OnAir December 2023

ON AIR

WKCR 89.9 FM

December 2023 Vol. xxii, No. 12

OnAir · December 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 Heads Tanvi Krishnamurthy & Satch Peterson jazz@wkcr.org New Music Head Razvan Matei newmusic@wkcr.org Classical Head Melisa Nehrozoglu classical@wkcr.org American Head McKenna Roberts american@wkcr.org In All Languages Head Ann Vettikkal ial@wkcr.org 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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Dear Listeners, I hope I am not the only one surprised at how quickly the year has whizzed by. There is much to reflect on in the wake of 2023: hours of great music, new broadcasts, a station-saving fundraiser... But we can leave all that rearview-mirroring for our January issue, and make December at WKCR a time to bid the year a soft adieu.

And what better way to do that than our 58th Bachfest? You don't need us to tell you all that Bachfest means; instead, this month, we turn to you for that: this issue's featured piece is a collection of listener testimonies and remembrances of Bachfest's importance.

But if our farewell to the year consists of the classics, we would do well to extend the definition beyond Bach. December also pays homage to two jazz greats who may well be considered classics in their own right: Donald Byrd, whose discography and legacy is commemorated in a fabulous article

by Jazz Head Tanvi Krishnamurthy; and Barry Harris, whose trailblazing oeuvre and lifelong appreciation for the classics (swung or unswung) justifies the melding, on the cover, of Harris with another certain Decemberite keyboard virtuoso...

Importantly, all three members of this month's "B-list"—Bach, Byrd, and Barry, though their music is A-plus—were, in their own way, music educators. To honor them is to remember WKCR's dual commitment to art and education, which has always underlined our mission and which we carry with us, out of the old year and into the new.

Happy Listening!

Alejandra Díaz-Pizarro Station Manager Cover photo by Brian McMillen. Art by Ale Díaz-Pizarro.

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 What Does Bachfest Mean To You? . . . page 4 Places and Spaces: Discography of Donald Byrd

. . . page 7

Weekly Schedule . . . page 10

Special Broadcasts & Themed Shows . . . page 12

Show Listings for WKCR Listeners . . . page 13 Bossa Nova: The Brazilian Beat Before the Beatles

. . . page 16

Thank You! . . . page 18

Support WKCR . . . page 19

OnAir · December 2023

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I look forward to the BACH-FEST and how it fills my home with such beautiful sounds that I tend to leave it on almost continuously for the season. Bachfest is a truly pure holiday celebration, and when it arrives, it signals a time of gratitude and possibility, which we truly need in what can sometimes be dark days—the music is a light. A beacon of hope that true greatness and beauty can survive over decades if we just remember to share it.

— Nancy Christmas Laughing Cavalier (you know who) Microtonal pre-well tempered listening (Is Johnny still with us?)

Emotional support Spiritual healing New York City/Columbia University (good side) Musical Church Where I discovered Philippe Herrewaghe’s Chorals (OMG).

— Andy Bachfest will be coming on the air shortly, and what that means is that when it starts, I will set the radio to 89.9FM and the dial will not move until the new year. When I am not near the radio, then my phone will stream it. When I am not streaming it, then I will be thinking, why am I not listening to Bach Fest? Bachfest on the air means the end of the year; a time to close the book and pick up a new one.

— Bennett I love the music and the commentary of the Bach Festival and I have listened to it for many, many years. This festival, like all the others, rounds out the programming. I also enjoy learning from the information provided.

I have the sweetest memories of having early morning coffee with the festival, walking home through the park from the farmer’s market while listening to it, cooking with it, having drinks with friends for the express purpose of listening together, waking in the middle of the night and tuning in.

— Marsha

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I end up every year hunting many down old recordings that I need to own after listening to Bachfest; it's a seasonal tradition for me.

— James Bachfest helps lift my spirits and get me through the holidays.

— Jeff The holidays are tough for everyone. But especially, women. Bach Fest is the treat after the work is done. One week of gorgeousness, to soothe us all.

