[JPL] Re: Younger people on the radio

louisx at verizon.net louisx at verizon.net
Sun Mar 11 12:56:18 EDT 2007


I just noticed, Sarah, that you have Hazmat Modine on your best list. I 
think many on this programmers list would kill you for this, but I like it. 
I know them and I don't consider them "jazz" according to my own arbitrary 
definition, but I admire what they are trying to do, so it's great that you 
include them. Regarding knowing radio vs. knowing and loving jazz, you need 
to have both for good radio. The best analogy I can think of is the history 
teacher who takes a lot of education courses but really doesn't care about 
history vs. the history teacher who loves history and but knows nothing 
about teaching vs. the history teacher who loves history and knows (or 
learned) how to teach .   Obviously the third one will be most inspirational 
to students.  And if you understand the connections among musical styles you 
can draw people in from one camp to another. An example: I had Kim Wilson of 
the Fabulous Thunderbirds on my show. He has a lot of fans who know nothing 
about jazz, but he does. So through the interview and the music we played we 
could make connections between the small group recordings of Little Walter 
(a big influence on Kim) and the small group recordings of Charlie Parker, 
while roping in the Thunderbirds fans who in general would probably not make 
those connections.

----- Original Message ----- 
From: "Jae Sinnett" <jaejazz at yahoo.com>
To: "Jazz Programmers Mailing List" <jazzproglist at jazzweek.com>
Sent: Saturday, March 10, 2007 12:18 AM
Subject: Re: [JPL] Re: Younger people on the radio


