SPOTLIGHT ON: hostage crisis

Another semester of great programming begins at WOBC, wednesday 9/14 at 6pm!

dj simon jesse toop reading a goosebumps novel

Kicking off the semester is DJ Simon Toop’s HOSTAGE CRISIS, a shhhhtshow of weirdo-punk jams that starts off punk nite rite….

1.  How would you describe yourself? i’m a junior creative writing major. likes and influences: napping, i just woke up. space. satan. bbq. sports. scott walker. taco bell. rush hour. kfc. wing night. the mall. jean-paul belmondo. the beach. 40s. and those big cans of arizona iced tea

2.  How would you describe the show? 
some songs by weirdos and jerks to stress you out. some songs to help you stay mellow in these mellow times. some classic tunes. one unforgettable hour.

3.  What inspires you to do your show?,, tonetta

4.  What are you listening to right now?  just finished listening to jon hassell & brian eno, fourth world vol. 1: possible musics pre-nap.

5. Favorite foods? see above

6. Favorite holidays? christmas ’98. halloween ’05. new year’s eve ’10.

7. Sample show? listen and find out dudes!


wednesday 9/14 at 6pm

An Interview With John Goldsby

As a jazz fan with a particular soft spot for bassists, I am beyond pleased to share this interview with John Goldsby. As the bassist for the WDR Big Band, John is happily busy playing with the world’s greatest jazz musicians. His great groove, inventive ideas, and masterful technique make him one of the most respected bassists on the globe (and a personal favorite of my own). I am very honored and grateful for John’s wonderful responses.

An Interview with John Goldsby:John Goldsby

Aidan Plank: Is there anything you would like the WOBC audience to know about your music?

John Goldsby: I think a connection to the jazz tradition is the most important thing that I want to convey through my music. I play all types of jazz and modern improvised music, and I like to present forward-looking styles that are rooted in the traditions of the jazz legends. I have found my path by walking in the footsteps of giants.

AP: I seem to remember that you have played at Oberlin before. Is that true? And if so, what was your impression?

JG: I think I played at Oberlin years ago with Claude Bolling, a French pianist and composer. He was doing his “Suite for Flute and Jazz Piano,” and “Suite for Guitar and Jazz Piano.” I don’t really remember much about Oberlin because the gig was at least 20 years ago!

AP: I am curious who influences your playing. What music really struck you as being significant as you were forming your own concept?

JG: I started out playing rock music, like many players of my generation. From rock, I discovered jazz fusion, like the ’70s music of Miles Davis, Mahavishnu Orchestra, Weather Report. From there, I explored ’60s jazz and then bebop. When I moved to NYC in 1980, I played mainstream, straight-ahead jazz, but then I found myself often on gigs with swing players, playing music from the ’30s and ’40s. I got into early Ellington, Basie, Jimmie Lunceford.

The thing I came to realize about all of the music that I love is that good jazz has a great groove—whether it’s Ellington from 1930, or Miles Davis from 1965. All great jazz has an underlying pulse which is compelling and joyful. There are, of course, huge technical advances in the abilities of jazz players over the years, but technique alone does not make for great music. I am inspired by the players who have a great command of rhythm, melody and drama—the ones who can really tell a story.

As for specific influences on my bass playing, I would have to say Jimmie Blanton (w/Duke Ellington), Oscar Pettiford, Red Mitchell, Paul Chambers—and countless other bass players. From a solo perspective, I’d say players like Lester Young and Sonny Rollins inspire me greatly, as do guitar players like Wes Montgomery and Jimmy Raney. Continue reading An Interview With John Goldsby

Apply Now for a Fall Radio Show


Apply now for a weekly radio this Fall season (September – December). Anyone is welcome to apply and there is no experience necessary. Music shows of all types as well as talk and public affairs shows are welcome. You can apply as an individual, as a group, or as an organization. You can find more information and the application at Questions should be directed to

TOP 5 ADDS, 8/9

top 5 adds is a weekly section of WOBC that displays the top 5 most played new albums at the station. each album links to the band’s myspace,, or other music player so you can check them out for yourself!

