Bob McWilliams


JAM talks with KANU's longtime jazz host about diverse interests, jazz on the air, and using the internet to spread the word.

Bob McWilliams

JAM: Your background is a veritable quilt of pursuits and passions -- a double major degree from KU in history and economics; a law degree from Harvard; a masters from KU in US history; doctoral studies in African American social history and jazz; a radio host at KANU in Lawrence since '83. What has inspired a life of such diversity?

BM: Actually, what you describe only scratches the surface... (laughs) I suppose it's that I've found so many interesting things going on in the world that I've hated the thought of not exploring as many as I can.

JAM: When did the jazz bug first bite?

BM: During my freshman year at KU. I had the good fortune to have a roommate who played some jazz piano, and his best friend played trumpet, so I heard a few things they did and got interested. I then stumbled across a cutout LP sale at the Kansas (student) union and saw one album that said "Miles Davis," with an ultra hip picture of Miles circa 1970. The music on that LP was actually from some Charlie Parker Dial (records) sessions on a label of dubious legality, and there were numerous errors in the skimpy liner notes. Anyway, I put that album on, got ready to shower, change and go out. I ended up listening to all of it at least three times before actually getting in the shower. I was completely transfixed. Not long after, I bought Miles' "Kind of Blue," and that was that!

JAM: How did radio end up winning out over a career in the other fields in which you've prepared?

BM: There are a lot of circumstances involved there, as I dearly love teaching as well as radio. But, for family reasons, I needed to stay in Lawrence at some crucial decision making times, and staying at KANU made that possible. Ideally, I'd like to do a bit of teaching to go with the radio, but I am more than busy enough as it is.

JAM: Armed with a law degree from Harvard, it would seem you were poised for a career as a real "legal eagle." Yet you only practiced for four years (1980-84). Care to talk about why?

BM: It took a very serious bout with depression to help me realize that I didn't really want to be a lawyer... that I'd been pursuing that more to meet family expectations than to fulfill any of my own aspirations. I realized that I didn't really like the aspects of litigation where you set out to destroy your opponent, even if your opponent was somewhat (or mostly) less than pure.

JAM: You've told us you spent a lot of time in the jazz clubs of Boston when you were at Harvard (1977-80). How did that jazz scene stack up to what you've experienced in the Midwest?

BM: When I was there, the Boston scene had a nice mix of some great resident players, whether they were educators like Herb Pomeroy from Berklee, or regular club performers like Stanton Davis and George Garzone. There were also the young cats in town studying at Berklee and the New England Conservatory, plus a lot of the biggest names in jazz playing club dates. I was lucky enough to sit right up front at club dates with Dexter Gordon, the Heath Brothers, Johnny Griffin, Art Blakey, John Abercrombie, Yusef Lateef and many others, including a magical gig at Ryles (in Cambridge) with Pat Metheny, Michael Brecker and Pat's "80/81" band. As far as comparing all that with this area, I guess the biggest difference is that club dates by touring musicians are a lot rarer here. But there are certainly quite a few musicians in KC who stack up well with those in Boston. Also, it's not like Boston was loaded with jazz clubs when I was there; almost all my listening took place at three clubs. What was really amazing was the quality and quantity of jazz radio -- virtually 24 hours a day albeit on different stations. I was immersed in great music with great jazz announcers like Tony Cennamo on WBUR, Ron Della Chiesa and his "Music America" on WGBH, and Eugene Filliachi on WERS.

JAM: Do you think there's a "Kansas City sound," an "East Coast sound," and so on, when it comes to jazz?

BM: I think there certainly is a Kansas City sound -- a somewhat loping, more behind the beat sense of swing, with a lot of bluesiness and a rather open feel, as opposed to the density and brittleness you often hear in East Coast clubs. But, I think those categories are often just marketing techniques. Certainly the whole myth that West Coast jazz was "cool," arranged and genteel has pretty much been discredited. And lots of people on the East Coast were, and are playing jazz that doesn't fit "East Coast" stereotypes. There does seem to be a postmodern, downtown, New York City school these days, but again, I think a lot of these categories are not all that useful in describing the music.

JAM: As a member of KANU's staff since 1983, you had the chance to know and work with the late Dick Wright. What will you always remember about him?

BM: Oh gosh, I actually knew Dick from the mid 1970s on, when I was a listener and a volunteer. I could fill this whole interview with memories of Dick. The most important things I will always remember about him include his incredible enthusiasm about music, his incredible kindness towards people, and his incredible selflessness.

JAM: Let's talk about jazz radio. What purpose does it serve?

BM: First and foremost, radio is entertainment and jazz radio is no different. Or it should be no different. There is still far too much of the old, elitist, public radio attitude that "this is deadly serious, incredibly important, and you have to be an expert to even begin to appreciate this. So if you aren't, go away." Well, baloney! Jazz is fun, and jazz radio should be fun. Now, do I think jazz is an important, serious art form? Of course. Do I think jazz radio serves an educational function? Of course. Do I think jazz radio has a vital part to play in helping get the word out about happenings in the local jazz community? Of course. Do I think that jazz radio is vital in getting new music into people's ears? Very much so. But it all comes down to being entertaining; because without that, not many people will be listening. And then there won't be jazz radio at all.

