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VOL.34, NO.5
Jazz heats up Saturday nights
MAY 2022
I N S I D E …
PHOTO COURTESY OF WAMU
By Glenda C. Booth Even on the coldest nights of winter, for many WAMU listeners, the evening grows hot as Rob Bamberger ramps up the rhythm on his three-hour weekly radio show, “Hot Jazz Saturday Night.” Bamberger inspires listeners to dance around the kitchen or tap to the beat on pots or toasters. Some fans go from waltzing to Louie Armstrong’s “Up a Lazy River” to toe-tapping to the “bottomy sound” of Jelly Roll Morton’s “Black Bottom Stomp.” Bamberger has hosted “Hot Jazz Saturday Night” on WAMU for 42 years, and 90 percent of his shows were live broadcasts. By the end of April 2022, Bamberger had hosted 2,022 shows. Last year, the program had an average of 27,400 listeners per week in the D.C. area, not counting out-of-town listeners or those who listen online later, according to Nielsen data.
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Evolution of a radio show
Our Ex xpe ertts, t O Our ur Fam m y mil
Rob Bamberger, the longtime host of WAMU radio’s “Hot Jazz Saturday Night,” recently aired his 2,022nd program. He says doing a three-hour radio show live “is like driving stick shift” — potentially perilous but joyful.
“I’m not a bona fide musicologist,” he admitted. But Bamberger is a living encyclopedia of jazz esoterica, reeling off arcane tidbits about the tunes he’s about to share every Saturday. “My allusions may seem a little obscure,” he admitted one night — after all, who else can identify the 1939 clarinetist in the Duke Ellington orchestra or 1932
tenor saxophonist Coleman Hawkins? Bamberger stirs up listeners with tunes like “Get Rhythm in Your Feet and Music in Your Soul,” “Oink,” and “I’ve Got It Bad and That Ain’t Good.” Some devotees want to jump around to Nat King Cole’s “Mutiny in the Nursery”
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In the 1970s, when Bamberger’s show first aired, WAMU named many shows, like “The Diane Rehm Show,” for their host. But Bamberger did not want a show named after him. “Who the hell is he?” he joked. He settled on “Hot Jazz Saturday Night” because in the 1920s and ’30s jazz was often called “hot music.” To rev things up, the 1930s entertainer Al Jolson would bark to his orchestra leader, “Get hot!” Every week, Bamberger plays mostly vintage jazz, swing and big band recordings from the 1920s, 1930s and 1940s. When introducing a piece, he rattles off the composer, arranger, performers, label, year recorded and genre of music. He details the instruments involved, from xylophones to washboards, banjos to kazoos.
See SATURDAY NIGHTS, page 17
“Connection an nd sharing is what at ensures a high qu uality of life.” - Jeff r e ey y Gr uber, Direc tor of Clinical a Ser vices
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