[JPL] Get Help Fast!

mileswillis at wpfw.org mileswillis at wpfw.org
Sat Aug 9 11:23:48 EDT 2008


     You said, "That jazz 'stood on it own' for 100 years is just a  
myth." And the only evidence that you cite for this feeble-minded  
assertion is the nebulous claim that it was 'freely mixed with all  
kinds of other stuff'? Are you serious? Well then do you suppose that  
jazz became a stand-alone art form? And when did it cease to be mixed  
with 'other stuff', given that jazz presently is often mixed with such  
'other stuff' as world music, broadway show tunes and hip-hop. With  
that rationale, one could conclude that jazz has never been a distinct  
form. And, for that matter, neither has anything else! Rock music, for  
example continues to be infused with 'such stuff' as blues, soul and,  
dare I say it, JAZZ.

        You think that we should 'mix in' real jazz with other forms  
of music? In other words, we shouldn't have specific jazz  
programming at all. Right?

        Kindly explain how a 'great jazz show' can simultaneously be  
boring and presented by an equally bored host? What was 'great' and/or  
'boring about it?

   As for your statemant that "jazz musicians (should be) making music  
with an audience in mind that is broader than their fellow musicians",  
what is your rationale for believing that they do? Are you referring  
to ALL jazz musicians or just the ones you don't like?  

        Lastly, I find it shameful, inexcusable and totally  
inexplicable that you would describe the pioneeering music, which you  
OBVIOUSLY have not listened to, that seminal guitarist Lonnie  
Johnson recorded with Duke Ellington in 1927, and Louis Armstrong's  
Hot Fives as well, as "awful pop dreck". 

     If your only excuse for these tired canards masquerading as a  
valid point of view is that you wrote them while you were doing your  
show, then in the future please wait until your shift is over! Taking  
time to think and carefully assemble one's thoughts keeps you from  
sounding stupid! I thought that you were at least well-intentioned if  
mis-guided. I didn't realize that you are pitiably, hopelessly  
ignorant! Read some books, dude! I recommend these appropriately (for  
you) titled works; /Jazz For Dummies/ and The /Complete Idiot's Guide  
to Jazz./

Miles Willis
Quoting Eric Hines <ehines at message.nmc.edu>:

> This week's sponsor:  JazzWeek Summit 2009 -- dates and venue to be   
> announced in August; registration opens in September.
> ++++++++++++++++++++++++++++++
> Sorry: I should have been more explicit: I hate smooth jazz. It's one of
> the few things we won't play here.
> What I'm talking about is e.  And also talking about jazz
> musicians making music with an audience in mind that is broader than
> their fellow musicians.
> AS far as what I consider to be interesting and challenging--it doesn't
> matter. What matters is what a reasonably large audience will find to be
> interesting, challenging, engaging . . . and frankly, no, I don't find
> straight-up jazz shows, as generally presented, are very interesting as
> radio shows. I have heard great jazz shows, but most of them are boring,
> and presented in a manner that makes it hard to believe that the
> presenter isn't as bored as I am. I know that's painting with a broad
> brush, but I'm doing a show myself right now ;-)
> I guess, too, you should understand that "pure" for me is a dirty word.
> It's another word for dead.
> I suppose the model I'd refer to is music in the pre-bop era, when, for
> example, Ellington employed Lonnie Johnson, and played awful pop dreck
> in the same set with the sublime--he cared about putting on a show. And
> we gotta worry about putting on a show, not about purity. Hopefully we
> can figure out how to do it without the dreck, but we won't do it
> without playing things that some purist is going to complain about.
> That jazz "stood on it own" for 100 years is just a myth. For most of
> that time people, like Ellington, e--hokum, blues, pop, humor.  
> Concert programs were even more varied,
> as were radio shows.
> I think it's also a myth, or wishful thinking, that all we need is more
> exposure--that's what absolutely everyone with a failing business or
> program says. Nearly all of them are wrong.
> --eric
> Eric Hines
> General Manager
> WNMC 90.7 FM
> http://www.wnmc.org[1]
> 1701 East Front St.
> Traverse City, MI 49686
> 231-995-2562
>>>> <mileswillis at wpfw.org> 08/08/08 11:34 AM >>>
>     Dear Mr. Davis,
>       I think that I understand your sentiments but must take strong
> exception to your characterization of a commitment to playing 'pure'
> jazz as some stubborn 'ghetto-ization' of the music that may
> ultimately lead to it's disappearance from the radio airwaves.
>       I assume that what you are hinting at is the mixing of music that
> is referred to as 'smooth' or 'contemporary' along with jazz for the
> purpose of gaining greater general audience appeal. You go on to infer
> that doing so will lead to "developing a mindset... that programs jazz
> as a part of an interesting, challenging, sophisticated general music
> format", as though the playing of ONLY jazz cannot precipitate such a
> development. This thought makes apparent that you, inexplicably, do
> not find jazz itself to be 'interesting, sophisticated and
> challenging' on it's own and can only become so by diluting it's
> presention with non-jazz music.
>       Being that you are (or claim to be) a jazz radio programmer, I'm
> deeply troubled by your assertion that we must 'rid (ourselves) of the
> idea that (we)... owe something to this genre... (or that) it must be
> kept "pure"'!? First of all, it is the musicians who keep it the art
> form "pure" by respecting and absorbing it's traditions as
> they continue it's evolvement. Even more disconcerting is your belief
> that it is BOTH musicians and radio people who are responsible for
> this 'ghetto-ization', which you define, rather clumsily, as "making
> music that appeals primarily to academic circles--conservatory
> musicians and a few fellow travellers". While I do acknowledge that
> some of jazz' more abstract forms/genres are difficult for even some
> of it's most avid fans to appreciate, there is no reason why the more
> traditional and/or mainstream works cannot have more broad popular
> appeal far beyond the conservatories and academic circles,
>          You blame the music and the 'purity' with which we stubbornly
> present it as the reason for it's disappearance from radio, implying
> is that a larger potential audience awaits if we'd all just 'lighten
> up'. The truth is that too few people ever get to hear jazz in the
> first place. We, the musicians and 'radio people', need to promote the
> music to, shall we say, 'underserved' populations. Let's go to the
> schools, community centers, bookstores, etc. to talk about and play
> this great music for those who've never had the opportunity to hear
> it, which would include just about everyone, everwhere. The music can
> create it own demand or, to paraphrase, 'if they hear it they will dig
> it'. For nearly a century jazz has stood upon its own merits,
> diluting, however well-intentioned, it is the surest path toward its
> demise.
>     Sincerely,
> Miles Willis
> WPFW - Washington, DC
> Quoting Eric Hines <ehines at message.nmc.edu>:
>> This week's sponsor:  JazzWeek Summit 2009 -- dates and venue to be
>> announced in August; registration opens in September.
>> ++++++++++++++++++++++++++++++
>> How do we stop these changes? Jazz programmers have to get as serious
>> about radio as they are about jazz. I've seen plenty of progress here
> at
>> jpl over the years on that issue, but there's still a lot of work to
> be
>> done.
>> One thing that I think needs to happen is that programmers have to rid
>> themselves of the idea that they,a s radio programmers, owe something