— Judith

FEATUR

What does mean t

compiled by Ma

As is tradition, this year's Bachfest starts at midnight on Sunda end of Sunday, December 31st. In preparation for this year's it what the festival Although I miss the jazz, Bachfest is a beautiful respite from the holiday madness and the world's troubles.

— Loraine I can honestly say that Bachfest is the highlight of the holiday season for me. For the days it is broadcasted (24/7!) I listen intently and enjoy every moment!

— Stephen A delightful surprise every time I tune in.

— Thomas

I LOVE IT! It means more than I could possibly say. All eight days! And I’ve no original haiku, but something I heard: Bach was a prolific composer; He wrote a lot of music too…

PLEASE keep it!

— Saul I can honestly say that Bachfest is the highlight of the holiday season for me. For the days it is broadcasted (24/7!) I listen intently and enjoy every moment!

— Stephen

RE PIECE

s Bachfest to you?

aria Shaughnessy

ay, December 24th and ushers out the year, running through the teration of the beloved WKCR tradition, we asked our listeners l means to them.

It was a few days before Christmas, and my girlfriend at the time and I were not having the easiest of times and were in dire need of a good date. We put one together that included seeing a Cartier-Bresson show at the Rubin, go to a cafe she really liked and went to a lot near where she was working, a dye place in Tribeca run by a really cool older couple—one of the last in the city—to get dye to restore some furniture over the holiday break. We were getting ready to go out, leaving the radio on so it’d be on for when we came back. The opening strains of

Sonata No. 5 for Violin & Flute in F minor started playing. It literally stopped me in my tracks, in the hall, right before we were leaving. I made a note of the time so I could look it up later and find out what it was. It’s still one of my favorite pieces of music and that was still one of the best dates I’ve ever been on.

— Matthew My favorite Bachfest memory is from 1982 or '83, sitting in my apartment at 110th and Broadway above Koronet Pizza, listening to 'KCR play Bach as I forced myself, all night, to type out the last of my papers for the fall semester. There's a radiator hissing in the background, and piles of Entenmann's donut boxes as I hunted and pecked on my mom's old Smith Corona.

I guess that's more a bit of nostalgia for my life as a Columbia undergrad, but Bachfest has been on my radio every holiday season since (with a gap from '87, when I moved out of NYC, to '99, when 'KCR appeared on the internet).

— Peregrine, CC'84 and former Transfigured Night host The WKCR Bachfest has provided me too many treasures to name or even recall. Near the top: the crisp, clear magic of Rosalyn Tureck's Goldberg Variations, thanks to Teri Noel Towe (I think he made the recording); the electricity of Wanda Landowska's harpsichord; and—a real comfort during the pandemic closures—Parker Ramsay's revelatory harp transcriptions, as well as the long interview with Ramsay. My thanks and appreciation to all involved.

— Mark I became aware of WKCR through a friend telling me about Bachfest 20 years ago! Now I'm a regular listener. I love Bachfest because I love Bach and it's such a wonderful part of the holiday season that I can listen 24/7—and with interesting segments and commentary. I'm a "life-long learner". Bachfest and WKCR help me do that joyfully every December—I can't wait!

— Audrey

OnAir · December 2023

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I love Bachfest. For that week all my radios are tuned to WKCR. The only other time that happens is the Bird-Prez 3 days.

— Norman To me, Bach is the greatest of all musical creators, and hearing his music non-stop for 8 days is a wonderful experience, it cheers me up in the darkest week of winter.

— Joel Beauty.

— Anonymous

KCR'S annual Bachfest spreads the spirit of Harmony and Love and the New Beginnings of Christmas (or any Spirit you celebrate) past one or two days. I promote Bachfest to keep the Holiday on 89.9 to everyone I meet. Thank you KCR! — Kevin I enjoy both jazz and classical music and have been a fan of WKCR for a long time. Bach being my favorite composer, I particularly enjoy Bachfest.

