Sound Engineer Technicians are responsible for the sounds produced and heard in a broadcast or live production, movies, videos or theater. They use recording equipment and machines to record sound, voices or music, synchronizing and mixing them for reproduction later. Using control consoles, they work with pre-recorded sound effects, dialogue, and music with the action on the screen, synchronizing and equalizing them together. They maintain a log of recordings they made. They are responsible for creating digital interface programs for musical instruments to be applied to commercial ads, music projects or post production on films. Sound engineer technicians are in charge of reporting sound equipment problems and make sure that they are repaired on time for next performance. They coordinate and meet with performers, producers and other production personnel to determine which particular sound or sound effect is appropriate or desired by the art director for a production.

Sound engineer technicians use sound editing equipment for reproducing and duplicating sound recordings from previously recorded original media. They are in charge of preparing for recording sessions, selecting and setting up microphones and other equipment essential for making good recording. In the mixing or post production phase, they separate and combine sounds as needed, such as vocals, instruments and other recorded sounds. They typically work indoors, in sound recording studios but some who work in broadcast news and other on location programs may have to work outdoors, through all types of weather conditions. Those who do maintenance work may need to climb antenna towers or climb poles to reach the equipment that need repairs. Sound engineer technicians who have found work in movies may have to work long hours because of deadlines imposed on their contracts.

Nathan “Jim” Robinson – born December 25th 1892 at Deer Range Louisiana: died May 4th 1976 in New Orleans. Just a little bit of history to get this show on the road!

Jim studied guitar as a kid but took up trombone in the army in the First World War. He returned to New Orleans in 1919 and was good enough to join the Sam Morgan Band in which he was a fixture for a dozen years. He studied with Sunny Henry and worked with Lee Collins in the Gold Leaf Band.

He stayed active during the Depression, mainly with Avery “Kid” Howard and was a regular with the George Lewis Band.. Jim recorded with the Sam Morgan Band in the 1920′s, legendary recordings that have been re-issued many times. He was on the Kid Rena Decca sessions and is of course on most of Bill Russell’s Bunk Johnson recordings. One of the greatest Jazz Band recordings occurred at this time, with Bunk missing, Jim Robinson and George Lewis together with Baby Dodds, Slow Drag and Lawrence Marrero created the great anthem of New Orleans collective jazz improvisation. It’s yours to listen today on American Music AMCD 4. The tune is called “San Jacinto Stomp” – it’s my desert island disc – but more of that later. Now listen to “Ice Cream” with Jim giving it his all and again there are no solos, just jazz. It is on AMCD 2 and by the way, listen carefully to Baby Dodds on the drums.

Jim toured and recorded countless times with George Lewis and Kid Howard, and made some wonderful recordings under his own name on the Riverside label..This is a small part of Jim Robinson’s very busy music-filled life. I am not attempting a biography here, my main purpose is to get you to listen to”Big Jim” yourselves! Scathing critics in the mainstream and modern jazz fields have carped at the apparent simplicity of his style, “the agricultural trombone of Jim Robinson” said one critic in the Jazz Journal.

Having spent my life studying, playing, living and loving New Orleans Jazz, I can tell you that more trombone players have tried and given up in frustration trying to emulate the Jim Robinson style. I’m not talking about copying Jim note for note. No one would want to copy George Lewis, Jim Robinson, Bunk Johnson or Kid Howard. What we are looking for is the style -the purpose of the instrument in a jazz band playing in the New Orleans ensemble The above musicians actually created a style – yes – an original creation for us to listen to, enjoy and even emulate.

I can tell you that the thrill of playing and listening to a band in this style is for me “The meaning of life” The quest for the orgasmic wall of rhythmic sound that is not arranged and spontaneous ensemble improvisation is nirvana.

I suppose my desert island disc would be American Music AMCD 2 “When You and I were Young Maggie”

But I send you a warning – this music is addictive – beware! Wait a minute I have got another must-have! In 1963 Tom Bethel recorded Kid Howard at San Jacinto Hall in New Orleans with Kid Howard, Jim Robinson, George Lewis, George Guesnon, Slow Drag and Cie Frazier. It’s on GHB 23 – I’ve got to have that one with me! Look out – here comes another one Jim Robinson stars here on “Moonlight and Roses on GHB

New Orleans Jazz specialist Geoff Gilbert, banjo player writer and broadcaster lives in the French Quarter. Born in England in 1932. he formed and led the Gothic Jazz Band in 1962. After moving to Sydney, Australia in 1964, he formed the Harbour City Jazz Band and began his jazz radio show on 2MBS-FM which ran for 30 years. He was Director of Entertainment for the Sydney Showboat where he entertained jazz fans from all over the world with New Orleans Jazz. In 2001, Geoff relocated to New Orleans to continue his love affair with the birthplace of jazz.