[JPL] Jazz isn't dying - culture is dying

Bouille, John JBouille at SHAWU.EDU
Mon Jul 31 11:38:07 EDT 2006


Jae,

	I have to disagree with you on that point. For the last five years we have had a show called Funk Friday's that featured MMW, Karl Denson, fusion, funk and jam bands. Yes it was true that the average pledge did decrease significantly but, the amount of people pledging increased which made up the difference. In it's fourth year it became the number one show during our fundraiser. The passion for the music is what makes for good radio. Also the younger audience that is listening to this type of music has nowhere else to hear it. Also, if they become supporters at a young age, then they likely will start listening to other programs and eventually become a long-time supporter. If you alienate the youth then you are in serious trouble for the future. The fact that there is even a term jam-band means that enough people are listening too this music to make a difference. A programming suggestion: put someone young on the air that has a passion for this music that way the younger audience can relate to the programmer.

"This is not you fathers Oldsmobile"

Just a suggestion and thanks for the spirited discussion

John Bouille 
WSHA Program Director
118 East South Street
Raleigh, NC 27601
1-800-241-0421 ~ 919-546-8433


-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com]On Behalf Of Jae Sinnett
Sent: Monday, July 31, 2006 10:18 AM
To: Jazz Programmers Mailing List
Subject: RE: [JPL] Jazz isn't dying - culture is dying


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Here's the public radio business side to this thread........for almost six years I hosted a contemporary jazz fusion show on Monday evenings. Got tons of calls on the show. It included groups and artists such as Vital Information, Scott Henderson, Return To Forever, Planet X, MMW, and a kzillion other "fusion"  and some "jam band" artists and ensembles. During the fundraisers revenue dropped about 80 percent during this show. The average pledge was $35 vs $120 for other parts of my jazz programming - which is acoustic oriented. After budget cuts we no longer could afford to continue airing the show. 
   
  Now considering most public radio outlets don't have advertising budgets - particularly for their music programming and we're non commercial, any loss or drop of revenue is unacceptable. Rick, your passion for this music is shared by many but unfortunately it doesn't translate to $$$ when aired on the radio. I found that strange because these CD's sell like hot cakes and for live shows the audiences are considerably larger but that's the reality. You have some visibility now on this list so since you're on us programmers about presenting a "myopic" format, why don't you share with us some of your programming wisdom that could make fusion more profitable on public radio - since we're the only electronic media outlet likely to even consider presenting it? 
   
  Jae Sinnett
  WHRV FM
  Norfolk VA   

rick <rick at jazzrockworld.com> wrote:
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Hi Ed,

The point was about confinement, closed parameters, limits, boundaries. 

I was trying to make the point that there are many sub-styles of Jazz that
are still played heavily on the radio - EXCEPT for Jazz Rock Fusion. All
around the world Jazz Rock Fusion is considered Jazz, except here. In the
bigger picture Jazz Rock Fusion is the natural next phase of Jazz. 

Just to be even clearer, I'm not referring to popular smooth Jazz, but the
genuinely talented, educated, highly creative, and improvisational based
music made by musicians that embrace the original vibe and groove of the
Jazz Rock pioneers. The perfect example was already mentioned - where would
someone expect to hear the new Adam Holzman Cd if not a Jazz station? All
the musicians I interviewed for my article seemed to agree that real Fusion
is played by Jazz musicians and it's confirmed by its acceptance as Jazz
worldwide, except here. 

What's up with that?

The Question remains...

Best,

Rick

P.S. As a die hard Fusion fan, even I consider some of Miles' electric stuff
a "hard listen" but the genre itself isn't confined to "Dark Funk" as many
have labeled that "Dark Magus", or Hancock's "Mwandishi" period. 




-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of EdBride at aol.com
Sent: Monday, July 31, 2006 5:41 AM
To: jazzproglist at jazzweek.com
Subject: Re: [JPL] Jazz isn't dying - culture is dying

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This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial
Territory Orchestra

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The Jazz Programmers Mailing List is a free service provided by JazzWeek.
For more information visit us at http://www.jazzweek.com/jpl To become a
sponsor contact Ed Trefzger at ed.trefzger at jazzweek.com or 866-453-6401.

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In a message dated 7/31/2006 12:45:34 A.M. Eastern Daylight Time,
rick at jazzrockworld.com writes:
<<..

Why is
the Jazz community here so willing to sacrifice the very principle and
spirit of the Jazz art form and confine itself to acoustic Be-bop and
completely ignore Modern Electric Jazz?..>>

You make it sound like it's intentional, or some sort of conspiracy. Here's
a theory: maybe it has to do with what we like.