The reason I’m taking the trouble to write is that Bachfest ended up having a large influence on my life. I’ve played the piano off-and-on my entire life and did play the violin in orchestra all through grade and high school. I gave up violin after high school under the mistaken impression that there wasn’t much point in playing on my own.

Fast forward 43 (!) years to your 2020-2021 Bachfest, during which you happened to spin Hilary Hahn’s 2018 recording of some of the unaccompanied Bach violin suites. Two bars into the first track (the Adagio from the G minor sonata), she had me hook, line, and sinker.

Although I knew of these pieces, listening to her somehow put them more solidly on my radar. I instantly realized that I could “play at” these pieces on my own, for like forever. It also reminded me how fantastic a well-played violin can sound.

I immediately dusted off my violin and started playing everyday and even started

6 OnAir · December 2023

taking lessons (something I’d never done before) in Fall 2021. I have the good fortune to live in Rochester NY and am studying at the Eastman Community Music School, the open-to-all division of the Eastman School of Music, one of the premier conservatories in the world. I have gotten further into music and am now studying harmony, composition, and ear-training there as well.

This has improved my life tremendously and it all started with Bachfest!

— Timothy I have been listening to Bachfest since 1985, when I moved to NY. Although I left NY 30 years ago, I am enjoying my most favorite program on the web. I hope Bachfest will continue forever. Thank you.

— Tamaki It wouldn’t be the holidays without KCR’s Bachfest.

— Peter ooo

WKCR's Bachfest will be on the air from midnight on Sunday, December 24th through the end of Sunday, December 31st.

Bachfest merch will become available during the festival, and can be accessed on the website.

JAZZ

Places and Spaces: A Guide Through The Hits of Donald Byrd’s Discography

by Tanvi Krishnamurthy

B

eing named after the best-known leader of the Haitian Revolution necessitates a predestination for some degree of greatness. Donald Toussaint L’Ouverture Byrd II is not just a jazz great—he is a hard bop, funk, soul, pop, disco, R&B great. While Byrd’s music artfully bridged the gap between jazz enthusiasts and Top 100 listeners in the 1960s and 70s (often at the expense of incurring the disdain of jazz critics), he is perhaps most admirable in his devotion to pedagogy, as shown by his array of educational positions: from receiving a doctorate in education from our very own Teacher’s College of Columbia University and a masters in music education from the Manhattan School of Music to working as a jazz educator at Howard University, North Carolina Central University, and Rutgers (to name a few), Byrd made it clear that music is not just meant to be enjoyed, but edified.

In this article, I present an exploration of Donald Byrd’s musical and pedagogical legacy by tracking the significant releases of his discography and the breadth of his influence throughout the 20th century. While this handful of albums is by no means reflective of his entire, scorching repertoire, these pieces represent some of the moments where I saw

the ecstasy, glamor, suaveness, and electricity of Byrd’s trumpet-playing, teaching, and tact.

Byrd Jazz (1955)

Donald Byrd (t), Bernard McKinney (eu), Yusef Lateef (ts), Barry Harris (p), Alvin Jackson (b), Frank Gant (d) Recorded August 23, 1955 at the New World Stage Theatre, Detroit, Michigan While it makes sense to start with his first LP release as bandleader, Byrd Jazz represents Byrd’s origins as a solid career debut and musical continuation of the bop legacy of the jazz trumpeters before him, such as Clifford Brown. It features Byrd playing in his hometown alongside other legendary Detroit natives: Bernard McKinney, later known as Kiane Zawadi, one of the few solo euphonium jazz players; Yusef Donald Byrd, 1964. Lateef, another genrebending jazz musician; Barry Harris, a Decemberite jazz pianist (who will also be honored with a 24 hour birthday broadcast at WKCR on December 15th); Alvin Jackson; and Frank Gant. This album leans into all the swing and rhythm of hard bop and marks the beginning of a promising career for Byrd.