JAM: What are the things that determine whether or not something gets airplay?

BM: First, does a recording fit into our pretty broad jazz format. We don't play so-called "smooth jazz," and we don't play aggressively outside or avant garde music. Second, is it a quality recording, both musically and in terms of production values. Third, is it radio friendly. If it's a 12 to 14 minute track laden with bass and drum solos -- which may be fun to watch and hear in person, but will tend to cause a lot of station switching on radio -- it's not likely to get airplay. And lastly, and this is the hardest to explain, does a recording have that "something special" that makes it fun, interesting and intriguing.

JAM: You mentioned "smooth jazz." How do you feel about that format?

BM: It's a clever marketing term for music that seeks mostly to be soothing background music for a certain demographic that wants to relax in a hot tub after a stressful work day. It's got as much to do with jazz as French fries have to do with French cuisine. Having said that, there are some good musicians playing that music. Lots of people like lots of different kinds of music, and there's nothing that makes one more moral or virtuous for liking Charlie Parker than Kenny G. But, I'd rather hang with the Bird fan.

JAM: What do you think are the requirements for a good jazz broadcaster?

BM: You have to love the music, you have to be able to convey your enthusiasm, you have to be able to handle the technical end of broadcasting, and you have to have big ears and an open mind. It's not just about playing your favorite artists and styles. There are artists and styles that I like less than others, but I still play them because I know there is an audience for it and I know that other people in jazz that I respect have a different opinion than mine. It's also about having the ability to program sets of music in ways that have variety but still fit together. There are certainly some jazz groups that don't have that ability, as anyone who's spent enough nights in clubs knows. (laughs)

JAM: Do you have any predictions for the future of jazz on the air?

BM: All attempts to predict anything about the future are exercises in futility. Current trends, though, pretty much show that unless jazz radio becomes more listener friendly while still staying innovative in terms of musical selections, it's likely to become scarce. Also, internet and satellite radio will force local jazz radio to be excellent, entertaining and tied into the local scene, or else local jazz radio will vanish. So, I guess that's kind of a prediction.

JAM: The internet is something that is impacting all facets of society now; even radio, as you say. How is KANU keeping up with the times?

BM: On the most basic level, KANU is streaming its signal 24 hours a day in Real Audio via our web site at http://kanu.ukans.edu. It's not that we expect a worldwide stampede to our web site, but there are a lot of people on the outer edges of our listening area -- including a lot in the Kansas City area -- who have some reception problems at work or at home and can find us on the web. And for those people, we still have a regional connection; they can find out about concerts and club dates in the area, we'll play a lot of local artists, have the area weather, and so forth, with better reception than they might get otherwise. Also, on our web site, there's jazz calendar information, jazz links, and our weekly jazz CD giveaway, which makes it imperative to drop by at least once a week! It's also a great way to tell people about special programming we have on KANU, such as our ongoing in-studio performances on our own KANU baby grand piano!

JAM: Looking at jazz as a whole, how do you see its current health? And what do you think it will take to keep it alive and moving forward in the coming millennium?

BM: I'm generally optimistic about the music's health. There are a lot of good young players and they are exploring a lot of interesting areas, especially in terms of rhythm and in terms of incorporating a lot of musical influences, including various world musics. There's so much yet to be explored in all the styles of jazz that have appeared in the last century; this is still a very young music, and the rush to be new and different has both kept the music exciting but has also meant that there is still a huge amount to be explored in almost every style that has come along. But overall, the biggest threat to the music is our educational system, which far too often has eliminated or drastically reduced music education, both in terms of training young musicians and in terms of music appreciation. And as a result, the pool of potential musicians and listeners is getting smaller and smaller. The best thing we can do for the future of jazz is to strongly support increased spending on the arts in the public schools. Also, those who say they love jazz need to make it possible for jazz musicians to make a living. Go to shows. Buy CDs. Support radio stations that are playing new music.

JAM: We assume you've prepared for the expected "desert island question." If you could take five, which ones would they be?

BM: You know, desert islands aren't what they used to be, when you got to take ten albums! Actually, everytime I've ever been asked this question, my answer has differed. It depends on the alignment of the universe that day. Everytime I've been asked, though, Miles Davis' "Kind of Blue" has been on the list, although I could probably replay most of it from memory. So, today, subject to change before the next desert island comes along, the list is: Miles Davis' "Kind of Blue," because its beauty is fit for eternity. Duke Ellington's "The Blanton-Webster Band," because it would take eternity to start to comprehend Duke's genius at voicings and in creating so much music in three minute spans. Charlie Parker's "The Dial Sessions," because I'd never want to stop bopping. Lambert, Hendricks and Ross, "The Most Exciting New Group in Jazz," because trying to sing along with it would keep me challenged for a long time, would keep me awake when I was dragging, and it would remind me of my daughter (it's her favorite album). And also John Coltrane and Johnny Hartman. Don't you wish you could go back in time and have them record more than six songs?


Catch Bob McWilliams and "Jazz in the Night" Monday through Thursday on KANU, 91.5 FM.


RETURN TO APRIL 2000 MAIN INDEX

------------------------------------------------------------------------
© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.