue of OnAir. This abridged version was transcribed by Maria Shaughnessy.

P

hil Schaap: My first question is more or less posed by Pat Patrick. He talked about a day, perhaps as long as thirtyseven years ago, when the Sun Ra Arkestra was a trio: Robert Barry on drums, Pat Patrick’s baritone saxophone, and your own keyboard work. Your orchestra and compositions have grown with the additions of the four voices with your chorale parts, your lyrics with the vocal group and then the meeting of these incredible individuals who are still the core members of the Arkestra: i.e. Marshall Allens, the John Gilmores. As you got new individuals and therefore new pieces, how did it change your writing the music you wanted to write?

Sun Ra: Well, I just write what I feel. I'm keeping up with the cosmos and with the future, the alter-future, all kinds of things, so I can put messages into music from all kinds of places.

I’m in contact with a lot of different places and beings and I communicate with them and I can put down what they are saying or what they are going to say; it’s all over into something this cosmos psychic you might say.

Schaap: When you had a trio, did you want more pieces, did you want to write for a larger ensemble and do you continue to write for the small group within the band as you make music today?

Ra: Well, the world was never supposed to

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by Phil Schaap

hear this music you see, it wasn't designed for that. It was really not to be part of the world.

But that has gone in another direction because I felt that every innovator on this planet was never accepted, whether they were classical composers or otherwise. I did not want to go through that. I had something worthwhile. I did not want to fight to get people to listen to it. They needed me, I didn’t need them. So I went the way anybody else with wisdom would go: you just disconnect yourself from society and from everything and you develop yourself spiritually. That’s what I was doing; not in a righteous manner, but just advancing myself spiritually. Some people develop their minds.

I developed my spirit and I went in another direction. Therefore I went places, I saw things, and I heard things that possibly no one on this planet had heard before and I recorded it because it was too much to write and music is the universal language. So I recorded it so that I remembered some of it when I played it back; because it is like in code, you see, and by me listening back to it, I can recall something that I may have forgotten about.

Schaap: When did you get into recording your own music and how did you do it?

Ra: Well, I was supervised by superior beings.

They always fixed it up for me to do that, because I wasn't interested in it and they were, for some reason. Although they don't seem much interested in humanity’s surviving, they still wanted this music to be recorded. So I did it at their behest and not at mine.

Schaap: You know, the music has helped you

travel to these places you speak of. Are there compositions or musical performances that stand out in your memory, as you've experienced it, where what you felt, the most essential Jazz quality, was expressed to the fullest limits? Is there a work that you might isolate or a record or a performance where what you felt inside, what you had been made to do, has happened?

Ra: Well, I have a lot of things. I have a piece called “A Quiet Place In The Universe,” which would really be nice for this planet to hear, because it would eliminate stress… to feel that somewhere is a quiet place in the universe.

And that’s a nice song. It could really go into the classical repertoire. I have a lot of things that could fit right in, but I wasn't trying to seek recognition or anything like that. In a sense, I was trying to bypass this planet; it’s very difficult to be a part of it, so therefore I didn't want to be part of it. I felt that I’d win my greatest victory by not wanting to be a part of this planet. And judging by what's happening here, I was right.

Schaap: How do you evaluate yourself as a pianist; as a keyboard player?

Ra: Well, actually, I haven’t really expressed myself on piano the way that I can because, as I said, in the early days in Chicago, I was doing that and some pianists stole some stuff and have become millionaires, so then I decided to do the organ and electronic things. And the piano players were asleep to what I was doing, but now they're waking up because I get a lot of letters, and they want some piano records. The piano players were the last ones waking up.

Schaap: How do you think you’ve influenced piano players of today? Where are you hipping them?

Ra: Well, they're just beginning to listen. They were listening to everyone else but me, but they've begun to listen now.

Fletcher Henderson, one of the major pianists of all time, was enthusiastic about your piano playing.

Ra: That’s true. He was one of the few people that liked the way I was playing in his band.

His band didn't like the way I was playing, but Fletcher did. I finally had to tell them that Fletcher plays piano, and he hired me, and if a pianist recognizes another they should just shut up. And so when I finally gave my notice, Fletcher didn't say anything, he didn't say he accepted it, and he didn't say he didn't. The next night the band played, I went, and they didn't have a piano player. He said if I didn't play, they just wouldn't have a piano player. He was up there directing and they [the band] realized he meant it, so they told me to come back on stage, so my notice was over. After that the band didn't bother me because they realized that Fletcher meant it… Well I'm glad he kept me, because he was a gentleman and he had a sense of humor. He would play “Humoresque” sometimes when I would get up on the piano, and he would play “Stealin’ Apples,” and I would play it exactly the way he had played it, and he just smiled.