OnAir · December 2023

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Royal Flush (1962)

Donald Byrd (t), Pepper Adams (bar), Herbie Hancock (p), Butch Warren (b) Billy Higgins (d) Recorded September 21, 1961 at the Van Gelder Studio, Englewood Cliffs, NJ Royal Flush represents another hard bop LP by Byrd, but I specifically sought out its inclusion for the personnel on this release: this album marks the first official Blue Note recording of then-21-year-old pianist Herbie Hancock, and represents the specific pedagogical expertise that Byrd cultivated in a oncein-a-lifetime talent such as Hancock. While his music stands on its own, Byrd’s dedication to finding out and ushering in a new generation of jazz-funk connoisseurs is worth celebrating, and none are as significant as his disciple in Hancock, who became as synonymous with the genre as Byrd himself.

Black Byrd (1973)

Donald Byrd (t, fh, et, v); Allan Curtis Barnes (f, o, sax); Roger Glenn (sax, f); Fonce Mizell (t, v); Larry Mizell (v); Kevin Toney (p); Freddie Perren (p, snt, v); Dean Parks, David T. Walker, Barney Perry (g); Joe Sample (p, elp); Chuck Rainey, Wilton Felder, Joe Hill (b); Harvey Mason, Sr, Keith Killgo (d); Bobbye Hall Porter, Perk Jacobs, Stephanie Spruill (per); King Errisson (cng, bo) Recorded April 3–4, 1972 at the The Sound Factory, Hollywood While Byrd’s distinct departure from the bop of his prior work can be heard first on Electric Byrd, Black Byrd is a worthwhile album to

8 OnAir · December 2023

Donald Byrd, Bruxelles, 1964.

consider when understanding Byrd’s trajectory from the fringes of jazz into the mainstream popular world. This release is also his first collaboration with the Mizell Brothers, a duo of producers who shaped the signature funk and groove of Byrd’s following albums.

Clearly, the musical flair of this collaboration was something special that listeners picked up on, as this album went on to become the then-highest selling Blue Note Record upon its release.

Places and Spaces (1975)

Donald Byrd (t, fh, v); George Bohanon (tb); Ray Brown (t); Tyree Glenn, Jr. (ts); James Carter (w); Fonce Mizell (t, clvd, v, clv); Larry Mizell (p, v); Craig McMullen, John Rowin (g); Skip Scarborough (p); Larry Dunn (snt); Chuck Rainey (b); Mayuto Correa (per, cng); Harvey Mason (d); King Errisson (cng); Kay Haith (v) Recorded August 18, 20 & 25, 1975 at the The Sound Factory, Hollywood No Byrd album holds as close a place to my heart as Places and Spaces—the first Byrd LP I ever listened to, and one which I find has withstood the test of time more than any other Byrd release. A certified classic in the American funk canon with hits such as “Dominoes” and “Change (Makes You Want To Hustle),” this album transports the listener into places and spaces filled with the grooves of pure ecstasy and unadulterated joy. This album also represents one of Byrd’s most influential, as artists such as Nas and A Tribe Called Quest— to name a few—have sampled its tracks. In this vein, Byrd’s impact on American music extends well beyond just jazz or funk: his music has been repurposed in hip hop and has played an integral—and even direct— role in adding to the rap repertoire, with his contributions to albums by Guru as an example.

When thinking of the reason this album holds such a prominent position in American music, I realize that as much as I love to revel in the beauty of melancholic and contemplative jazz, there is just as much to celebrate about music that can make you feel exultation as you’ve never felt before.

Byrd record; rather, it is the debut album from the Blackbyrds, a group of talented Howard University musicians selected and trained by Byrd himself to craft a masterful and joyous amalgamation of electrifying funk, overlaid with catchy lyrics and hypnotic rhythms. Not only is this album one in which you can feel the music quite literally erupt from the players, it represents the legacy Byrd would leave behind as not just an artist, but as an educator.

I

f there is one way we can remember Donald Byrd’s legacy, it’s that of freedom.

