Master raconteur, award winning jazz broadcaster and Downbeat contributor.
Michael Bourne has been a presence on WBGO since the end of 1984. He's hosted the popular Singers Unlimited (Sunday 10 a.m.-2 p.m.) since 1985 and Afternoon Jazz (Monday-Friday 2 p.m.-6:30 p.m., including the 3 p.m. Blues Hour) since the mid-90's. He's been honored with the Willis Conover-Marian McPartland Award for Excellence in Jazz Broadcasting from the Jazz Journalists Association. Michael is also a senior contributor to Down Beat, with the magazine since 1969. Doctor Bourne earned a PhD in Theatre from Indiana University -- which comes in handy when he's a theatre critic for the WBGO Journal.
I became a jazz jock by chance, says Michael. I was working on my doctorate in Bloomington. I'd been an occasional guest on the jazz show of IU's NPR station WFIU. When the regular DJ was going on vacation, Don Glass, the program director, asked me if I'd like to fill in on the show. That was the summer of 1972 and I'd just survived my doctoral exams. I needed to do something fun, plus they were going to pay me to play records on the radio. I was supposed to fill in for four weeks, but four weeks became more than 40 years! I was offered the gig and I stayed until 1984. WFIU was a mostly classical station, but I played everything else, especially jazz, but also lots of blues, Brazilian and Irish music, singers (like I play Sundays on WBGO) and Broadway musicals.
How he came to New York and WBGO also involved some chance for Bourne. I came to New York every summer for theatre and jazz, especially for the George Wein festival. I often stayed with my Indiana school friend Kevin Kline. When I first stayed with him, he was still beginning as an actor. When I came in 1984, he was a bonafide movie star. I also left a tape of my WFIU show with Wylie Rollins, then the program director of WBGO. I'd been thinking about venturing to New York for years, but I didn't know when or how. And on one fateful day in September 1984, Kevin called and said he'd be on location for a while and I could have his apartment for several months if I wanted to come to New York. That very afternoon, Wylie called and offered me work at WBGO. I couldn't resist what seemed a real 'sign' that New York was meant to be. My first shift was filling for Rhonda Hamilton on the afternoon of New Year's Eve, 1984.
Bourne's passion for music began early in his hometown of Saint Louis -- but not for jazz. I was a boy soprano. I wanted to be an opera singer when I grew up. I was crazy for Wagner especially. I eventually eased into Gilbert and Sullivan, then the Broadway shows. Bourne's passion for jazz came about -- again -- by chance. When I was a junior in high school, my chem lab partner and the kid behind us were always talking about jazz. I remember a very animated argument about whether Miles Davis or Sonny Stitt was hipper. I asked them what was a good jazz record to begin with, and one of them said Dave Brubeck's Time Out. I bought the LP at a grocery store the very next day, and when I heard Strange Meadowlark I was addicted to jazz. I bought more records at the grocery store, and soon I was listening to Miles Davis, Oscar Peterson, the Modern Jazz Quartet. I even became a drummer as I fell in love with Art Blakey and Max Roach.
Bourne continued his love for theatre as an undergrad at what is now called Truman State. He came to graduate school at IU in 1967, and while working at WFIU he finished a PhD. in theatre -- but he enjoyed being a jazz jock so much that he stayed on the radio rather than become a professor somewhere. I always meant to work in the New York theatre as an actor or a playwright or a critic, and when I first came to WBGO, I was also working on two musical theatre projects. Both shows crashed and burned just as they were about to happen, and I didn't have the wherewithal to be an always struggling actor, so my theatrical career became only critical.
Bourne became a frequent contributor to the WBGO Journal early on. Though he mostly reviews theatre, he's also written about movies, art museums, baseball, beer, and his travels (from his favorite park in Oslo to his favorite pub in Dublin). He hosted WBGO's pre-JazzSet show, The American Jazz Radio Festival, for five years, and he's hosted or anchored 22 of WBGO's New Year's Eve broadcasts. Michael filled in on countless shifts at all hours until finally settling into the Afternoon Jazz shift. Ironically, just after I'd come to WBGO, Rhonda Hamilton asked me what I wanted to do at the station, and I remember laughing and saying that I wanted her shift in the afternoons. And now she's on mid-days, and here I am in the afternoons.
While nonetheless working six shifts each week on Jazz 88, from 2001 to 2006 Michael also jocked on the Broadway's Best channel of Sirius Satellite Radio. He's been an active arts and travel journalist, especially for Down Beat. He edited Corsage, a tribute to his favorite mystery author, Rex Stout -- the most fascinating individual I've ever known, says Michael. He edited the mini-magazine Hennessy Jazz Notes from 1992-1997 . He's written countless album notes, and in 1997 Bourne produced four CD collections of Mark Murphy songs for 32 Jazz.
He's also been a correspondent for the Bon Voyage travel newsletter. Traveling became his greatest passion after his first trip overseas in 1986. Bourne hosted the Jazz Yatra festival in Bombay. I was almost 40 and I'd never left the United States. The culture shock was staggering, but I fell in love with the world -- a full-tilt epiphany! -- and I've been traveling ever since. I've always felt most alive when I've been 'elsewhere' -- far from home, far from work, far from myself. Michael also hosted the jazzfest in Amsterdam. I was the MC for Stephane Grappeli on three continents: Bombay, Amsterdam, and Carnegie Hall. He's been a WBGO travel host on trips to Brazil, Switzerland, Denmark, Norway, and the Caribbean. Montreal every summer is Michael's jazz home away from home. I first went in 1992 and I've been virtually adopted by the festival ever since. In recent years I've not only written about the festival for Down Beat, I've also been a judge for the festival's group competition, and I've broadcast live from Montreal on WBGO. To celebrate his 20th year in Montreal, the festival honored Michael by christening the press room Salle de Presse Michael Bourne. I only missed the festival in 2006, because of a heart attack — and I was angry, not because of the heart attack, but because I missed Montreal! Other festival favorites over the years have included Umbria Jazz in Perugia, the NorthSea jazzfest in The Hague, fests in Antwerp, Copenhagen, Berlin, Warsaw, Chicago, and New York. What's been especially heartening is how often I've encountered Jazz 88 listeners from all around the world. I remember a jazz lover in East Berlin weeping at the thought of a radio station that played jazz 24 hours a day. Since then, the Wall came down, and now everyone can hear us on the internet. Traveling offers other delights for Bourne beyond the music, including his passion for great paintings, the Dutch masters especially, and for great beers, the Belgian masters especially. I'm a Nederlander at heart. He'll happily go anytime to Amsterdam, Antwerp, London, Rome, or anywhere in the U.S. where his beloved Cardinals are playing baseball. Pops also enjoys hanging with his grand-kids, Nora and Luke, in Chapel Hill.
He's returned to performing in recent years -- that is, for people who can actually see him. He's hosted Lyrics and Lyricists concerts at the 92nd Street Y. He's been a host and the musical curator for the Jazz on the Mountain festival every January (since 2000) at the Mohonk Mountain House in the Hudson Valley -- where he's frequently performed what he sometimes calls jazz acting with drummer Michael Carvin, singer Hilary Kole, and in the Parlor Games musical criss-crossing that's a festival finale on Monday mornings. He co-wrote and directed the show Singing Astaire, a celebration of the Fred Astaire songbook at Birdland. And after more than 20 years, he's nonetheless with you on WBGO.
A listener said to me that she read that I used to be an actor, and she asked me 'Do you ever act anymore?' And I said 'Every day on Jazz 88!' Another listener asked Michael when he turned 65 if he'd ever retire. I said 'From what?' I get paid to play records and go to shows!