Schaap: Tell me, did you really say on television, when they asked you whom you admired, did you really name Fletcher Henderson and the Devil?

Ra: I said Lucifer, because Lucifer is a musician.

In fact, I'm sure I've learned quite a bit from him. He's a top musician. I keep moving forward, and when you do that in the human race, in mankind, you come up against superior beings, and they have to judge whether you are pure in heart. If you’re pure in heart, you don't have to worry about the Devil, you don't have to worry about Satan, you don't have to worry about Lucifer, you don't have to worry about God—if you are pure in heart. But if you’re not, then you’re in trouble.

Schaap: Well some forty years ago—in 1947—

OnAir · May 2023

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5:00 am 6:00 am 7:00 am

SUNDAY

MONDAY

TUESDAY

WEDN

Jazz ‘til Dawn (cont’d)

Daybreak

Field Trip

8:00 am 9:00 am

Amazing Grace

Monday Morningside

10:00 am 11:00 am

Cereal Music

The Moonshine Show

12:00 pm 1:00 pm The Tennessee Border Show

Out to Lunch

2:00 pm

Sin Fro

3:00 pm 4:00 pm 5:00 pm

Sunday Profiles

Afternoon New Music

6:00 pm 7:00 pm 8:00 pm 9:00 pm 10:00 pm 11:00 pm 12:00 am 1:00 am 2:00 am

Raag Aur Taal SoundStage Live Constructions Back in the USSR The Celtic Show

PopTalk Caribe Latino Urbano Latinx

News + Arts P Honky Tonkin’

Nueva C

Tuesday’s Just as Bad

Som do

Night Train

Transfigu

Coordinated Universal Time

3:00 am 4:00 am

Jazz Alte

Phil Lives

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Transfigured Night

NESDAY

THURSDAY

FRIDAY

SATURDAY Transfigured Night (cont’d)

k Express

Sounds of Asia

5:00 am 6:00 am 7:00 am 8:00 am 9:00 am

Birdflight Eastern Standard Time Early Music

10:00 am 11:00 am 12:00 pm

Across 110th Street

Out to Lunch

onteras

2:00 pm

Something Inside of Me

Bach Hour

Programming

Canción

o Brasil

ured Night

Hobo’s Lullaby

Middle Eastern Influences

Sonidos Colombianos

The Mambo Machine

Transfigured Night

8:00 pm

10:00 pm

Saturday Night at the Opera 11:00 pm 12:00 am

Notes From Underground Alternates every week.

Offbeat

7:00 pm

9:00 pm

Workaround The African Show

5:00 pm 6:00 pm

Traditions in Swing

ernatives

3:00 pm 4:00 pm

Afternoon Classical

Extended Technique

1:00 pm

El Sonido de la Calle Alternates every week.

1:00 am 2:00 am 3:00 am 4:00 am

Jazz ‘til Dawn

OnAir · May 2023

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Special Broadcasts BIRTHDAY BROADCASTS Pyotr Ilyich Tchaikovsky Sunday May 7th, all day

For his 183rd birthday, WKCR will spend 24 hours celebrating Pyotr Illytch Tchaikovsky, master of melody and romantic visionary. After leaving a job in civil service and training at the Saint Petersburg Conservatory, Tchaikovsky composed masterpieces such as The Nutcracker (which he famously hated), Swan Lake, The 1812 Overture, and his final Symphony no. 6. Cholera tragically ended his life at age 59, but his music lives on.

Red Garland Centennial Saturday, May 13th, all day

Red Garland was a jazz pianist and one of the most influential musicians of the bebop era. Born in 1923 in Texas, Garland was a self-taught pianist who developed a style characterized by its simplicity, swing, and bluesy feel. He played with jazz greats such as Charlie Parker, Lester Young, and Miles Davis, and was known for his understated yet soulful solos. On May 13th, WKCR is celebrating Garland’s centennial by playing 24 hours of his music.