Never bogged down by the conventions of a genre or the constraints of critiques and always progressing with the times, his music is one that is undeniably meant to be enjoyed, danced to, and reveled in. As we think about the liberatory nature of music, we must remember that liberation is meant to be accessible and abundant. Byrd’s music may have become commercialized, but that doesn’t lessen his commitment to creating melodies and rhythms that reach deep into the soul and awaken a vigor for joyous life that is unparalleled– not just in jazz or funk, but in American music at large.

City Life, The Blackbyrds (1975)

Donald Byrd (t, fh, v); Joe Hall (b); Keith Killgo (d); Orville Saunders (g); Kevin Toney (key); Stephen Johnson (sax); Merry Clayton (v–“Happy Music”) Recorded in 1975 at The Sound Factory, Hollywood This LP is unique in that it is not a Donald

On Saturday, December 9th, WKCR will be celebrating the life and legacy of Donald Byrd with a 24-hour birthday broadcast on what would’ve been his 91st birthday.

OnAir · December 2023

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

SUNDAY

MONDAY

TUESDAY

WEDNE

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

Free Samples Caribe Latino Urbano Latinx

News + Arts P Honky Tonkin’

Nueva C

Tuesday’s Just as Bad

Som do

Night Train

Transfigur

Coordinated Universal Time

3:00 am 4:00 am

Jazz Alte

Phil Lives

10 OnAir · December 2023

Transfigured Night

ESDAY

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

red Night

Hobo’s Lullaby

Middle Eastern Influences

Sonidos Colombianos

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

The Mambo Machine

Transfigured Night

8:00 pm

10:00 pm

Notes From Underground 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

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

Jazz ‘til Dawn

OnAir · December 2023 11

Special Broadcasts BIRTHDAY BROADCASTS

Donald Byrd

Saturday, December 9th, all day

Embark on a musical odyssey as we pay homage to the unparalleled Donald Byrd. Born on December 9, 1932, in Detroit, Michigan, Byrd left an indelible mark on the realms of jazz, hard bop, R&B, and beyond. A trumpeter, composer, and educator, his career spanned decades and encompassed a kaleidoscope of styles. From his early collaborations with Art Blakey and John Coltrane to his groundbreaking work on Blue Note Records, Byrd consistently pushed the boundaries of innovation. Join us as we explore the sonic landscapes of this jazz luminary, celebrating a maestro whose impact resonates across genres and generations.

have their first Bach experience. As always, we kick off the festival with Bach’s Magnificat in D Major on Sunday, December 24th and close with the legendary St. Matthew Passion on Sunday, December 31st. Don’t miss it!

THEMED SHOWS

SUNDAY PROFILES Sundays 2:00-7:00 PM

PRE-EMPTED: Women's Basketball Broadcast vs. Villanova December 3rd, 2:00 - 7:00 PM Host: TBD

The Birth of Bossa Nova December 10th, 2:00 - 7:00 PM Host: Rachel Smith

Barry Harris

TBD

Born on December 15, 1929, in Detroit, Michigan, the jazz piano virtuoso Barry Harris has been a beacon of bebop brilliance throughout his illustrious career. Steeped in the bebop tradition, Harris collaborated with legends like Cannonball Adderley and Dexter Gordon. His timeless compositions, such as "Nascimento" and "Bebop," reflect his mastery of harmonic sophistication and rhythmic vitality. Don't miss this comprehensive tribute to the living legend on his special day.

Host: Sid Gribetz

Friday, December 15th, all day

Bachfest

Sunday, December 24th through Sunday, December 31st, all day (192 hours!)

Bachfest returns for its 58th year on the WKCR airwaves! Keep your dial turned to 89.9FM for eight straight days to hear your favorite Johann Sebastian Bach masterpieces from the Goldberg Variations to your favorite cantatas to archival recordings of Phil Schaap’s Jazz Bach.

