[JPL] Jazz RADIO

Tom Mallison tomthejazzman at earthlink.net
Tue Mar 6 15:47:17 EST 2007


There are many distinguished panel members and they offer varied opinions,
some based on personal experience and some, I believe, not so fact based
and more opinions or assumptions.  It has not been said it the last few
days here on the JPL with all of the wrangling about Wynton, others, likes
and dislikes so I want to post something additionally.  

There seems to be too much jealously and not enough expressionism of
devoted love for this music.  When we get there we will be headed in the
right direction to truly make a difference in our current situation of
JAZZ.  We need to get behind the IAJE organization, Jazz Alliance and other
groups and pull together.  Just this time last week we were faced with
losing this forum which would be really sad so I hope we can make it work
this time around and raise our appreciation and understanding of others to
a higher level.  
ALOHA
Tom



> [Original Message]
> From: Ron Gill <ron_gill at verizon.net>
> To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
> Date: 3/6/2007 3:36:52 PM
> Subject: Re: Re: [JPL] Jazz RADIO
>
> This Week's JPL Sponsor: SUMMIT RECORDS
>
>
> =====================
> From: Jim Wilke <jwilke123 at comcast.net>
> Date: 2007/03/06 Tue PM 02:13:32 CST
> To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
> Subject: Re: [JPL] Jazz RADIO
>
> This Week's JPL Sponsor: SUMMIT RECORDS
>
> Jim's comments have basically said it all. I was a teen listening and
performing jazz and my local radio stations were playing jazz and popular
music on the same playlist. That's where I learned and found out about the
music. Why did Ella, Sarah, Brubeck, Garner, Dizzy and Parker and all the
others become super stars? It was because of radio. Jim is rght, they got
played and the next week or so they were appearing in some venue in your
hometown, a dance hall or nightclub. There was an opportunity for young
people to get out and hear the music in person as long as they were not
served alchohol.
> Who says that putting all that music in one basket doesn't work? A focus
group. Listeners to radio do not have a choice, they hear what is delivered
to them and that is not a choice. It's marketing.
> There are people in this industry who ruined the record companies, radio,
a true listening audience and all the other outlets where good music and
jazz survived.
> What we are experiencing is the result of their poor decisions that had
to do with making lots of money and not for the artists or music in
particular. 
> Ron Gill
> Jazz Gallery
> WGBH 89.7 FM
> Boston, MA
>
>
> Several things occurred to me when reading the following messages.   
> Having now been in jazz radio more or less continuously for 50 years  
> (!) I have noted a number of changes along the way.
>
> There were not many "jazz stations" then, but there were more "jazz  
> shows" on various stations, including many late night/ all night show  
> on major market full power AM stations. You could hear at least one or  
> two of them no matter where you lived in the US and Canada.  The first  
> jazz shows I did were not on jazz stations but on stations that had a  
> jazz program or two along with other kinds of programs.  I also think  
> listeners paid more attention to music they heard on radio... it wasn't  
> just background or lifestyle (ugh!).
>
> I also recall that the major thrust of jazz radio shows was to  
> entertain the audience, not to make hit records.  We did ride one when  
> the audience asked for a title frequently but we didn't feel it was our  
> principal duty to make hits. We were even a little nervous about  
> playing anything too frequently because of the payola scandal in pop  
> music.   Kind of Blue was a hit out of the gate, we loved the record  
> and so did our listeners.  Everybody who played jazz on the radio  
> played Kind of Blue frequently.   Coltrane's Atlantic albums got played  
> often too, but as tracks got longer and more "challenging" on the later  
> impulse albums, he became more controversial and those albums did not  
> get played as frequently or even at all on some stations.   In general,  
> solos were shorter and more concise before Coltrane than after. You can  
> decide if that's a good thing or bad, but I hear a lot of solos (live  
> and recorded) that I think would have been better if they had taken  
> fewer choruses.  Bird used to say "if you take more than two choruses,  
> you're just practicing" and I do get that sense sometimes.
>
> There were far, far fewer records to deal with then, and I think in  
> general the quality was higher. Perhaps a 40 minute LP contained more  
> carefully chosen music than a 70 minute CD.  Yes, we repeated tunes  
> more often, in part because we had fewer tunes to play.  Cannonball,  
> Monk, MJQ, Horace Silver, Blakey, Getz, Mulligan, Carmen, Sarah, Dizzy,  
> Ahmad Jamal, Bill Evans, Wes Montgomery, Jimmy Smith.... all these  
> people were recording & touring, often playing clubs for a week at a  
> time.  I was doing live broadcasts from a club every week with these  
> and others in addition to record shows.
>
> It was a friendlier business, we had more interaction with audiences  
> and didn't rely on anonymous research.  But those days are gone and so  
> are most of the musicians from the above list.  Our playlists then were  
> not filled with late musicians, but with vital, living souls who were  
> putting out new albums and playing at a club downtown next week!   We  
> should do the same today if want jazz to survive beyond an historical  
> artifact.
>
> PS - I don't think "hits" are necessarily based on repetition, although  
> it helps.  I've gotten calls on tunes on the very first play - but it  
> was a really appealing record!    You didn't have to think twice, do a  