Sun Ra Arrival Day Monday, May 22, all day

SUNDAY PROFILES Sundays 2:00-7:00 PM

TBD May 14th, 2:00 - 7:00 PM Host: Sid Gribetz

Arthur Russell May 21, 2:00 - 7:00 PM Host: Georgia Dillane and Lucia Santos

Labeled: Prestige Records May 28, 2:00 - 7:00 PM

Host: Steve Mandel and J Cohn

LIVE CONSTRUCTIONS Sundays 10-11pm

Mavi May 21, 10-11pm

Hosts: Dylan Farley and Ted Schmiedeler

Alexander Wren May 28th, 10-11pm Host: TBD

Widely regarded as one of the pioneers of afrofuturism, Sun Ra left a heavy footprint in not only jazz, but in music and arts as a whole. Ra started his career playing in Fletcher Henderson’s band and went on to lead many of his own small groups and large ensembles, such as the still-performing Arkestra. WKCR is excited to celebrate Sun Ra’s arrival day with 24 hours of music on May 22nd.

SATURDAY NIGHT AT THE OPERA

Bob Dylan

Host: Ale Diaz-Pizarro

Wednesday, May 24, all day

Bob Dylan is one of the most influential singersongwriters of all time, known for his poetic lyrics and unique voice. Born Robert Zimmerman in Minnesota in 1941, Dylan’s music has spanned several genres including folk, rock, blues, and country. His songs are deeply introspective, often reflecting on social and political issues, and have been covered by countless artists over the years.

Saturdays 9:00 PM-12:30 AM

Akhnaten (Glass)

May 6, 9:00pm-12:30am Host: Ale Diaz-Pizarro

La Forza del Destino (Verdi) May 20, 9:00pm-12:30am

The Love for Three Oranges (Prokofiev) May 27, 9:00pm-12:30am Host: Ale Diaz-Pizarro

BASEBALL BROADCASTING Columbia vs St. Johns May 2, 1-4pm

Host(s): Josh Kapillian

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Show Listings

JAZZ

Afternoon Classical, Fri. 3-6pm.

Similar to cereal music, most of afternoon classical has no restrictions on what type of classical music to play.

The last hour of the show, however, is dedicated fully to the music of JS Bach.

Daybreak Express, weekdays 5-8:20am Out to Lunch, weekdays 3-6pm Jazz Alternatives, weekdays 6-9pm These three programs comprise the core of our jazz offerings. Programming consists of everything from New Saturday Night at the Opera, Sat. 9pm-12:30am.

Orleans jazz, jazz age, swing era, bebop, hard-bop, mod- One of NYC’s longest running opera shows, Saturday Night at the Opera is a 3.5 hour show that allows al, free, and avant-garde. In short, you’ll encounter the entire range of recorded jazz on these programs. Hosts operas to be played in their entirety, with room for rotate from day-to-day, offering an exciting variety of ap- commentary, descriptions, and some history. proaches, some of which include thematic presentation, artist interviews, or artist profiles NEW MUSIC

Afternoon New Music, Mon. & Tues. 3-6pm Birdflight, Tues.-Fri. 8:20-9:30am Archival programs from the late Phil Schaap, one of the Our daytime new music program features a wide variety of music that challenges boundaries and subverts world’s leading jazz historians, who hosted this daily forum for the music of Charlie Parker for about 40 years. categorizations. Shows include everything from seminal new music compositions to the most challenging of obscure deep cuts and new releases.

Traditions in Swing, Sat. 6-9pm Archival programs hosted by the late Phil Schaap, this award-winning Saturday night staple presents focused thematic programs dealing with jazz up until about World War II. Schaap presents the music, much of it incredibly rare, from the best sound source, which is often the original 78 issue.

Transfigured Night, Tues./Thurs./Sat. 1-5am Our overnight explorations into the world of new music, Transfigured Night rewards our late night listeners with a wide range of sounds and experimental music.

Workaround*, Fri. 9-10pm WKCR presents Live DJ sets from Columbia students Phil Lives*, Mon. 3-5am This overnight show features archival broadcasts of long- and local artists. form programs from late NEA Jazz Master Phil Schaap.

CLASSICAL

Live Constructions, Sun. 10-11pm This weekly program features a live in-studio performance or a performance pre-recorded specially for the show.

Cereal Music, Mon.-Thurs. 9:30am-12pm An entirely open-ended classical show to start your AMERICAN weekdays. Tune in to hear the most eclectic mix of classical music on the New York airwaves!

Honky Tonkin’, Tues. 10-11pm One of WKCR’s longest-running American music The Early Music Show, Fri. 9:30am-12pm programs, Honky Tonkin’ lands in the harder side of Dedicated primarily to European medieval, Renaissance, Country music. Emphasizing the greatest voices in the and baroque music, all from before 1800 (plus or minus genre, Honky Tonkin’ is a country music dance party 50 years). every Tuesday night.