In addition to our archival programming and your favorite hosts, we have a whole new crew of student programmers who are excited to

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December 17th, 2:00 - 7:00 PM

FREE SAMPLES Mondays 9-10pm Host: Ted Schmiedeler

MM...FOOD - MF DOOM December 4th, 9:00-10:00pm

Ironman - Ghostface Killah December 11th, 9:00-10:00pm

Mecca and the Soul Brother - Pete Rock & C.L. Smooth December 18th, 9:00-10:00pm

SATURDAY NIGHT AT THE OPERA Saturdays 9:00 PM-12:30 AM Host: Ale Díaz-Pizarro

Maria Callas Centennial

December 2nd, 9:00pm-12:30am

L'Amour de Loin (Saariaho) December 16th, 9:00pm-12:30am

The "Coffee Cantata" and other Secular Cantatas (Bach) December 23rd, 9:00pm-12:00am

Show Listings

JAZZ

Daybreak Express, weekdays 5-8:20am Out to Lunch, weekdays 12-3pm Jazz Alternatives, weekdays 6-9pm These three programs comprise the core of our jazz offerings. Programming consists of everything from New Orleans jazz, jazz age, swing era, bebop, hard-bop, modal, free, and avant-garde. In short, you’ll encounter the entire range of recorded jazz on these programs.

Hosts rotate from day-to-day, offering an exciting variety of approaches, some of which include thematic presentation, artist interviews, or artist profiles Birdflight, Tues.-Fri. 8:20-9:30am Archival programs from the late Phil Schaap, one of the world’s leading jazz historians, who hosted this daily forum for the music of Charlie Parker for about 40 years.

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.

Phil Lives*, Mon. 3-5am This overnight show features archival broadcasts of longform programs from late NEA Jazz Master Phil Schaap.

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

The Early Music Show, Fri. 9:30am-12pm Dedicated primarily to European medieval, Renaissance, and baroque music, all from before 1800 (±50 years).

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.

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.

Saturday Night at the Opera, Sat. 9pm-12:30am.

One of NYC’s longest running opera shows, Saturday Night at the Opera is a 3.5 hour show that allows operas to be played in their entirety, with room for commentary, descriptions, and some history.

NEW MUSIC Afternoon New Music, Mon. & Tues. 3-6pm Our daytime new music program features a wide variety of music that challenges boundaries and subverts categorizations. Shows include everything from seminal new music compositions to the most challenging of obscure deep cuts and new releases.

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 and local artists.

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

AMERICAN Honky Tonkin’, Tues. 10-11pm One of WKCR’s longest-running American music programs, Honky Tonkin’ lands in the harder side of Country music. Emphasizing the greatest voices in the genre, Honky Tonkin’ is a country music dance party every Tuesday night.

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 · December 2023 13

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 postwar 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.

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 experimental instrumental artists not typically played on mainstream hip hop radio.

Across 110th Street, Sat. 12-2pm Kicking off our Saturday afternoon American music run, Across 110th Street airs soul, funk, and dance music from the 1960’s through the 1980’s and 90’s.

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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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.

LATIN Caribe Latino, Mon. 10pm-12am Caribe Latino is a music program that features the diverse, upbeat music from numerous Latin communities in the Caribbean. Popular Latin rhythms such as Salsa, Merengue, Bachata and Latin Jazz take center stage throughout the program.

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 The Mambo Machine is the longest running salsa show in New York City. The program presently plays a wide spectrum of Afro-Latin rhythms, combining new and old into an exciting, danceable mix.

El Sonido de la Calle*, Sun. 2-4am A companion show to Saturday night’s American Notes from Underground, El Sonido de la Calle highlights the diverse world of contemporary Spanish-language hiphop and dance music.

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.

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

Eastern Standard Time, Sat. 8am-12pm One of New York’s most popular Reggae programs, Eastern Standard Time takes listeners through Saturday morning from 8 am to noon with the hypnotic sounds of Reggae and Jamaican dance music.

Field Trip, Sun. 6-8am Field Trip focuses on the music and practice of field recordings: music recorded outside of a studio. Tune in and you may catch field recordings that were recorded fifty years ago, others that were experimented with by your favorite Afternoon New Music artist, or even those documented in New York City by WKCR itself.

