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Jazz Radio host Tom Hampson has died

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A staple of local radio and jazz programming is dead.

Tom Hampson had loved jazz since he was a teenager, and he retained that passion even after choosing law as a career, becoming a lawyer specializing in corporate law. He also hosted a weekly jazz show on WXXI for over 30 years; it was originally called Mostly jazz, and more recently has been known as Jazz from the cellar.

He died this week at the age of 87, but had only recorded the show in his home studio in recent weeks.

Tom spoke about the longevity of his show earlier this year.

Well it seems unlikely but it is true. Here I am about to start my 57th year of jazz radio in Rochester. And during that time, one of my main roles has been the cheerleader for many dynamic jazz players in Rochester. And as I said, I have had the privilege of providing airtime to some of them.

Former director of the WXXI program and current host of Classical 91.5, Marianne Carberry says Hampson was a great guy to work with.

“He was such a total gentleman and so generous with his time and knowledge and you just had an idea of ​​his passion for jazz. He always took that extra time to answer your questions or share his enthusiasm.

Hampson has known and interviewed a multitude of renowned local and international musicians, including jazz pianist Marian McPartland, for whom he also worked in the legal field, as well as composer Alec Wilder.

There is no funeral planned, but his family say there will be a memorial service for him early next year.


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In Search of the Modern Jazz Radio Show: The Future is Online | Radio

Hhaving recently fallen under the spell of pianist Bill Evans, I went to find his genre of jazz on the radio. I have a photo of my ideal resort in mind. Many years ago Donald Fagen wrote a song called The Nightfly. It described the story of a lone disc jockey, spending the night on the fictional WJAZ, which offered “jazz and conversation from the foot of Mount Belzoni”. The album art showed Fagen doing two things you wouldn’t be allowed to do in a modern radio studio: one is smoking, the other is playing records.

The Internet gives us access to hundreds of jazz stations, most of which come from the United States, the homeland of music. These range from the gospel WBGO (wbgo.org) in Newark, New Jersey, which Esquire magazine calls “the best jazz station in the galaxy,” at the machine AccuJazz (accujazz.com) which describes itself as “the future of jazz radio”. This means 75 different streams, carefully categorized by era or style. From Tacoma, Washington comes KPLU (kplu.org), a member station of National Public Radio offering two services: one a news and jazz service featuring NPR favorites like All Things Considered and Car Talk between music, the other a 24/7 jazz service. hours featuring Wes Montgomery, Lou Donaldson, Pat Metheny et al 24 hours a day, with occasional interruptions by a real human being. There’s a lot of cool jazz coming out of French radio FIP (fipradio.fr) whose praises have already been sung in this column. I finally found Evans closer to home on Jazz dinner (weekdays, 7 p.m., Jazz FM) which was nice. However, no one yet offers quite what the WJAZ in my head is playing.

Yeats: the man and the echo (Sunday, 7:45 p.m., Radio 4) takes the poem An Irish Aviator Predicts Death and reuses it as a drama that stays in the car to find out how it ends in subprime Ireland in the age of internet gambling. It is written by Lynda Radley and narrated by Eugene O’Hare.

In his previous projects for Archive Hour, satirist Joe Queenan featured programs on anger, irony, and blame. None of them sound quite like A brief history of shame (Saturday, 8 p.m., Radio 4), the subject of which has become even hotter since the recent publication of Jon Ronson’s book So You’ve Been Publicly Shamed. Ronson can be heard here, along with Peter Viggers (AKA the Duck House MP) and, the king of this particular castle, Bill Clinton.

In the Sunday feature: A most ingenious paradox: loving G&S to death (Sunday, 6:45 p.m., Radio 3), Gilbert & Sullivan will be dragged to the bar of contemporary sensibilities to explain their enduring popularity, a state of affairs scandalously unsanctioned by “intelligent” opinion. It has contributions from Mike Leigh, Jonathan Miller, and a bunch of academics and performers, who I hope will tell Tyrants Of Now where to get off.

Rachel Nicholson was one of the born triplets of artists Barbara Hepworth and Ben Nicholson, neither of whom were able to spend much time away from their jobs to raise them too closely. Unsurprisingly, she remembers developing a love for music early in her life. In Private passions (Sunday, 12 p.m., Radio 3), she talks from her attic in Hampstead about how music informs her painting. I am grateful to him for teaching me about Scarlatti’s invigorating harpsichord music, which was a welcome novelty to me.