> This Week's JPL Sponsor: SUMMIT RECORDS
>
>
> (Note to Jae - I hear grown
> folks say names wrong all the time too....but I think we're all
> speaking
> in general terms with this topic anyway).
>
>
>  That's funny Sarah. You're right and I've been guilty of it 
> myself....even after all these years but the marquee folk....no. For 
> purposes of clairification......When I said folk should be required to 
> take a jazz history course before going on air.....that's a smart thing. 
> Why would you argue against that? You had teachers..... but not the class 
> room. Same difference to me. It gives those a better point of departure 
> going into it. I just used names and styles as a couple of examples of 
> things I've heard that perhaps wouldn't have happened if they had some 
> knowledge of the history going into it. You studied to learn on the job as 
> it sounds but you also had folk "teaching" you.
>
>   Also, who's talking about lecturing anyone or approaching it with a 
> "narrow focus?" Or having to be a serious jazz fan or musician to do 
> programming. I'm not but since you mentioned that I did research over a 
> four year period as to why folk pledge for my show. Over 75 percent said 
> they really appreciate the commentary because they learn. There is a myth 
> in my opinion as to the belief that we shouldn't talk with our audience 
> too much. What is too much is the question.  I'm a jazz musician yes but 
> also a programmer and a damn good one. Maybe some would think I come to 
> this solely from a musician perspective and if that's the case you really 
> don't understand me.
>
>  I don't lecture my audience but I do give them info that helps them 
> understand more about this music and it's history. My jazz shows for the 
> past two years have raised more money than ATC or Morning Edition so there 
> is something right happening. I guess that "academic tone" must be 
> working. You ask "how's that been working for us in the past 10 years? 
> Well....... I can't speak you or for anyone else but for me it's been 
> working quite nicely. You have a way of doing it and I have my way but one 
> thing I've learned in this business is to listen to those that have had 
> success. I want to know why and how they did it because after all is said 
> and done the results of what you produce is the most telling.
>
>  Jae Sinnett
>
> "Toulouse, Sarah" <stoulouse at chicagopublicradio.org> wrote:
>  This Week's JPL Sponsor: SUMMIT RECORDS
>
>
> As an early-30's woman, who has nearly a decade of jazz/music hosting
> experience in a major market, (and having now experienced first-hand how
> unfixed radio is, and how programming and formats can change, and
> therefore change your life -- including in public radio) I'd like to
> chime in on this topic.
>
> First of all, my former music director, two decades my elder, took a
> chance on hiring me right out of college at 20 (BA in Communications,
> started my professional career while still in school as a freelance
> public affairs reporter before I started working in the music dept. for
> WBEZ). I had to develop my chops for about the first four years before
> I had a regular full-time gig, all the while also developing my role as
> a producer for our performance / music programs such as the Jazz/Blues
> Festival b'casts, and local music-related segments for our talk shows.
>
> I had wonderful mentors - my fellow music hosts - to bring me along,
> ages ranging from 30s to 70s, men and women, Latino, African American
> and white. When I screwed up a name or pronunciation or a fact, they
> simply told me the correct way to say things, without pretension. I had
> regular air-checks with my MD to review how I was progressing. No one
> made me feel stupid or embarrassed, and they all made me feel like they
> had once also been in my shoes and gave me encouragement that I could be
> just as good as them, with some experience under my belt. I can play
> the guitar and did learn general music knowledge as it did help in the
> development of my job to have some of that background info, but I didn't
> come to radio as a musician or music student. Before the internet, we
> had actual books around the studios so I could double check facts and
> find interesting stories to tell....NOT just names and dates and Jazz
> 101 lecture. Who tunes in to for a music show on radio for a lecture
> anyway? Does anyone go to a jazz show to be lectured? I never
> understood this notion that the academic tone is supposedly the gold
> standard for a jazz programmer. It's boring and elitist. Jazz and
> classical seems to be the only type of programming that takes this
> approach...and how's that been working for us in the last 10 years? I
> did happen to have an affinity for jazz, as well as other genres of
> music, so that helped, but I was certainly not a walking encyclopedia
> when I first started.
>
> The older generation has been fortunate to experience many of the great
> artists first hand, however, the next generation, like me, was not even
> born until after greats like Duke Ellington died. We have to learn how
> to carry the history with us, but also we DO have our own current
> generation of artists, doing great work that WE relate to, but the older
> generation (generally speaking, of course), seems to be ignoring. I
> think we all can learn a lot from each other and move forward with more
> compelling radio.
>
> And moving on to radio itself, when it comes to being a professional
> broadcaster, especially for public radio, the job requires a proficiency
> in a variety of areas beyond simply personal interests/knowledge base,
> and beyond knowledge of JUST jazz (or whatever your main gig is). I
> find this to be a problem with a lot of programmers/producers,
> regardless of age, but specifically, I find that the younger generation
> is not being mentored or trained to develop a broad knowledge base, and
> a well-studied knowledge base at that. (Note to Jae - I hear grown