Raag Aur Taal, Sun. 7-9pm Raag Aur Taal explores the sounds and rich cultural heritage of South Asia. The term “Raag Aur Taal” roughly translates to “melody and rhythm,” indicating the classical nature of this program.

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!

Free Samples*, Mon. 9-10pm Explores landmark hip hop albums and their place in history and music at large by playing a selection of songs and breaking them down into the samples that make them up—meaning this show often crosses over with other genres, such as jazz, soul, and funk.

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.

SUNDAY PROFILES Sunday Profile, Sun. 2-7pm* A WKCR classic, programmers use five hours to showcase longform profiles of pioneering artists. While the primary focus remains on jazz music, we also feature other styles and traditions from across WKCR’s different programming departments.

* indicates show was created after January 2022

OnAir · December 2023 15

JAZZ

Bossa Nova: The Brazilian Beat Before The Beatles

by Rachel Smith

H

ow did a little-known offshoot of samba music, born in the bedroom of a residential apartment in Copacabana, become so successful in the U.S. that it topped the charts right up until The Beatles?

Bossa nova, literally translated as “new wave,” originated in the mid-1950s, likely in the apartment of Brazilian singer Nara Leão in Copacabana, Rio de Janeiro, Brazil.

Bossa nova toned down the operatic vocals of samba-cançao (a sentimental style of samba, popular from the ‘30s to the ‘50s) and put guitar in the foreground with a new beat. It first gained popularity with the 1959 recording of “Chega de Saudade” (known in English as “No More Blues”) by the Brazilian guitarist, singer, and bossa nova pioneer João Gilberto. The track was composed

by Antônio Carlos Jobim (who is often credited with internationalizing bossa nova), with lyrics by poet Vinícius de Moraes. Jobim and de Moraes were the all-star duo behind bossa nova’s most popular standards.

By that time, most Latin American genres that were imported into the U.S. music scene—

16 OnAir · December 2023

samba, tango, salsa, mambo—were associated with dances. In the unique case of bossa nova, however, the introduction of the music came before that of the dance. American jazz guitarist Charlie Byrd first heard bossa nova during a tour in Brazil in 1961, and decided to bring the genre to America with the 1962 release of his album Jazz Samba with American jazz saxophonist Stan Getz. The album enjoyed both critical and popular success: at the 1963 Grammy Awards, the album was nominated for Album of the Year and its track “Desafinado” won Best Performance; Jazz Samba sold half a million copies in only 18 months.

Jazz turned out to be the perfect musical companion for bossa nova: just as jazz João Gilberto, 1972. swings, bossa nova Fundo Correio do Manhã. sways. Cool jazz (to which U.S. audiences had already been introduced, largely by Miles Davis’s Birth of the Cool in 1957) has a similar feel to bossa nova, and likely paved the way for the bossa nova craze. (In fact, some consider bossa nova a direct descendant of cool jazz, though many—including Jobim himself—

would disagree.) Though bossa nova began in Brazil on classic guitar (played with fingers, not a pick) with soft vocals—according to Gilberto’s vision—its instrumentation expanded on the U.S. scene. You could hear bossa nova on the tenor sax (Stan Getz, Coleman Hawkins), guitar (Charlie Byrd), trumpet (Quincy Jones), alto sax (Cannonball Adderley), flute (Herbie Mann), piano (Dave Brubeck), and voice (Frank Sinatra, Ella Fitzgerald).

But bossa nova’s influence on American music did not stop at jazz; in fact, bossa nova enjoyed crossovers into pop, rock, and even hip-hop. Eydie Gormé immortalized the genre in pop music with her 1963 hit, “Blame It on the Bossa Nova.” That same year, Elvis performed “Bossa Nova Baby” in the film Fun in Acapulco.