> market analysis or call in a focus group to recognize the worth of Kind  
> of Blue, Mercy Mercy Mercy, or Waltz for Debbie the first time you  
> played them and the phone rang.
>
> I know, we did it all wrong by today's standards, but jazz record sales  
> were actually better then than now.  That's kind of interesting, isn't  
> it?
>
> Jim Wilke
> Jazz After Hours, PRI
> www.jazzafterhours.org
>
>
>
> On Tuesday, March 6, 2007, at 10:34  AM, eflash17 at comcast.net wrote:
>
> > Since you bring up Coltrane, was his music played extensively on the  
> > radio in his day ??  I guess I always thought that people were exposed  
> > through word of mouth about a particular recording or perhaps live  
> > shows if they lived in a city.
> >
> > Being a relative youngster and not around back then, I don't really  
> > know.  I mean, did Kind of Blue gain exposure on the radio ?  Were  
> > there lots of jazz stations / programs in the 1950's & 1960's ??
> >
> > -------------- Original message --------------
> > From: OntheBeach at aol.com
> >
> >> This Week's JPL Sponsor: SUMMIT RECORDS
> >>
> >>
> >>
> >> 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
> >> said:
> >> 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
> >> enthusiasm
> >> 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
> >> record?
> >>
> >> 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
> >> shot.
> >>
> >> 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--
> >>
> >> "PASSION, POSSIBILITIES, POSITIVITY and bold ACTION go hand-n-hand"
> >>
> >> cooperate.
> >>
> >> Ricky Schultz
> >>
> >>
>
> -------------------------------------------
> This Week's Sponsor: SUMMIT RECORDS
> -------------------------------------------
>
> ON YOUR DESK THIS WEEK FROM SUMMIT RECORDS:
>
> TED HOWE ''Love Song'':  The third release from Ted invites the listener
into a jazz time capsule of love songs.  And as fans and critics alike
found with ''Ellington'' and ''Elton Exposed'', Howe's virtuosic piano
style and arrangements lead straight to surprise.
>
> Featuring the great jazz baritone Giacomo Gates and star of stage, screen
and television, Lainie Kazan on a couple of tunes, Ted Howe delivers a
beautiful recording of masterfully arranged standards (Arlen, Van Heusen,
Porter) and originals; a perfect mix of instrumentals and vocals. 
http://www.summitrecords.com/product.tmpl?SKU=477
>
> BOB FLORENCE LIMITED EDITION ''Eternal Licks and Grooves'':  Featuring
Peter Erskine, Carl Saunders and Scott Whitfield, this all-star big band
offers the listener what they have come to expect from the award-winning,
legendary bandleader Bob Florence - Sensitive yet powerful arrangements
with a HUGE sound that will put you on the edge of your seat.  Spectacular
outing!
>
> Includes ''Eternal Licks and Grooves'' commissioned by ASCAP and IAJE
honoring Count Basie and ''Appearing In Cleveland'' commissioned by the LA
Jazz Institute honoring Stan Kenton.
http://www.summitrecords.com/product.tmpl?SKU=478
>
> Radio and print media promotion by Dr. Jazz, 800-955-4375,
drjazz at drjazz.com
>
>
>
> To become a sponsor contact Devon Murphy 
> at devon at jazzweek.com / 866-453-6401 x3 or Ed Trefzger at ed at jazzweek.com
/ 866-453-6401 x1.
>
>
> +++++++++++++++++++++++++++++++
>
> Send jazzproglist mailing list submissions to
> 	jazzproglist at jazzweek.com
>
> To subscribe or unsubscribe via the World Wide Web, visit
> 	http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> or, via email, send a message with subject or body 'help' to
> 	jazzproglist-request at jazzweek.com
>
> You can reach the person managing the list at
> 	jazzproglist-owner at jazzweek.com
>
> Delivered to: ron_gill at verizon.net
>
>
> Ron Gill
> -------------------------------------------
> This Week's Sponsor: SUMMIT RECORDS
> -------------------------------------------
>
> ON YOUR DESK THIS WEEK FROM SUMMIT RECORDS:
>
> TED HOWE ''Love Song'':  The third release from Ted invites the listener
into a jazz time capsule of love songs.  And as fans and critics alike
found with ''Ellington'' and ''Elton Exposed'', Howe's virtuosic piano
style and arrangements lead straight to surprise.
>
> Featuring the great jazz baritone Giacomo Gates and star of stage, screen
and television, Lainie Kazan on a couple of tunes, Ted Howe delivers a
beautiful recording of masterfully arranged standards (Arlen, Van Heusen,
Porter) and originals; a perfect mix of instrumentals and vocals. 
http://www.summitrecords.com/product.tmpl?SKU=477
>
> BOB FLORENCE LIMITED EDITION ''Eternal Licks and Grooves'':  Featuring
Peter Erskine, Carl Saunders and Scott Whitfield, this all-star big band
offers the listener what they have come to expect from the award-winning,
legendary bandleader Bob Florence - Sensitive yet powerful arrangements
with a HUGE sound that will put you on the edge of your seat.  Spectacular
outing!
>
> Includes ''Eternal Licks and Grooves'' commissioned by ASCAP and IAJE
honoring Count Basie and ''Appearing In Cleveland'' commissioned by the LA
Jazz Institute honoring Stan Kenton.
http://www.summitrecords.com/product.tmpl?SKU=478
>
> Radio and print media promotion by Dr. Jazz, 800-955-4375,
drjazz at drjazz.com
>
>
>
> To become a sponsor contact Devon Murphy 
> at devon at jazzweek.com / 866-453-6401 x3 or Ed Trefzger at ed at jazzweek.com
/ 866-453-6401 x1.
>
>
> +++++++++++++++++++++++++++++++
>
> Send jazzproglist mailing list submissions to
> 	jazzproglist at jazzweek.com
>
> To subscribe or unsubscribe via the World Wide Web, visit
> 	http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> or, via email, send a message with subject or body 'help' to
> 	jazzproglist-request at jazzweek.com
>
> You can reach the person managing the list at
> 	jazzproglist-owner at jazzweek.com
>
> Delivered to: tomthejazzman at earthlink.net
>
>
> -- 
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