By Glenn M. Ito

I'll never forget this image of Fred Bouchard conducting an interview in Bradley's (NYC). Sitting across the table from his interviewee, Fred was leaning across the table, practically breathing down the musician's neck! Real close-like. But you could tell the two of them were having a very intense discussion about something. I always enjoy reading Fred's interviews, and I think it's that 'closeness' to the artist that makes him one of America's top jazz journalists.

There's simply no way I could list all of his writing credits, but here's a quick (and rather impressive) glance: Rome Daily American (Italy), Jazz Journal Int'l (England), Boston Phoenix, Downbeat, Jazztimes, Musician Magazine, Boston Herald America, Swing Journal (Japan), CD Review, Boston Globe, Bossa, Melody Maker (England), Christian Science Monitor, Billboard Int'l, Contemporary Keyboard, and Crawdaddy. He also hosts 'Crosscurrents' on WMBR-FM, M.I.T.'s own radio signal in Cambridge, MA.

GI: Tell us how journalism and jazz happen to merge in your life?

FB: I was scribbling at a tender age, writing poems in block capitals to my parents and friends when I was five; at eight I filled a 50-page composition notebook with a saga of a Martian invasion in rhyming couplets with detailed drawings. I was drawn to music early, too; when I was 10, my Dad gave me his old Preuffer clarinet, a portable RCA Victor 3-speed phonograph, and Benny Goodman's 1938 Carnegie Hall Concert on a green-labeled Columbia Masterworks LP that was a 1/4-inch thick. I still have the LP and the clarinet (but play a Buffet that Emilio Lyons gave me); my sound equipment hasn't progressed much further than my playing. At 12, I was singing tenor in the Classical High [Providence, RI] Chorus; our first big piece was Faure's Requiem. I'm still into choral music: our neighborhood chorus just did Mozart's Requiem (my third time). From hot Goodman I quickly moved on to Jimmy Giuffre, and tootled cool chalumeau along with his Jimmy Giuffre Clarinet (Atlantic 1238). By the time I got to Boston College, I was sneaking into The Stables (Herb Pomeroy) and Wally's (Sabby Lewis) and Connolly's (Hawk, Stitt, Dex...) and Storyville (Monk, Maynard, Brubeck, Sarah) with a fake Maine license (I was big for 16). In that chorus, C. Alexander Peloquin had us singing some pretty challenging modern music, including some of his own works. Right after college I approached Boston After Dark (today the Boston Phoenix) and started writing an irregular jazz column called Bent Notes or something. I recall covering Jaki Byard, Sam Rivers, Illinois Jacquet (at Lennie's On the Turnpike), many others. Then I split for Europe and while in London (1969-71) wrote for Jazz Journal (before it went International). When I got back, I went one weekend to Greenwich Village and caught Gil Evans at the Bitter End; I was sitting next to Sy Johnson, who hipped me to what was happening chart-wise; Trevor Koehler, Billy Harper, and Sue Evans floored me. So I wrote it up and mailed it cold to Downbeat; they called me where I was teaching English and asked me if I wanted to be their Boston correspondent, because [trombonist] Phil Wilson's wife Pat had gone on maternity leave. The rest is silence.

GI: Can you give us some of your most memorable experiences as a jazz journalist?

FB: Let me keep them very general and place them in three categories:

1. Getting physically close to my idols and actually conversing with them one-on-one, as people, not in interview situations, such as Duke Ellington, Mahalia Jackson, Dizzy Gillespie, Randy Weston, Carmen McRae, Papa Joe Jones.
2. Hearing great music in wonderful settings: early Newport Jazz Festival events (Don Ellis Orchestra, Ellington, Basie); nights at the Giardino in Perugia at Umbria Jazz (Stan Getz, Milton Nascimento, George Russell Orchestra).
3. Hearing world audiences and musicians appreciate, absorb, and mutate jazz on their own terms, in India, Pakistan, Italy, Jamaica, Switzerland, Australia, New Zealand, Trinidad...
4. Enjoying private epiphanies while observing performances which far exceed entertainment, such as Dave Holland's Quintet just last week at Regattabar. (many classical ones, too)

GI: When reviewing a recording or live performance, is there any certain 'routine' you have?

FB: No--I like to surprise myself. These are 'the sounds of surprise' we're dealing with, after all, as Whitney Balliett (another idol) put it so exquisitely. However, like Howard Mandel, I try to get out of myself and into the music, and do take stream-of-consciusness notes.

GI: We now come to the most difficult part of this interview, and for some strange reason, I have this feeling, Fred, that your response will be overwhelming! But let's go for it! What's your favorite food?

FB: It depends upon what wine I'm drinking, and vice versa. I'll list a few combos I find appealing: Nahe (German) Riesling with Shad Roe; Scallops sauteed w/ chives & lemon grass with New Zealand Sauvignon Blanc; Tagliatelle with Truffles, Cream & Sausage with Chianti Classico; Pinot Noir with Duck, Prunes & Turnips; Barbaresco (Italy) with Spring Lamb and Rosemary; Barolo (Italy) with Pork Roast & Shallots; Grana (Parmesan) Cheese & Fresh Pear with Vin Santo. There are a few dozen other favorites, many not wine-related, like Cheddar Cheeseburger with Tremont Ale, or Raspberry Cobbler with Kriek (Belgian) Fruit Beer, or Pound Cake with Dark Rum & a dash of Angostura bitters.