[JPL] name recognition (de l'ouest, rien de nouveau)

Open All Nite Entertainment steve at openallnite.com
Tue Jul 6 15:48:55 EDT 2004


Peter,

In defense of Dr. Jazz, it was I who made the comments about museums, 
etc.  To be clear, I am not saying leave the music in the vaults - Please 
don't jump to conclusions.  I am saying that there are many outlets for 
established artists and music.  There are few for the new artist.  You as a 
radio station are one of the gatekeepers to bringing an artist and his/her 
music visibility.  If television only aired reruns and established actors' 
movies, etc; we would likely never be exposed to any new actors or new 
shows.  Many television shows fail.  But you can't win if you don't 
play.  (Please folks don't get into the value of television, I'm just using 
this as an example).

I think the initial issue of this thread was the comment of not playing 
ANYnew artist, but ONLYplaying established artists or familiar 
material.  My opinion - for what it is worth, is to encourage stations to 
get behind some of these new artists.  Help to create new jazz standards 
and new 'stars' of the genre.  The material is out there.  I'm not looking 
for radio to sell records, hell there's no money in selling records these 
days anyway.  Helping to establish an artist in a market, gives that artist 
opportunity.  Eventually the artist might come to the market and perform, 
encouraging folks to go out and support live music, live venues are a great 
way for radio to connect with an interested listening audience.  I realize 
this a simplified approach, but I think you understand what I am trying to 
convey.  If we only look in the rear view mirror, we won't see where we are 
going and inevitably we will crash.  If we only look forward, we are liable 
to forget where we came from.  I think there's a logical balance somewhere 
in between.

All the best,

Steve Belkin

Open All Nite Entertainment
9636 McLennan Ave.
Northridge, CA  91343
818 892-5564
775 263-3526 Fax
www.openallnite.com

At 01:06 PM 7/6/2004, you wrote:
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>Mr Jazz, Dr Jazz, Monsieur Jazz, Madame Jazz:
>
>Sure.  You *know* your history.  So leave it in the vaults.  Let the
>listeners go to the museums to figure it out.  After all, there's the
>Louis Armstrong House museum in Queens, and...and...um.
>
>Jazz is not pop music in 2004.  It doesn’t draw and it doesn't earn.
>
>Jazz is not 'classical' music in 2004.  A static repertoire does
>violence to new artists and creativity.
>
>But there's "new" symphonic music too.  Should classical music radio
>hosts only program music by living composers with new releases and gigs
>to plug?
>
>Would YOU listen to that format?  Who would profit?  Not the audience,
>which  would become increasingly unaware of the traditions as they
>existed before the "new" music, the context in which young composers
>evolve.  The surest way to kill interest in an art supported by an
>already aging demographic is to cut the art form itself off at the root.
>
>But of course the very suggestion is silly.  Sounds like Jonathan Swift.
>No Beethoven, Mozart or Vivaldi?
>
>And yet we have folks who love jazz seriously promoting a modest
>proposal of their own.  Who would profit?
>
>Panassié and Hodeir were theoretical polemicists.  Their culture
>(Montaigne, Descartes, Voltaire, Sainte-Beuve) taught them to classify
>and describe things as they saw them.  One thought that there was no
>such thing as new jazz and one thought that there was no such thing as
>old jazz.
>
>As much as we would like to promote only living, gigging artists and
>their shows, where will the understanding of what they do come from
>without the history of the music being intelligently presented?  More
>importantly, where will THEIR audience learn to love and respect what
>they do?
>
>But let's forget even that pragmatic argument for a moment.  Will Benny
>Green or Walt Weiskopf (both great players) ever mean what Thelonious
>Monk and Coleman Hawkins mean to American culture?
>
>Think of the names that can't be heard on commercial radio:  Louis,
>Miles, Duke, Basie, Ella, even Ray Charles.  This is our native art
>form, folks.  If we don't play it, nobody will.  The cultural
>impoverishment inherent in that idea is breathtaking.
>
>I believe that the new artists and their CDs *should* be a part of any
>healthy programming policy.  But when it's the 4th of July, don't
>interrupt the Louis Armstrong (yes, I know when the real birthday is).
>Ain't none play like him yet.
>
>A healthy diet of programming must include the context and the history
>of this music, because it is an aural tradition (pun intended).  If it's
>not heard, it is truly dead.  There is no such thing as old jazz or new
>jazz, only jazz that you haven't heard.
>
>If you think your job is to sell CDs and concert tickets, then you are a
>jazz DJ for different reasons than I am.
>
>Good thread, much food for thought.
>
>Cheers,
>
>Peter/WFCR
>
>
>
>
>
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>Going for adds and spins!
>
>Karrin Allyson - Wild For You
>
>One of the most lauded voices in jazz today and, not coincidentally, a 
>true artist who views the spirit of jazz as a license to let her boundless 
>creativity run wild and free, not as a cage of arbitrary limits-the 
>always-adventurous and engaging Karrin Allyson now presents an entire 
>album of the songs she "grew up with."
>
>These are the songs that inspired the Grammy¨-nominated vocalist to sing 
>in the first place-the now-classic pop gems by such singer-songwriters as 
>Elton John, Carole King, Joni Mitchell, Bonnie Raitt, Carly Simon, Cat 
>Stevens, James Taylor and others.
>
>Artfully restyled by her unmistakable alto voice, Karrin's favorite songs 
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>
>
>
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