Ed




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This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial
Territory Orchestra

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MTO Volume 1 is the debut album from Steven Bernstein's Millennial Territory
Orchestra. The nine-piece outfit features some of Gotham's most original
musical voices, wicked and well-traveled improvisers who tear into and savor
Bernstein's arrangements like the tangiest Kansas City barbecue. The
selection of tunes includes classic '20s fare (Charlie Johnson's "Boy
in the Boat," Bennie Moten's "Toby") and the kind of
contemporary pop and R&B hits (Prince's "Darling Nikki,"
Stevie Wonder's "Signed, Sealed, Delivered") that have long been
part of Bernstein's repertoire. The vibrancy of the playing, the wit and
sass of the arrangements, uncovers the genetic code that makes Bennie Moten
and Prince funk-soul brothers of the first order. All this, without once
conjuring the snoot of academe or dreaded notions of "post-modern
jazz."

The Millennial Territory Orchestra is: Steven Bernstein (trumpet, slide
trumpet), Ben Allison (bass) Peter Apfelbaum (tenor) Charlie Burnham
(violin) Clark Gayton (trombone), Erik Lawrence (baritone, soprano) Matt
Munisteri (guitar, banjo, vocal), Ben Perowsky (drums) Doug Wieselman
(clarinet, tenor saxophone) and special guest Doug Wamble (guitar, vocal) on
"Signed, Sealed & Delivered"

IN STORES 8/1.

AT RADIO...right...about.....now. Got it? Hope so.

Contact:
Garrett Shelton at Sunnyside Records - garrett at sunnysiderecords.com

Also check out: www.stevenbernstein.net

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-------------------------------------------

This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial Territory Orchestra

-------------------------------------------

MTO Volume 1 is the debut album from Steven Bernstein's Millennial Territory Orchestra. The nine-piece outfit features some of Gotham's most original musical voices, wicked and well-traveled improvisers who tear into and savor Bernstein's arrangements like the tangiest Kansas City barbecue. The selection of tunes includes classic '20s fare (Charlie Johnson's ''Boy in the Boat,'' Bennie Moten's ''Toby'') and the kind of contemporary pop and R&B hits (Prince's ''Darling Nikki,'' Stevie Wonder's ''Signed, Sealed, Delivered'') that have long been part of Bernstein's repertoire. The vibrancy of the playing, the wit and sass of the arrangements, uncovers the genetic code that makes Bennie Moten and Prince funk-soul brothers of the first order. All this, without once conjuring the snoot of academe or dreaded notions of ''post-modern jazz.''

The Millennial Territory Orchestra is: Steven Bernstein (trumpet, slide trumpet), Ben Allison (bass) Peter Apfelbaum (tenor) Charlie Burnham (violin) Clark Gayton (trombone), Erik Lawrence (baritone, soprano) Matt Munisteri (guitar, banjo, vocal), Ben Perowsky (drums) Doug Wieselman (clarinet, tenor saxophone) and special guest Doug Wamble (guitar, vocal) on ''Signed, Sealed & Delivered''

IN STORES 8/1.

AT RADIO...right...about.....now. Got it? Hope so.

Contact:
Garrett Shelton at Sunnyside Records - garrett at sunnysiderecords.com

Also check out: www.stevenbernstein.net

+++++++++++++++++++++++++++++++

Send jazzproglist mailing list submissions to
jazzproglist at jazzweek.com

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-------------------------------------------

This week's sponsor: Sunnyside Records - Steven Bernstein's Millennial Territory Orchestra

-------------------------------------------

MTO Volume 1 is the debut album from Steven Bernstein's Millennial Territory Orchestra.  The nine-piece outfit features some of Gotham's most original musical voices, wicked and well-traveled improvisers who tear into and savor Bernstein's arrangements like the tangiest Kansas City barbecue. The selection of tunes includes classic '20s fare (Charlie Johnson's ''Boy in the Boat,'' Bennie Moten's ''Toby'') and the kind of contemporary pop and R&amp;B hits (Prince's ''Darling Nikki,'' Stevie Wonder's ''Signed, Sealed, Delivered'') that have long been part of Bernstein's repertoire. The vibrancy of the playing, the wit and sass of the arrangements, uncovers the genetic code that makes Bennie Moten and Prince funk-soul brothers of the first order. All this, without once conjuring the snoot of academe or dreaded notions of ''post-modern jazz.''

The Millennial Territory Orchestra is:  Steven Bernstein (trumpet, slide trumpet), Ben Allison (bass) Peter Apfelbaum (tenor) Charlie Burnham (violin) Clark Gayton (trombone), Erik Lawrence (baritone, soprano) Matt Munisteri (guitar, banjo, vocal), Ben Perowsky (drums) Doug Wieselman (clarinet, tenor saxophone) and special guest Doug Wamble (guitar, vocal) on ''Signed, Sealed &amp; Delivered''

IN STORES 8/1.

AT RADIO...right...about.....now.  Got it?  Hope so.

Contact:
Garrett Shelton at Sunnyside Records  - garrett at sunnysiderecords.com

Also check out:  www.stevenbernstein.net

+++++++++++++++++++++++++++++++

Send jazzproglist mailing list submissions to
	jazzproglist at jazzweek.com

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