Sérgio Mendes and Brasil ‘66 covered “Mas que Nada” (which might be translated in idiomatic English translation as “But That’s Nothing” or “Oh, Come On”) in 1966 to international acclaim. The song was later re-recorded by The Black Eyed Peas featuring Mendes in 2006. And

Sergio Mendes in August 1969. Photo by Carl Mailhot.

on The Doors' self-titled debut album (1967), drummer John Densmore used a bossa nova beat for the first single, “Break On Through (To the Other Side).”

Today, bossa nova is known as the first Brazilian music genre to have impacted music all across the globe. With almost 3,600 known recordings, the most popular bossa nova standard, “The Girl from Ipanema,” is the second-most recorded pop song in history, only after “Yesterday” by The Beatles.

During the reign of Rock n’ Roll, bossa nova quietly ceded its popularity. But make no mistake: it had not been defeated. Bossa nova was hidden, but it was everywhere. All you had to do to find it was listen.

Tune into Sunday Profiles from 2-7 PM on Sunday, December 10 for Rachel’s special broadcast on bossa nova music.

OnAir · December 2023 17

W

Thank You!

KCR's winter fundraiser, held November 9th-12th, continued WKCR's post-pandemic fundraising efforts and helped us close out the year on solid footing. Thank you to everyone who donated (whether via phone, check, or online) for making 2023 WKCR's strongest year in recent memory, and just the first of (hopefully, with your help) many to come!

The following names are of listeners who pledged $100 or more over the phone and consented to having their name printed in this guide. We thank all contributors, of any amount and through any medium.

Alan G. Hirst Alessandra Sternberg Amerigo Celffi Amy Summer Andrea LeWinter & Stephen Seliger Andrew King Andy Reynolds Anthony Martinez Balse Morrison Barnaby Blatch Ben Sherry Benjamin Greene Bob Curtis Bob Devos Charles Hatchet Christina Eisenbeis Christopher Dewees CJ Prudinsky Cornelius McDonough CW Dan Sullivan Darnell Starks Dave Vasa David Bailin David Chorlain David Glaser David Heath Devin Leonard Diana Gavagan Douglass Clifford Dub Doctor DW Conrad Ed Penny Georga Garnelu George Bradley Hans Gesell Helena

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Herb Elbern Herb Henry James Hirscht James Keenan Jason Moran Jeff Lederer Jeffrey Gonzalez Jill Platner John Geoffrey John Kelly John Spinks Jon A. Brown JP Karla Reganold Kate Berton Kent Stoltzman Kim Miller Kitty Glantz Lalitha Krishnamurthy Larry Sills Laura Cantrell Lawrence Brown Lawrene Garment Leonard Pack Lou Grassi Louis Hector Marian Begley Marisa Nolino Marlene Jeenel Matthew Garrison Matthew Griebon Max Abelson Michael Benar Michael Galan Michael Goldman Michael Leavitt Mike Poindexter Milton Campbell

More Relation Nancy Abraham Talow Nei Chou Newton Nugent Nick and Kate Patrick Valentino Peter Timmins Rack Straw Randy McConnach Richard Altman Richard Nidel Rip Hayman Robert Jopson Robert Mannenti Roslyn Powell Sabas Aboabaa Schellie Hagan Scott Heavner Scott Wolff Sean McLeod Shawn Thomas Siobhan Duffy Stephanie and James Stephen Montifiore Steven Glassman Susanna Bergtold Terry Royful Thomas Cuscito Thomas D'Angelo Thomas Larson Tim Ellsworth Tony Jarvis Ulysses Kilgore III Victor Sainvil Vilma Elliot Will Schutz Zerald Love

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. Thanks to your 2023 donations, we were able to retire Buzz, the hamster that ran the wheel powering us. But our new hamster, Roach, needs to start saving for retirement... can you blame him?

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 check 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 checks to our direct address. Just follow the same steps listed above but mail the check 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 · December 2023 19

20 OnAir · December 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, Ben Erdmann, Georgia Dillane, Maria Shaughnessy, Rachel Smith, Tanvi Krishnamur thy, Ted Schmiedeler, Zachar y Vanderslice... & you!