OntheBeach at aol.com OntheBeach at aol.com
Tue Mar 6 13:13:20 EST 2007

this is worth another read:
_ed.trefzger at jazzweek.com_ (mailto:ed.trefzger at jazzweek.com)  WROTE
I'm as much a champion of anybody for jazz radio, but jazz radio by and 
large has failed jazz in a big way.  A top 50 chart makes it very plain 
that we provide little exposure for the music.  The top CD on the chart 
each week ends up averaging fewer than four spins per week per station 
-- really more like three -- and the No. 50 CD, less than one.

Chances are that the average jazz radio listener, listening 5-7 hours 
per week, is not going to hear most CDs.

I used to be very optimistic that this was changing.  Sadly, it's not.  
If we continue down this path, jazz radio will go from being a small 
part of exposing new music to completely irrelevant.

ED makes some excellent points, it took guts to come out and say what he 
Re-Read That Last Sentence....now ask yourselves  honestly IF " it will..." 
or it has...?
is a measure of jazz radio's relevancy reflected in the pausity of weekly 
underwriting for this board? the weekly sponsorship is well within the reach of 
just about any entity.
I too consider myself as much a champion of jazz radio as most (or at least i 
did for many many years--including my five on the air). THINK about what ed 
has stated here:
---> A # 1 Jazz record averages 3 spins per station per week.  Is it any 
wonder we dont have Jazz Hit Records and new Jazz stars?  [yes, there are always 
new bright talents, i love
jason moran but is he a star? does anyone really get to hear his music via 
the radio?]
Jazz hits equate to jazz stars.  They can tour as legitimate attractions. 
They keep the scene vibrant.  It was always GOOD for the business.  3 spins per 
week for a Number 1 record! do the math.  how many in your audience can hear 2 
or 3 tracks by this artist more than once or twice?  if a listener tunes in 
for 5 to 7 hours per week, they might go weeks without ever hearing a track you 
play 3 times per week.
its a free country, everyone can make choices.  jazz radio has unfortunately 
chosen to run away from the record business on a certain level.  and this is 
not just about supporting the major labels [my favorite record of 2006 was the 
Brian Lynch/Eddie Palmieri on ArtistShare].
back in the day when jazz radio's impact was clearer, hits developed based on 
for something that stood out.  the DJs at a station talked amongst 
themselves, comparing notes on what they dug, what was ringing the phones etc.  those 
now and again great ones got played on every shift.  so a track or two got 5 to 
six spins per day--sometimes more.
do you ever get calls every HOUR to play a certain tune? [it used to happen]
and lo and behold there were sales and on occasion a record company tried to 
crossover a jazz record to other formats.  some jazz albums contained multiple 
hits and stayed in rotation for 6 months.  wouldn't you want to milk a great 
in every generation there are the great ones.  i wonder why some of the great 
ones now are not household names? hmmm, kenny garrett? i can appreciate 
trying to give deserving talent a shot--but 1 spin a week isnt giving anyone a 
maybe im beating a dead horse.  i've spoken about this for many many years.  
broadcasters are communicators.  how many stations organize meetings in their 
city to facilitate communication among record stores, clubs, promoters, 
journalists interested in moving the music forward?  how many stations communicate 
with other jazz stations in their area, state or region to try and coordinate 
events, tours, sponsorships ? 

you can hire an independent promotion person for the same amount as you could 
25 years ago !...problem is the best among them cant deliver a fraction of 
what they once could--because there is no such thing as heavy rotation.  today 
more than ever before, people are bombarded with information---heavy rotation 
is what cuts through!
consider that record you give one spin per week to:  if you had more hours in 
the day, would you give it more spins?, give the next thing down its first 
spin, or lean into a great record?
could john coltrane make it today as a new artist?
cooperation, communication and commitment.  
there are many committed people--and still some great stations--
Ricky Schultz
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