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Virgin Radio to Return to New Sound Digital Platform | Digital radio

Virgin Radio is back on the UK airwaves, with three TalkSport spinoff stations and a slew of new national broadcasters as part of a new wave of digital radio stations.

The rock and pop music brand owned by Richard Branson is one of 14 stations to launch on Sound Digital, the second nationwide commercial digital platform licensed by media regulator Ofcom on Friday.

Branson had long wanted to relaunch Virgin Radio. Still broadcasting to a number of countries around the world, the Virgin brand died out in the UK in 2008 when the station, formerly owned by Chris Evans, was rebranded to Absolute Radio.

Sound Digital, owned by parent company TalkSport UTV Media, owner of Absolute Radio Bauer Media and broadcast company Arqiva, beat a competing offer, Listen2Digital, which reportedly saw the return of a new sports station backed by former TalkSport owner Kelvin MacKenzie.

The new stations are expected to launch in March next year and will see about a doubling of the national digital stations currently available on digital audio broadcast radio.

The second wave of national commercial digital stations is long overdue. The second national digital license was first awarded by Ofcom seven years ago, to a consortium backed by Channel 4, only for the broadcaster to unplug the outlet.

Digital radio has not matched the popularity of digital television, which has grown at such a rate that the analog television signal was cut off in 2012 after a remarkably smooth switching schedule.

But all talk about the switch to radio has been put on the back burner, with the majority of tunes still being analog services on FM or AM.

Digital home listening first surpassed analog late last year, but overall – including cars – only 37.9% of all listening is done digitally.

DAB radio remains by far the most popular digital platform, but it remains to be seen how it will fare in the long term in an era when online streaming is rife.

The new lineup of national commercial stations includes three derivative stations of TalkSport, TalkSport 2, Talk Radio and Talk Business, supported by Bloomberg.

Other stations will include several services already available nationwide or across much of the country on various platforms, including Bauer’s Absolute 80s and Planet Rock, and Jazz FM.

The Sound Digital range

Virgin Radio – rock and pop music
Talk Radio – news and current affairs
Talk Sport 2 – live sport and sports chat
Talk Business – business and financial programs
Absolute music from the 80s – 80s
Magic Mellow – relaxing and melodic music
Planet Rock – classical rock music
Heat Radio – pop music, celebrity gossip and entertainment
Kisstory – “old skool” dance tunes and hymns
Jazz FM – jazz music
Sunrise Radio – Asian Music & Speech Programs
UCB Inspirational – Christian Music
Premier Christian Radio – Christian music and speeches
British Muslim Radio – Asian music and speech, with elements of Islamic content


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KMHD: 30 years of jazz radio going against the grain

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Ah, the radio.

Radio is magic. Radio is vital. And radio is political. The Pink City can be as typical as anyone when it comes to radio waves, especially if you’ve followed the glorious rise of Clear Channel Communications (now known as iHeartMedia, Inc.), a large American company that took full advantage of telecommunications. Act of 1996 – a shrewd and possibly lobbyist-led piece of legislation that deregulated another industry in the name of the free market enterprise – to acquire, to date, some 1,200 radio stations across the American landscape and to dictate much of what we listeners listen to. The law allowed sole ownership of up to eight stations in a market at that time (amended later in 2003 to allow up to 45 percent ownership). Where there is politics, there is usually money. A lot. And Clear Channel took it to heart.

Today, iHeartMedia’s next closest competitor is Cumulus Media, which owns some 525 stations (six in Eugene), followed by CBS Radio, Inc. (formerly known as Infinity Broadcasting), which owns 117 stations. paltry, to give away or to Portland Stations in 2009. iHeartMedia, whatever good it may have done or done for radio, is also the main reason commercial radio is the homogenized, monopolized and financially successful mess. that it is, at least from the listener’s point of view. And it changes all the time.

Faced with the wave-sucking juggernaut of iHeartMedia (which owns nine of Portland’s radio stations), a tiny radio stronghold like Portland’s KMHD simply shouldn’t exist. It aired on the airwaves in 1984 on the campus of Mt. Hood Community College with the mission of playing music indigenous to America – jazz – and was made up largely of retirees and enthusiasts, mostly from amateurs, and has since spent 30 years on the air. function, without actually serving the MHCC student body as a communications lab. Despite its flaws, it is one of the oldest listeners-funded jazz stations in the country.