> to
>> the genre "jazz" or that this genre has to be kept "pure." Radio is a
>> mass medium; if you don't use it (less than 1 AQH share in wmub's
> case),
>> you lose it. I know a lot of us (including me) have a long way to go
> in
>> that respect, but that's the battle we're fighting.
>> Developing a mindset--and programs--that programs jazz as a part of an
>> interesting, challenging, sophisticated general music format probably
> is
>> the only chance there is for jazz music on radio. And the more
> musicians
>>    and radio people ghettoize the music (by making music that appeals
>> primarily to academic circles--conservatory musicians and a few fellow
>> travellers; by programming shows consisting largely of such music),
> the
>> more likely it will be ghettoized on the radio as well--to places like
>> HD, which, frankly, is a bad joke which we won't have to kick around
> for
>> very long in any case.
>> --eric
>> Eric Hines
>> General Manager
>> WNMC 90.7 FM
>> http://www.wnmc.org[1[2]] ( http://www.wnmc.org/[2[3]] )
>> 1701 East Front St.
>> Traverse City, MI 49686
>> 231-995-2562
>> Play in NMC’s scholarship golf outing Aug. 7 (
>> http://www.nmc.edu/foundation/events/golf-scholarship.html[3[4]] ) (
>> http://www.nmc.edu/alumni/update.html[4[5]] )
>>>>> "Dr. Jazz" <drjazz at drjazz.com> 8/7/2008 3:11 PM >>>
>> This week's sponsor:  JazzWeek Summit 2009 -- dates and venue to be
>> announced in August; registration opens in September.
>> ++++++++++++++++++++++++++++++
>> WMUB (Miami U) in Ohio has just changed to an all news & info station,
>> and has moved all music to their HD channel.  From their website:
>> *Why These Changes?
>> *As many of our listeners know, in the last 18 months WMUB has been
> the
>> subject of a major internal study from Miami University, chaired by
>> Journalism Program Chair Richard Campbell. The radio environment both
>> nationally and locally has seen rapid change during that time, but as
>> General Manager of WMUB I did not feel it was appropriate to institute
>> anything but very minor changes to our overall programming mix during
>> this time.
>> Now that review is over, and it is time for WMUB to move ahead. The
>> committee's recommendation of dynamic partnerships on and off campus
>> has
>> challenged us to live up to our mission as never before:
>>       * Miami's review affirmed WMUB's role as a public service radio
>>         station.
>>       * We believe that commitment is best served by a full-time mix of
>>         local and national news and in>        attract and retain   
>> new listeners as well as serve the great
>>         majority of current listeners.
>>       * This change thus orients us toward future growth in audience
> and
>>         local fundraising capacity.
>>       * The resources of the WMUB news room will build on the best of
>> NPR
>>         and now (for the first time) the BBC.
>>       * Repeating Diane Rehm and Talk of the Nation reinforces the
>>         centrality of our news and information format.
>>       * The repeats give those who can't listen during the daytime the
>>         chance to experience the depth of NPR's talk shows.
>>       * The BBC World Service gives an international scope and
>> perspective
>>         unmatched by any other available source.
>>       * Although other stations in the area carry some BBC also, we
> will
>>         carry more hours, and at different times.
>>       * The *HD2 Jazz channel* <http://www.wmub.org/HDradio/[5[6]]> and
> its
>>         associated live web stream provide the appropriate vehicles for
>>         presenting Mama Jazz to her audience as well as our overnight
>> and
>>         daytime jazz offerings.
>>       * We will be able to provide further opportunities to work with
>>         Miami students in a professional environment.
>> What can be done to stop this continuing trend by non-commercial
>> stations?
>> -Dr.
>> --
>> Dr. Jazz
>> Dr. Jazz Operations
>> 24270 Eastwood
>> Oak Park, MI  48237
>> (248) 542-7888
>> http://www.drjazz.com[6[7]] ( http://www.drjazz.com/[7[8]] )
>> SKYPE:  drjazz99
>> --
>> Jazz Programmers' Mailing List: jazzproglist at jazzweek.com
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> Links:
> ------
> [1] http://www.wnmc.org/[13]
> [2] http://www.wnmc.org/[14]
> [3] http://www.nmc.edu/foundation/events/golf-scholarship.html[15]
> [4] http://www.nmc.edu/alumni/update.html[16]
> [5] http://www.wmub.org/HDradio/[17]
> [6] http://www.drjazz.com/[18]
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[1] http://www.wnmc.org/
[2] http://www.wnmc.org[1/
[3] http://www.wnmc.org/[2
[4] http://www.nmc.edu/foundation/events/golf-scholarship.html[3
[5] http://www.nmc.edu/alumni/update.html[4
[6] http://www.wmub.org/HDradio/[5
[7] http://www.drjazz.com[6/
[8] http://www.drjazz.com/[7
[9] http://lists.jazzweek.com/mailman/listinfo/jazzproglist[8
[10] http://lists.jazzweek.com/pipermail/jazzproglist/[9
[11] http://lists.jazzweek.com/mailman/listinfo/jazzproglist[10
[12] http://lists.jazzweek.com/pipermail/jazzproglist/[11
[13] http://www.wnmc.org/
[14] http://www.wnmc.org/
[15] http://www.nmc.edu/foundation/events/golf-scholarship.html
[16] http://www.nmc.edu/alumni/update.html
[17] http://www.wmub.org/HDradio/
[18] http://www.drjazz.com/
[19] http://www.drjazz.com/
[20] http://lists.jazzweek.com/mailman/listinfo/jazzproglist
[21] http://lists.jazzweek.com/pipermail/jazzproglist/
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