Extended Technique*, Wed. & Thurs. 3-6pm WKCR’s first interdepartmental show (in the New Music and Classical departments) dedicated to contemporary classical music. You’ll hear everything from 12-tone and minimalist compositions to film and video game scores, and all things in between.

Tuesday’s Just as Bad, Tues. 11pm - Wed. 1am Tuesday’s Just as bad explores the world of blues prior to World War II. Shows weave their way through the first decades of recorded music history and turn to the postwar years in the final half hour.

* Indicates show was created after January 2022

OnAir · May 2023 11

LISTINGS FOR LISTENERS Night Train, Wed. 1-5am All aboard! One of our two overnight programs in the American department, Night Train rolls through the post-war R&B and soul tradition, from the genre’s emergence in the 1940’s and 50’s through the funk revolution in the 1970’s. Shows often feature extended live recordings and concerts.

the genre’s pioneers in the 1940s and 50s and advancements in the 60s and 70s, through the leading innovators and stars of today.

The Tennessee Border Show, Sun. 12-2pm One third of WKCR’s country music programming, along with Honky Tonkin’ and the Bluegrass Moonshine Show, Tennessee Border highlights the singer-songwriter tradition, from Hank Williams and Townes Van Zandt to Lucinda Williams.

Offbeat, Fri. 1-5am Offbeat is committed to broadcasting undiscovered new hip hop music. Shows typically focus on exposing underplayed or up-and-coming new artists, including LATIN experimental instrumental artists not typically played on mainstream hip hop radio.

Caribe Latino, Mon. 10pm-12am Caribe Latino is a music program that features Across 110th Street, Sat. 12-2pm the diverse, upbeat music from numerous Latin Kicking off our Saturday afternoon American music run, communities in the Caribbean. Popular Latin rhythms Across 110th Street airs soul, funk, and dance music from such as Salsa, Merengue, Bachata and Latin Jazz take the 1960’s through the 1980’s and 90’s. center stage throughout the program.

Something Inside of Me, Sat. 2-4pm Something Inside of Me is WKCR’s Saturday afternoon blues show, focusing mostly on the electric and post-war styles.

Hobo’s Lullaby, Sat. 4-6pm Rooted in the folk revival of the 1950s and 60s, Hobo’s Lullaby airs American folk and traditional music styles from the early 20th century through the present day.

From old staples like Leadbelly, Elizabeth Cotton, and Woody Guthrie to contemporary stalwarts like the Carolina Chocolate Drops and lesser known artists, domestic traditions are alive and well on Hobo’s Lullaby.

Notes from the Underground, Sun. 12:30-2am Notes from the Underground showcases contemporary hip hop and rap music with an emphasis on emerging and experimental artists. The program also hosts local and visiting artists for interviews, freestyles, and guestcuration.

Amazing Grace, Sun. 8-10am Greeting listeners on Sunday morning, Amazing Grace shares with listeners the world of the African-American gospel tradition.

The Moonshine Show, Sun. 10am-12pm On the air for nearly 60 years, The Moonshine Show showcases the American Bluegrass tradition, from the earliest roots in vernacular string-band music, through * indicates show was created after January 2022

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Urbano Latinx, Tues. 12-1am A weekly Latin show airing contemporary sounds from Latin America, the Caribbean, and the diaspora, Urbano Latinx features mixes of salsa, merengue, Latin punk rock, and more.

Sin Fronteras*, Wed. 12-3pm Falling in the space of Out to Lunch on Wednesday afternoons, Sin Fronteras explores the tremendous Latin Jazz tradition.

Nueva Canción, Wed. 10-11pm Nueva Canción is an exploration of protest music created throughout Latin America during the 60s and 70s and its numerous other manifestations throughout other countries and time periods.

Som do Brasil, Wed. 11pm - Thurs. 1am From samba and bossa nova to MPB, hear the numerous and enchanting sounds and rhythms of Brazil.

Sonidos Colombianos, Fri. 10-11pm Sonidos Colombianos presents music from one of the most culturally diverse countries of Latin America: Colombia! Our bilingual musical tour is guaranteed to include not only cumbia, but also the guitar-based bambuco from the Andean region, the harp llanero music from the Eastern Plains, the marimba-infused currulao from the Pacific Region, and the accordiondriven vallenato of the North Atlantic Coast.

LISTINGS FOR LISTENERS The Mambo Machine, Fri. 11pm - Sat. 2am Field Trip, Sun. 6-8am The Mambo Machine is the longest running salsa show Field Trip focuses on the music and practice of field in New York City. The program presently plays a wide recordings: music recorded outside of a studio. Tune in spectrum of Afro-Latin rhythms, combining new and old and you may catch field recordings that were recorded into an exciting, danceable mix. fifty years ago, others that were experimented with by your favorite Afternoon New Music artist, or even those El Sonido de la Calle*, Sun. 2-4am documented in New York City by WKCR itself.