As grants to support the station began to dry up, a problematic pandemic for all public radio stations supported by listeners, along with other management issues, KMHD reached a crossroads five years ago. Oregon Public Broadcasting President and CEO Steve Bass, on an annual tour of various public broadcasting facilities, learned during a discussion with then MHCC President John Sygielski (affectionately and necessarily known as “Ski”), that the university station needed help and was considering selling the KMHD license to help make up for a $ 4 million budget shortfall and dramatically reduce funding for l ‘State.

“There were 63 volunteers,” says OPB vice-president of programming and current station KMHD manager Lynne Clendenin, who has worked for OPB for 26 years, “who were all retirees and jazz enthusiasts. There was only one MHCC student. [Bass and Sygielski] talked about a partnership. We didn’t want the college to let go.

Bass took the idea to Clendenin and other members of the OPB board, where a plan was made to come up with a license management agreement to MHCC and put the station under its wing. In 2009, the agreement was concluded and the operation of KMHD was placed under the auspices of the OPB (with the exception of an HD2 license which the MHCC kept). There were, of course, major concerns and fears on several levels and on several fronts.

“Some people were suspicious,” Clendenin admits. “OPB had recently moved to a more mixed, more news radio format. There were concerns that we were taking jazz off the air.

Enter another potential driving force. Current KMHD Program Director Matt Fleeger, a longtime radio enthusiast who had been involved at various levels in radio for 18 years, learned of Bass’s proposed deal with MHCC while he was working at radio in San Antonio, Texas, and was intrigued by the movement. He had some experience in consulting with radio format changes and felt he had something to add to the party. After working as a consultant for Bass, when the program director position opened up, “I applied immediately,” he says.

KMHD Program Director Matt FleegerKMHD Program Director Matt FleegerFleeger was hired in 2009 and immediately set about refining the focus of the station. “There were some dissatisfied DJs out there,” he says, “bad blood with the management and the DJs. Their main complaint was that they wanted to be more professional.

Radio tradition wanted new KMHD managers to start from a clean slate, but Fleeger took a different approach. “Jazz is not dead,” he says. “It’s the richest thing to mine in the 21st century.” Rather than firing everyone and starting over, Fleeger wanted to seek out the passion, knowledge and musical diversity of DJs. Some stayed, but many left, taking a bitter taste with them.

The one who made the transition, but left for different reasons, was Steve Pringle, now a successful KINK on-air personality. He hosted the very successful Friday highway blues show for 16 years and witnessed the inner workings firsthand. “I saw them [staff and management] come and go, ”he said. “Basically, KMHD had become cancer on its own. He couldn’t do anything. The paid staff had so much animosity towards each other. And they didn’t want to change anything. They couldn’t execute it. “

Pringle was offered the station manager position just as the deal was made, but the KINK opportunity was too great to pass up. Despite the turmoil and the transition, “In my opinion, everything went well,” he says. “It was going to sink. They brought this kid Matt Fleeger and brought him forward.

Musician, teacher and 2012 Oregon Music Hall of Fame inductee Calvin Walker: photo by Tim Sugden courtesy of About Face magazineMusician, teacher and 2012 Oregon Music Hall of Fame inductee Calvin Walker: photo by Tim Sugden courtesy of About Face magazineCalvin Walker, a longtime Portland musician and now director of student services at MHCC, was at the station for 11 years doing development (i.e. fundraising). As the transition began to take shape, he says, “people were generally mortified. Everywhere you hang on, there will be culture. Mount Hood was a special place. When it happened, it made everyone paranoid. But life is changing. It is commendable what they have done. It’s cool that it’s still a jazz station.

It has been an arduous process over the past five years, to remove and replace, to build professionalism, to refine the focus of the station, but most importantly, to do things that would not only satisfy regular listeners but could maybe attract new ones. There were ruffled feathers and bruised egos, but ultimately this station which is run by essentially one full-time employee (Fleeger), two part-time employees and dozens of volunteers is able to tap into the OPB’s existing infrastructure, thus reducing its overheads, while continuing to make great strides.

The numbers are on the rise, from some 75,000 listeners in 2009 to around 125,000 today, according to Fleeger. The station relies on very few fixed programs (the big sign is Live from Lincoln Center, the only pre-programmed show KMHD actually buys), while also covering jazz in its broadest sense – from direct jazz to rich slices that include Latin music, blues, traditional jazz, experimental, funk and more. This concentration and refinement led the resort to win a major resort of the year award in 2012 awarded by JazzWeek, an industry publication, for markets with one to 25 jazz radio stations. It was a huge victory.

