[JPL] A follow-up on Francois 'n the Good Doctor
sunnyside-gs at attglobal.net
Fri Jul 2 14:36:59 EDT 2004
Francois forwarded me the message from Dr. Jazz about artists without name
recognition not being played by a certain station, I thought I should chime
in on the subject. Why I have no idea but....
A promotion person, in my humble opinion, should always tailor their lists
to fit certain projects. By the beginning of next year, I will have a
zillion different, tiered lists for any type of project I may have to work.
Just not format lists, but within the jazz format itself. I know this is
nothing new, but its becoming increasingly important.
>From here on out, if a station very rarely plays new music and when they do,
only by name artists, I simply will not send the records by developing
artists to that station. Or at the least not at the outset of the campaign.
The goal then becomes sending the record to the programmer that plays very
little new music later when I have ammo.
Having to juggle the different aspects of marketing for Sunnyside, I
accomplish other goals for the project first - working with freelancers,
securing reviews in magazines, starting threads in discussions groups,
sending records to club bookers, trying to get features online, AND working
with programmers that will play new and developing artists.
It is all about building a PROFILE for the artist. THEN I go back to the
programmer or programmers, (maybe not even until the next project) with a
case for the artist and try to get airplay. Maybe they'll even come to me
after seeing a review or hearing a track online. But I know that chewing
someone's ear off for 1 "spin" won't help the artist or Sunnyside.
To me, there are a few bottom lines here:
1) Programmers should always be open to listening to new music in some
fashion. If you don't have time, get an intern. If you already have one,
get another one. Have them listen to it and pass stuff to you of interest.
You still might be surprised.
2) Radio is hard - whether working with commercial stations or trying to
convince a volunteer music librarian at community station to put a record in
the studio. Promotion isn't just about making phone calls.
3) The life of a record is not 8 to 12 weeks. Try a year.
4) The life of an artist is much, much longer than the life of a record.
And more important.
To the programmer that won't play music by developing artists, you are doing
your job as you think you should, bravo. I need to do mine. Better.
Garrett at Sunnyside
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