> folks say names wrong all the time too....but I think we're all speaking
> in general terms with this topic anyway).
>
> The listeners' interests are not singular, so why should we approach
> programming, regardless if it is music or news/talk, with a narrow
> focus. Sure, jazz aficionados like to hear the rundown of all the
> members playing on a tune, with the recording date, etc, but why just
> think of that niche audience only? Regular people don't give a crap, so
> they tune out either bored to death with all the facts and technical
> music talk, or they feel like they don't belong to the secret jazz
> elitist club. Why not try to relate the music to more general areas to
> regular life? For example, jazz pops up in films and has been part of
> culture in more ways than strictly just being music for music's
> sake...why not relate some of those general interest connections to jazz
> during the course of a program?
>
> Also, I respectfully disagree with Mr. Wilke's statement about it being
> easier (I'm taking this as also meaning better, sorry if that was not
> the implication) to train a jazz fan/musician to be a host rather than a
> radio/communications grad (or newer broadcaster, not necessarily just
> young) to be a jazz host. I think there are already too many jazz fans
> working as hosts, who don't also take the initiative to study how radio
> and audience works. In my opinion, this is one of the reasons jazz
> continues to fade out of public radio frequencies. I have always
> thought of myself as a radio programmer first, and the genres I worked
> with as the focus of my job - my "beat" if you will.....not the other
> way around. Just as the city hall reporter has to keep informed and
> study everything there is to know about his/her news beat, the same
> approach should be applied to a music host. Also, every market is
> different, every audience for any given daypart could be different, and
> I never understood how JUST the taste of one jazz fan (just the host's
> taste) is considered sufficient to determine programming decisions,
> without getting to know what kind of audience you are programming to.
>
>
> Before our station cut most of our music programming in January, I was
> hosting a "traditional" jazz slot weeknights and had a specialty program
> on Fridays that focused on more modern jazz, as well as some other
> modern forms of music, not necessarily categorized as jazz, but
> complimentary as far as the sound and tone for this program was
> concerned. I did bring some of those modern artists into the weeknight
> shows a couple times a night. I wouldn't make the train go off the
> track, but I would try to introduce some newer artists and sounds that
> complimented a set one to three times over the course of a four or five
> hour show. (For the record, our weeknight jazz had about 100,000
> listeners a night, and I did see in one book my Friday night specialty
> show hit an 8 share...whoo hoo, granted it was on pretty late, but
> still, a freaking 8 share!). Then, the dominant news/talk wave came to
> Chicago.
>
> There is a wide and diverse range of artists making music that could
> work with existing current jazz formats, if programmers would open up a
> bit. Now, I don't believe programming to every single style that falls
> under the jazz umbrella works either. Trying to please everyone at the
> same time doesn't seem to please anyone. However, within a "regular"
> jazz format, I think it is great to throw in something different than
> the usual suspects occasionally - say once an hour, or every other hour,
> frequent enough to catch a listener's ear without throwing them off the
> rails. Some specialty shows could also help appeal to a younger/new
> audience. (I don't know why NPR suits don't seem to get that most
> younger people have historically been drawn into public radio through
> the music programming -- not talk --, but hay, I'm not a GM or PD, so
> what do I know.)
>
> Here were my picks for best of 2006 releases, most were featured on my
> specialty show, but there are several here that I would also include
> during weeknight jazz either regularly or on occasion, depending on the
> release.
>
> ARTIST -- CD
>
> Hazmat Modine -- Bahamut
> World Saxophone Quartet -- Political Blues
> John Ellis -- By A Thread
> Dr. Lonnie Smith -- Jungle Soul
> Jack DeJohnette/Bill Frisell -- The Elephant Sleeps...
> Jamie Saft Trio -- Trouble
> OOIOO -- Taiga
> Nomo -- Newtones
> Bobby Previte -- Coalition of the Willing
> Charlie Hunter -- Copperopolis
> Skeriks Syncopated Taint Septet -- Husky
> Stanton Moore -- III
> Medeski Scofield Martin Wood -- Out Louder
> Ernest Dawkins New Horizons Ensemble -- The Messenger
> Von Freeman -- Good Forever
> Spaceheater -- The Record
> Gianluca Petrella - Indigo 4
> Dave Douglass -- Meaning and Mystery
> Nino Moschella -- The Fix
> Dead Combo -- Vol. 2
> Juana Molina -- Son
> Extra Golden -- Ok Oyot System
> BellRays -- Have A Little Faith
> Irma Thomas -- After The Rain
> Califone -- Roots & Crowns
> Islands -- Back To Sea
> Annuals -- Be He Me
> Beirut -- Gulag Orkestar
>
> Ok, thanks for wading through my manifesto. God speed to all music
> programmers left out there in pubic radio (Hurray for the return of the
> classical station in D.C....perhaps the tide is turning again?)
>
> Best regards,
> Sarah Toulouse
> Producer, Programming/Performance Studio
> Chicago Public Radio (yes, I'm still here)
>
>
> -------------------------------------------
> 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?SKUG7
>
> 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?SKUG8
>
> 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: jaejazz at yahoo.com
>
>
>
> ---------------------------------
> 8:00? 8:25? 8:40?  Find a flick in no time
> with theYahoo! Search movie showtime shortcut.
> -------------------------------------------
> 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: louisx at verizon.net 




More information about the jazzproglist mailing list