“All of the volunteers were extremely proud,” Clendenin said of the award. “It proves that there are some there, there.”

In his official statement, Bass praised the station’s accomplishments in the three years since the MHCC and the OPB formed the partnership to operate the station, including increasing its audience and becoming a more important part of the landscape. Portland culture.

Besides, “JazzWeek’s Recognizing the road traveled by KMHD is a testament to the excellent work done by KMHD staff and volunteers, ”said Bass. “This partnership made it possible not only to preserve but also to promote an important cultural asset and a unique format.

Still, Fleeger says, “I think we’re at about 70% of what it could be.” And by that, he means extended programming. He is always on the lookout for passionate talent. His MO for finding enthusiastic volunteer DJs is simple: “I sit down with them and we talk about music. I tell them to make me a mixtape of their favorite music.

On Sunday nights, DJ Carlton Jackson, himself a major player in Portland’s music scene as one of the city’s top drummers, is a solid textbook case. Fleeger had heard Jackson on the air making replacements for KBOO radio in Portland, which he had been doing since 1983, and then met him at an event. “He introduced himself and said, ‘Hey, I heard you on KBOO. I like what you do. Come to KMHD.

DJ Carlton Jackson shares his take on KMHDDJ Carlton Jackson shares his take on KMHDIt was a process that would be repeated throughout the station with the development of programming and DJs by Fleeger. The couple sat down and compared the musical notes. Fleeger suggested an idea for a show that would become the foundation of KMHD’s Sunday, The message, three deeply moving hours which are strongly inspired by the African-American experience as expressed in jazz. Jackson, like most DJs under Fleeger’s wing, yearned for professionalism, a hallmark of the resort these days. “[The station] let everyone do what they’re good at. I make it interesting, ”Jackson says of his personal edict. “I put it in context. “

More changes are in sight, more growth, more professionalism. Not bad for a small resort which, in this world, shouldn’t really exist.


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Virgin Radio could return to the airwaves in a digital restart | Commercial radio

Virgin Radio could return to the airwaves as part of one of two competing deals to lead the next wave of national digital radio stations.

The return of Sir Richard Branson’s Virgin brand is part of an offer presented by Sound Digital, a consortium made up of the owner of TalkSport UTV Media, the parent of Magic Bauer and the transmission company Arqiva, to manage the second multiplex. national commercial digital radio.

“I have wanted to see Virgin Radio relaunch in the UK for a long time after the success we had with Virgin Radio UK in the 90s,” said Branson. “The Virgin Radio International team have worked tirelessly to achieve this and I am delighted that UTV Media has invited us to join their exciting projects for digital radio in the UK. We wish UTV Media and its consortium success in their candidacy to Ofcom.

The Virgin Radio brand disappeared from the UK in 2008 when the station, once owned by Chris Evans, was renamed Absolute Radio by its new owner, The Times of India Group. The station has since been purchased by Bauer.

UTV has entered into an agreement with Branson’s Virgin Group to use the mark for a new digital station if Sound Digital’s offer is successful.

Sound Digital faces competition from a competing offering, Listen2 Digital, backed by former chief executive of Chrysalis Radio, Phil Riley’s Midlands radio group, Orion Media, and engineering services firm Babcock International .

Sound Digital’s offering includes a TalkSport-derived talk radio station, similar to that offered in Channel 4’s aborted digital radio plans seven years ago, as well as TalkSport 2 and a commercial station operated by UTV and supported by Bloomberg.

Bauer offers to operate stations on the Sound Digital platform, including Heat Radio, Absolute 80s and Planet Rock, all of which are already well established on digital platforms, and Kisstory, a spin-off from Kiss.

Listen2Digital offers an 18-station offering including a food network, a station for older listeners called Wireless from Age UK, and a new sports station.

Alongside a new modern rock / indie station, a dedicated jazz, blues and soul network and a top 40 station, it will provide a national platform for the digital children’s station Fun. Kids as well as a UK-wide version of the contemporary adult resort Gem of Orion. .

The Listen2Digital offering also includes Upload Radio, which it says will provide a “unique opportunity to broadcast its material to a national audience”, a commercial and financial network and two Christian services and two Asian services.

Other shareholders in the Listen2Digital offering include owner of Fun Kids Folder Media and Asian broadcaster Sabras Sound.