A companion show to Saturday night’s American Notes from Underground, El Sonido de la Calle highlights the Raag Aur Taal, Sun. 7-9pm diverse world of contemporary Spanish-language hipRaag Aur Taal explores the sounds and rich cultural hop and dance music. heritage of South Asia. The term “Raag Aur Taal” roughly translates to “melody and rhythm,” indicating the classical nature of this program.

IN ALL LANGUAGES

The Celtic Show, Mon. 12-1am Music from across the island of Ireland throughout the era of recorded music, particularly focusing on traditional folk and vernacular music forms.

Coordinated Universal Time, Mon. 1-3am Coordinated Universal Time brings our listeners the latest cut of music from anywhere in the world, especially highlighting music that does not get attention in America. Our programming tries to bring the hottest and the most recent tunes to WKCR’s airwaves.

The African Show, Thurs. 10pm-12am The longest running African music radio show in the United States, the African Show brings you a variety of music from the entire continent of Africa.

Middle Eastern Influences, Fri. 12-1am During the hour-long show, Middle Eastern Influences features a wide range of beautiful tracks from regions of the Middle East, North Africa, and even, at times, South Asia.

Back in the USSR, Sun. 11pm-12am Back in the USSR features music from across the former Soviet Union and soviet states across Eastern Europe and East and Central Asia, from the mid-20th century through the present.

NEWS & ARTS Monday Morningside*, Mon. 8:30-9:30am Monday Morningside is WKCR’s morning news broadcast to kick off the week, featuring news segments on events around Morningside Heights and upper Manhattan. If you’re not an early bird, all episodes are available as podcasts on Spotify!

PopTalk*, Mon. 9-10pm PopTalk examines current developments in pop music and the latest top-flight releases.

SoundStage*, Sun. 9-10pm SoundStage features audio dramas and radio plays from the WKCR archives as well as new compositions by students and contemporary writers. Some shows also feature interviews with dramatists and directors.

Sounds of Asia, Sat. 6-8am Rechristened from Sounds of China, Sounds of Asia SUNDAY PROFILES explores the recorded musical traditions and innovations of Asia and the Pacific islands.

Sunday Profile, Sun. 2-7pm* With the return of the five-hour profiles slot, Eastern Standard Time, Sat. 8am-12pm programmers will showcase longform One of New York’s most popular Reggae programs, profiles as they have done for decades. While the Eastern Standard Time takes listeners through Saturday primary focus remains on jazz music, we also feature morning from 8 am to noon with the hypnotic sounds of other styles and traditions from across WKCR’s different Reggae and Jamaican dance music. programming departments.

* indicates show was created after January 2022

OnAir · May 2023 13

Kurt Gottschalk, host, Afternoon New Music: The Beat (Everett Morton), “Ranking Full Stop” (1980).

“Essentially a vehicle for toaster Ranking Roger, the mid-tempo song chugs along for a taut twoand-three-quarters minutes with a drum into and two–two!–false starts. Drummer Everett Morton counts the band back in both ties, and even cops one mid-verse fill, each a momentary thrill.”

Leon Zhou, programmer: Led Zeppelin (John Bonham), “Moby Dick” (1970).

Sharif Abdus-Salaam, host, Thursday Jazz Alternatives: The Max Roach Band (Max Roach), live performance.

“It was at a live performance, I’ve forgotten the year. It was Max just playing a snare drum and a hi-hat. I’m still not sure how he created the music that he did from just those two instruments.”

exploration of tone. It's brilliant.”

Maria Shaughnessy, Program Director: Sones de Mexico Ensemble, “La Morena” (2013).

“Just solo maracas for what feels like too long, but it's so impressive what those little shakers can do.”

Mitch Goldman, host, Deep Focus: Ronald Shannon Jackson, Pulse (1984).

“Ronald Shannon Jackson made one solo album in his career, Pulse, and it is unlike any other performance by anyone ever. Listen to his take on Shakespeare's Richard III and Poe's "The Raven." Drums?

AROUND TH

What is you drum s percussio

Schuyler Rabbin-Birnbaum, host, Monday Jazz Alternatives: Art Blakey and the Jazz Messengers (Art Blakey), “The Drum Thunder Suite" (1959).

“On the first track of Moanin’s second side, Art Blakey makes it clear this is his show.