1    DIVA    The Glitter End

julianna barwick and grouper ran into some witches who merge-hexed them into DIVA. haunting, breathy vocals for lazy summer existentialists to vibe with.

2    EMMY THE GREAT    Virtue

3    SHENANDOAH DAVIS    The Company We Keep

something to tide you over between joanna newsom albums; the feathery vocals immersed in fantasy are eerily reminiscent of newsom’s.

4    YOU ME AND US    Paperweights

fuzzy california garage pop; along the same lines as BRILLIANT COLORS.

5    DOM    Family Of Love

-devra freelander

TOP 5 ADDS 8/3

top 5 adds is a weekly section of WOBC that displays the top 5 most played new albums at the station. each album links to the band’s myspace,, or other music player so you can check them out for yourself!

1    THE BANDANA SPLITS    Mr. Sam Presents The Bandana Splits

saccharine doo-wop from three cute girls; sounds like a mix of camera obscura and she & him. check out: ‘sometimes’, ‘my love’, and ‘you don’t have to be a baby to cry’.

2    FALL ON YOUR SWORD    Another Earth: Music From the Motion Picture

3    RADIATION CITY    The Color of Industry (Single)

understated indie pop with vocals that sound like a sleepy feist, and harmonies straight out of bitte orca.

4    HUDSON MOHAWKE    Satin Panthers    Warp

5    ARMY NAVY    The Last Place    Self-Released

-devra freelander

An Interview with Laura Dreyer

Laura Dreyer

Like most jazz fans, I love Brazilian music. Why the marriage between jazz and Brasilian music works so well is hard to put into words. Perhaps it is the deeply moving sense of melody, or the adventurous sense of harmony, or the driving rhythmic core, or perhaps it is just the profound joy that both musics bring to this world. Regardless, in my personal collection of recordings and in my trips out to see live music, I have often sought out artists who have deep interests in jazz and Brazilian music. One such artist is Laura Dreyer.

I have had her album “Mysterious Encounter” on constant rotation in my stereo over the past few years. The album is a wonderful example of the grace of Brazilian jazz. Having played a few cuts from the album on the radio show in the past, I was very excited and hopeful to convince Laura to do an interview with me. Luckily, she agreed to do so. I am very pleased to share this wonderful and insightful interview with you here.

Aidan Plank: Is there anything you would like the WOBC audience to know about your music?

Laura Dreyer: Although I am a saxophonist, I think of myself as a composer first. I have always tried to write compositions that are melodically and rhythmically strong, with improvisation sections that are interesting and make sense harmonically. I think that is why I am attracted to Brazilian music. I have spent many years researching Brazilian musical styles and try to be as true to those styles as possible (When composing in the Brazilian jazz idiom, of course), but I also like to apply those principles to other styles of music.

AP: How would you describe your own music?

LD: Well currently, Brazilian jazz as well as jazz fusion. Again, I like strong melodies, interesting harmony, and rhythmic syncopation. Some of my music is more funky, some more traditional. I also like to interact with the band when I improvise. I think interaction is THE most important element in “Jazz.” I have deep roots in be-bop!

AP: Who influenced you as you were learning this music?

LD: As a writer, I started out being very influenced by musicians such as Bobby Hutcherson, Herbie Hancock, Joe Henderson, Wayne Shorter, Tom Harrell, Lyle Mays, Pat Metheny, and then later became so immersed in Brazilian composers like Egberto Gismonti, Dori Caymmi, Jobim, João Bosco, Gilberto Gil (The list goes on and on…).

I have also had some great saxophone teachers who influenced me a lot. I studied with Joe Henderson for a year before I moved to New York. He was a profound influence. I also studied with Joe Lovano briefly and he helped me with phrasing and rhythm. I had 2 great composition teachers, Jim McNeely, and Lyle Mays. I studied with Lyle for 5 years. He really transformed me as a composer. When I was learning jazz, I went to every jam session that would let me in the door. I went out to hear jazz almost every night of the week when I first moved to New York, and when I was in San Francisco. I think I absorbed a lot by osmosis!

Continue reading An Interview with Laura Dreyer

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