Riley, who is President of Listen2Digital, said: “I have long believed that the UK radio industry needed more choice and more competition in the provision of DAB and I believe our offering is there. respond.”

Details of the two offers were confirmed by media regulator Ofcom on Thursday, with the winning offer due to be announced in the spring.

Last year, Ofcom put out a tender to operate a second national digital audio broadcasting (DAB) multiplex.

It comes seven years after Channel 4 won the right to operate a second DAB multiplex, only for the broadcaster to unplug its proposals, blaming the economic slowdown.

Digital radio has grown in popularity, but not at the expected rate, with predictions that the industry could keep pace with television with the digital switchover by 2017 proving premature.

The bidders:

Sound Digital Consortium (UTV Media 30%, Bauer 30% and Arqiva 40%)

15 stations

UTV Media

Virgin Radio in partnership with Virgin Group
TalkSport 2
Talk Radio – news and current affairs
Talk business

Bauer

Magic Mellow – “relaxing and melodic” music
Kisstory – “old skool” dance tunes and hymns
Heat radio
Absolute 80s
Planet Rock – classic rock

Other stations:

Jazz FM to provide “non-mainstream” music station
Premier Christian Radio and UCB Inspiration for Christian Audiences
British Muslim Radio
Sunrise Radio

Listen2Digital Consortium (Orion Media 45%, Babcock International 35%, Folder Media 5%, Sabras Sound 5% and “individuals” 10%)

18 stations

GEM – contemporary adult woman
Fun kids
Contemporary tube station – confidential details
Catering station – confidential details
Jazz station – confidential details
Wireless – “old” from Age UK
Nation – contemporary adult male from Town & Country Broadcasting
Sabras – contemporary Asian
Panjab Radio
Modern rock station – confidential details
Share Radio – financial
First Gospel
Premier Radio
Sports radio – confidential details
RTE Radio 1
Gaydio
Chris Country – country music
Upload Radio – Folder Media special programs and events


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Jazz radio legend Leigh Kamman has died at 92

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Leigh Kamman hosted Jazz Image on Minnesota Public Radio from 1973 to 2007.

MPR Photo

Leigh Kamman, the former host of longtime MPR’s “The Jazz Image” and whose broadcaster career spanned more than six decades, died Friday night. He was 92 years old.

Kamman is remembered as a tireless promoter of the music he loved, an accomplished professional and a really nice guy.

Previously:
Leigh Kamman signs
Notes for Leigh
A portrait of Leigh Kamman (2011)

For over 30 years, Kamman was a Saturday night fixture on MPR, playing jazz tunes and, as MPR News’ Tom Crann described it, talking to the older ones as if they were his old friends.

His voice was as sweet as the music he was playing on the air. In 2007, Kamman said he modeled his ads on the sound of jazz.

“In tempo and time, with music,” he said. “It often generates the way I phrase it, and the dead air and the syllables tumbling down through the night.”

Kamman described his radio style to the Star Tribune in 2007. “Through imagery, I invite people to come with me to New York and we will bring you back safely,” he said. “And we’ll take the note. And we’ll take you to Jazz Standard or Blue Note in New York – or Yoshi’s in Oakland / San Francisco by the Bay.”

Born in 1922, Kamman grew into a boy fascinated by jazz in central Minnesota. After getting a job in the school newspaper at age 17, he first met Duke Ellington while tracking him down at St. Paul’s train station.

Leigh Kamman, shortly before his retirement

Leigh Kamman, shortly before his retirement in 2007.

Courtesy of Sara Rubinstein

A first job as an announcer in Duluth led to a series of others, including a stint on Armed Forces Radio. In the early 1950s, he moved to New York. There, he broadcast live on WOV station from a specially built studio in the Ballroom of the Palm Hotel in Harlem. It was a place to listen to great music and be seen.

“It could be Edward Kennedy Ellington, an unknown Quincy Jones, an actor named Sidney Poitier, or it could be Harry Belafonte,” Kamman said.

Drummer Kenny Horst, who owned and directed the Artists Quarter jazz venue for many years, remembers hearing Kamman for the first time as a teenager.

“I remember turning on the radio and listening to him and what he was playing got me so excited I knocked over the guy in front of me,” Horst said. “And I saw him just in August and he said ‘Sorry about the car’.”