Masterfully guiding the Messengers through three themes, his solos are each more resonant than the last. ‘Drum Thunder’ is a study in perfect Hard Bop interplay, with Blakey taking a starring role while the other Messengers expertly complement his work.”

Matt “Fat Cat” Rivera, host, Hot Club on the Air: Chu Berry’s Little Jazz Ensemble (Big Sid Catlett), “Forty Six West Fifty Two” (1938).

Sam Seliger, Librarian and Archivist: Charles Mingus Sextet (Dannie Richmond), “So Long Eric” (recorded for TV broadcast, Stockholm, 1964).

“The break is on YouTube in a 25-second video titled ‘best drum solo ever.’ Richmond does everything a drum solo should be in just a few bars. It’s not showy, it's impressively sparse; so much of what he does is about subtle manipulation of rhythms and

14 OnAir · May 2023

Percussion? Sure, he is unquestionably masterful, but it's not about that at all; he is interrogating the text. He finds the rage and terror that those two creators had to have felt to have written as they did, explores how they used their crafts of drama and poetry to express it, and responds in kind. You want "...Deformed, unfinished, sent before my time Into this breathing world scarce half made up..."?

Listen to Pulse and you will hear Richard dragging his bones across the floor, Poe's narrator's heart exploding out of his chest.

I was with Shannon on tour one time and a journalist asked him why he wasn't playing the fancy dinner club where many Jazz artists played in that town. Shannon said, 'Look here: you want

to come hear me play while you sit and eat a nice steak? I will barbecue that steak in your belly!' To borrow Shannon's terminology, no fat rats' asses given."

Charlie Smith, former In All Languages Department Head: The Carpenters (Karen Carpenter), “Dancing in the Street” (live on Your All-American College Show, 1968).

Cliff Preiss, host, Friday Jazz Alternatives: Jazz at the Philharmonic AllStars (Jo Jones), “C-Jam Blues” (live, October 15, 1957).

HE STATION

silver jewelry to prepared beers to roasted corn. But the best boats to pass by are the musicians' boats: I maintain that the best marimba players I have ever heard are here, balancing (literally!) their skillful playing with staying aboard an unstable vessel. Though the marimba playing is ubiquitous and you will hear it no matter what, if you shell out a few dollars you can request a tune, from the standard Mexican repertory or even marimba versions of pop songs. The music, especially the marimba, is reason enough to make the trip. Every time I visit I make some field recordings—who knows?, maybe one day they'll be on air."

Paul Burkey, host, Tuesday Jazz Alternatives: Philly Joe Jones with Serge Chaloff on "I've Got the World on a String" from Blue Serge (recorded for Capitol on March 14, 1956) "Philly Joe's solo on the bridge of the final chorus is nothing more than a sustained six-bar press roll on the snare, propelled along by the hi-hat and crescendoing from a whisper, followed by two bars of marching-band cadence to set up the return of Chaloff's baritone sax with the melody.

Coming at the end of a relaxed, loose, and very interactive performance by the quartet —Jones and pianist Sonny Clark even drop out entirely to let Chaloff support Leroy Vinnegar's bass solo—it's as perfect as it is simple."

ur favorite solo or on break?

Deacon Strange, host, Across 110th Street: James Brown (Clyde Stubblefield), “Funky Drummer” (1970).

“A personal favorite, it's a sample-heavy classic.”

Ale Díaz-Pizarro, Station Manager: live marimba in Xochimilco, Mexico City.

"No travel to Mexico City is complete without a visit to Xochimilco, the canal network that's one of the last remaining vestiges of when the city was a lake and the Aztecs were around. The canals can only be seen while aboard a 'trajinera,' a colorful punt-like boat. Once on the 'trajinera,' as you make your way around the canals, your boat will often pass by other boats selling everything from fine

Honorable mention: Sonny Greer with the Duke Ellington Orchestra on "Harlem AirShaft" (recorded for Victor on July 22, 1940).

"The recurring breaks by the sax section swing like crazy, and Greer's breaks-behind-the-breaks launch the band progressively higher."

Ted Schmiedeler, Student Life Director: Black Country, New Road (Charlie Wayne), "Instrumental" (2021).

"A stellar opening track to their debut album For the first time,kicked off by an excellent drum solo.

Wayne’s fast paced rhythm sets the tone for the rest of the track and remains ever persistent in the background as more instruments join in.

OnAir · May 2023 15

Thank

W

KCR's annual fundraiser, held between April 10-16 2023, was the first of its kind since 2019, opera of our expectations—thanks to the support of our listeners, we feel optimistic that we will be arou you know and love—it is thanks to listeners like you that WKCR can continue to be the home of ra

The following are the names of listeners who pledged $100 or more by calling our phone bank and consenting to their names appearing in this guide. We thank all our supporters who contributed any amount, whether through our phones or on our website.

Irvin Abamm Erik Abbington Colin Ackers Ronnie Alarcon Eugenia Ames Efrain Azmitia David Baker Randal Barton Patricia Bases Bennett Baulmer Stephen Baver Donald Beale Louis S. Bedrock Bill Beirne Zvi Ben-Dor Benite Richard Berner Katherine & Tony Berton Diana Black Daniel Blackman Jonathan Bley Alexander Bonacarti Andrea Wicks Bowles Anthony Bozanich Nacho Bravo Robert Brown Michael Brown Lawrence Brown Robin Burduls Carol Burke Sarah Capone

16 OnAir · May 2023

Jesse Capozzi Annette & Michael Cerrato Neil Chaimas Peter Chapman Evan Charkes Dolores Choceborsky David Chorlian Arlene Chung Michael Coffey Simon R. Cohen Garry Coleman Michael Colihan Barry Collins Chris Conti Cole Cooper David Corsello Bobby Courtney Gordon Crandall Kevin Craw Sam Crosby Tom Cullinan Cunningham Family Rick Curi Bob Curtis Thomas Cuscito Michael Davidson Sandy Davies Robert Deguilme Armand Diaz Donald Dietrich

Adam Dohrenwend James Donado John L. Doria Glenn Dornfeld Gordon W. Douglas Marilyn Vogt Downey Lisa Dresner Lisa Dresner Eyal Dror Jesse Drucker James Duffy Siobhan Duffy Shayna M. Dullberger Susan Ellis Tim Ellsworth Philip Englander Rachel Epstein Bernard Esrig Henri Ewaskio Christopher John Farley David Feig Shane Feirstein Bob Field James Flatto Katherine Fleming Dean Forbes Nancy Fulcher Lewis Fulcher Charles Fuller Michael Galan

k You!

ating at a full scale and with a regularly-staffed student phone bank. It was a smashing success, beyond any und for many years to come. We thank you for helping us stay the non-commercial, educational station adio history in New York City.

Lawrence Garment Michael Garzero Jan Gasterland Emanuel Gatewood Curt Gebhart Ernest Geohagen Monah & Alan Gettner Constance Gill Peter Ginsburg Heidi Glaeser Kai Gluska John Godfrey Joel S. Grantz Lou Grassi Jeffrey Grayzel Schellie Hadan Sonny Hagendorf Peggy Haine Dave Hancock Richard Hanechak James Hanrahan Eileen Harnischfeger Bawman Hastie Christopher Heinz Fred Heitz David Helbraun Leonard Herbst Steve Herman Sue Hogan Tom Holland Lynn Hoogenboom Adrian Hope Peter Hopson Timothy Horner

Candace Hsiao Laird Jackson Laura Jackson Andre & Dawna James Robert James Tony Jarvis John Jocan Caren Johnson Eric Justin Johnson Robert Jopson Matthew Josephs James Kaplan Richard Katz Rob Kearney James Keepnews Michael Keith Jesse & Jackson Kessler Ali M. Khonsari Vawit Kibreab Kristy King Adrian N. Kitvinger Fred Kogan Remington Korper Olive Kraus Charles Krezell Mr. & Mrs. Krishnamurthy Trevor Lagrange Thomas S. Larson Jerry Lawrence Jeff Lederer John Lego Donald Leighton Fiona Lennon John Lentner

Devin Leonard Carlton Lewis Mina Libeskind Bob Lightburn George Locker Richard Lorber Robert Ludwig Nate Mallon Michael Marona Augusto Martínez Jonathan Mastrojohn Patrick McCarthy Peter McGovern Hunter McQuistion Paul Merrill Oliver & Mia Merrill Daniel D. Miller Nancy Mindes Francis Minichiello Richard Monaco Cathal Moore Jason Moran Tyrell Morris Michael Moschella Susanne Moss Eric Moss Mike Nelson Adam Neumann William Newman Robert Nichols Jeffrey & Arlene Nichols Robert Nichols Philip Y. Nicholson James O’Connor