After working at several stations in the Twin Cities, Kamman launched “The Jazz Image” at MPR. Tom Wilmeth was his broadcast engineer between 1980 and 1984.

“He knew how to use the microphone in a really old-fashioned professional way,” Wilmeth said. “His diction was perfect. If Leigh was on you, you would be able to understand every word. Wilmeth said it was only after working with Kamman for a while that he learned of his connections to jazz history.

“I had worked with Leigh for over three years before he even mentioned in passing that he had spoken with Duke Ellington or the fact that he had spoken to Charlie Parker on the phone – and he had a recording of it.” , Wilmeth said. “And that he had Billy Holiday in his New York apartment.”

Kamman’s funeral services will be private. Planning is underway for a community jazz celebration of his life at a later date.

KARE 11 profiled Kamman in 2007:

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Thank you and goodbye to classic radio

For CBC Radio 2 listeners, it was a week of sad farewells. From this Tuesday, the old classics of the week will be gone, and with them, most of the animators who have become our friends and companions. They helped us cook and clean, take care of the kids, fight traffic, and cheer us up for the working day. Now is the time to thank them.

No one was indifferent to Jurgen Gothe! Unique and chimerical, he could irritate but also delight. Flautist Kathleen Rudolph, heard on a version of the Disk reader theme, writes: “Disc Drive quickly became my favorite radio program as I was driving my kids to their extracurricular activities or while cooking dinner with the family. My husband jokes that the radios in our house can only receive one station – CBC Radio 2. I join Canadians across the country and listeners around the world in marking the end of an era on CBC Radio as we bid farewell to Disk reader, with its fire stations, its cats, its workshop below and its large quantities of good food and vintage wines. “

Catherine Bélya from Here for you will be remembered for his warm personal connection to the applicants and their stories. Gene Ramsbottom, Principal Clarinet of the CBC Radio Orchestra, tells one of these stories. Two years ago he suffered a heart attack. As he walked away from the hospital, his wife Maureen heard a recording of him playing with the orchestra on Here for you and was so moved that she had to stop and cry. Recently, to commemorate this day and their anniversary, she requested the same recording, and it was released. Unfortunately, the program and the orchestra will soon be gone.

Eric Friesen on Studio sparks had a special gift for showing musicians both as artists and as people. Her talks with the Gryphon Trio, Adrienne Pieczonka and James Ehnes were unforgettable, and the series The Concerto according to Manny (Emanuel Ax) was quite simply the best radio I have ever heard.

I also learned from Rick Phillips Sound advice. Thanks to him, I know better what to listen to when comparing performances; I enjoy the movement of period instruments better and even serial music – it’s not an easy sale; I have become a more sophisticated listener. And while it looks pretty dry, I found myself crying on his last show.

On Choral concert, Howard Dyck’s love and understanding for choral music and backing vocals set the tone. This music is clearly his life, and he is spreading the feeling. He will be sorely missed.

that of Danielle Charbonneau Music for a while has been gone for over a year, but people still say how much they miss her – her charm, her kindness, her accent, her perfect musical choices to unwind after a stressful day.

Then there’s Tom Allen from Music & Company – lively, irreverent (“cage matches” between classical compositions) and off-topic (the adventures and misadventures of his hockey Vultures), but offering splendid classical music. It could be like “that wonderful first shake of coffee or tea that makes our brains work in the morning.” In fact, you have top priority in my kitchen: I press the power button on the radio before I even turn on the lights. or plug in the kettle. ”(Julia Mah). He, unlike the others, will still be there, but in a hodge-podge format. For some listeners, that will still be goodbye. Mah continues,“ Sorry to say that even if you stay to pilot the September mix, I won’t listen … “

Such a range of personalities and styles, such a range of music (including serious jazz, world and classical pop), all held together by a cohesive philosophy, has created a family of intensely loyal listeners. If you meet another Radio 2 fan, you feel a connection.

0 So what has changed? A new top management with little connection to the classical world has been appointed. The idea that complex and enduring music can have special value has been dismissed as elitist. Older listeners have been made redundant, although the population ages and people often move into classical music with age. The many young listeners – like most of the 16,000 members of the Save Classical Music at CBC Facebook site – have been ignored. The new lineup threatens a jarring clash of incompatible styles, an unwieldy mix that won’t be “home” to anyone. We are worried about the future of Radio-Canada.

But today we are focusing on old friends. Thank you to all of you.

Miriam Mittermaier is a member of

Save classical music to CBC


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