OnAir · May 2023 17

Tosin Emmanuel Olowolase Timothy O’Reilly Ozzie Orr Efrem Oshinsky Sandra Paci Michael Pearl James Pellegrino Zoe A. Pappas, PhD John Phillips Jim D. Pierro Julie Pincus Jill Platner Mike Pointdexter Justin Pollmann Jim Pratt CJ Pruzinsky Stephan Quenkzel Jess Quinn Lauren Radziejewski Stefan Rak Courtney Randall John Rank Dumas Ransom Thomas Richardson Jeff Rifkin William Riley Matthew Rivera Rebekah Robinson Dylan Roddick Stephen Rodner Linda Roesner Augustus Romain James Root Hector Rosales Eric Rosenthal Dennis Rowe

David Russ Lily Russel Andy Rutherford Clifford Salter Dirk Salz John Sampson Michael Samuels Philip W. Sandstrom Angelo Santoro Vincent Satkovski Gerhardt Schlanzky Frank Schramm Will Schutz Jane D. Schwartz Joseph Sciortino Joseph Scordo Ross Seaman Vetia Searcy Stephen Seliger & Andrea LeWinter Marc Shanker Noah Shapiro Ronald Sheppard John Shkreli Frank Silagy John Silva Nancy Single Chris Skutch John Skylight Adrian Sondheimer Nortrud Wolf Spero Stephen Spiegel Judd Staley Andrew Steed Daniel Sullivan Rich Sullivan Amy Sumner

Tony Taylor Billy Teichen Shawn Thomas Chalmers Thornton Michael Tiranoff Jemal Touba Norman Trell Ellen Tresselt Marie-Anne Tribouilloy Sean Valentine Patrick Valentino Ellen Vallue Lane Vanderslice Patrick Vernon Paul G. Viani Brian Voigt Mark Vollmer Dagmar Walter Max Weinman Steven J. Weinman Oliver Welch Bob West David Whitbeck Gale & Jim Wiese Douglas Wieselman George Williams Safari Williamson Sam Williamson Gregory Winter Nadine Wolss Paul Wood Elizabeth Worthman Jen Zeltsman Todd Zielinski Gabriel Zimbler Myrna Zimmerman

We would also like to extend our thanks to everyone who reposted about our fundraiser on social media or otherwise spread the word. Thank you for helping WKCR reach many more people, and for helping many more people reach WKCR.

18 OnAir · May 2023

SUPPORT WKCR TOP 5 REASONS TO DONATE TO WKCR 1. You’d be helping a student-run, listener-funded, and volunteer-based radio station continue to bring you the absolute best in what radio has to offer. Music, arts, news, and sports— we’ve got the works!

2. You wouldn’t be a free-rider anymore.

3. WKCR donations are tax-deductible (so make sure you donate before tax season). For more info on that, or anything else business-related, email business@wkcr.org 4. Being “the Original FM,” our equipment is getting a bit old. For example, Buzz, the hamster that runs the wheel that powers the station, is getting a little worn-out and arthritic. We need a new hamster. Sorry, Buzz, but it’s gotta be done!

5. Isn’t OnAir cool? Without proper funding, projects like this can’t come to fruition and, if they do, don’t make it very long. Donate to allow the little OnAir minions to stay in the job (we are all OnAir minions).

HOW TO DONATE TO WKCR IN 4 STEPS

BY MAIL Step 1: Locate your nearest checkbook

ONLINE Step 1: head to www.wkcr.org

Step 2: Indicate “WKCR” as payee and fill out as usual

Step 2: Click the yellow “DONATE TO WKCR” banner at the top of the page

Step 3: Mail cheque to CU Gift Systems, 622 West 113th Street, MC 4524, New York, NY 10025

Step 3: Fill out the form in the giving portal and enter your information...

Step 4: ...and VOILÀ! Just like that, you have become a WKCR supporter!

WKCR also accepts cheques to our direct address. Just Follow the same steps listed above but mail the cheque to: 2920 Broadway, New York, NY 10027

Step 4: ...and VOILÀ! Just like that, you have become a WKCR supporter!

Did you know you can make recurring donations to WKCR when you donate online?

Just indicate your frequency preferences on the giving portal when prompted!

OnAir · May 2023 19

20 OnAir · May 2023

WKCR 89.9 FM

2920 Broadway New York, NY 10027

Sp e c i a l t ha n ks to Ale Díaz-Pizarro, Charlie Smith, Cliff Preiss, Deacon Strange, Kur t Got tschalk, Leon Zhou, Maria Shaughnessy, Mat thew Rivera, Mitch Goldman, Paul Burkey, Sam Seliger, Schuyler RabbinBirnbaum, Sharif Abdus-Salaam, Ted Schmiedeler—& you!