[JPL] Programming guidelines/Question

jctrane at gmail.com jctrane at gmail.com
Fri Sep 19 15:44:14 EDT 2008


Jae...thnx for the observations/comments. At our lil' station we have
freedom to program as we (as individuals) see fit. There are no 'do
this'/'don't do this' dicta. As a group, the 4 programmers have
instituted our own collective guidlines of playing about 50% of
Currents (altho' no one is looking over our shoulders). We do this in
order to be true to the distributors who have serviced us.
     Personally, i program my music in what might be called a modified
'on the fly' pattern. Pre-show, I remind myself of upcoming artist
birthdays/artists appearing locally/local artists. But from then on,
it's programming as it 'feels' appropriate. I try to vary the music as
to 1) size of group (duet/quartet/big band); 2) major featured horn
('bone/vibes/tenor);  3)tempo/mood: (for example: programming a 15
minute 'sultry' set) 4) the tune itself; (perhaps 2 versions of the
same tune differing in terms of the three features above); 5) the
'era' in which the music was first recorded; and 6) playing a 'classic
recording' that is likely to be familiar to the majority of the
listeners.
    There is not a lot of pre-planning for me. I try to hold true to
the feeling of 'improvisation', as the bedrock value of our music. I
gotta admit, this improvisational quality is a very personal value for
me: I want to feel that my 'improvisation'  makes me truer to the
spontaneity that is the heart of our music.
(You should see the mad scramble around the studio and into the stacks
as i try to come up with that 'just the right tune here', as the music
gods direct!)
      gene

On 9/19/08, Jae Sinnett <jaejazz at yahoo.com> wrote:
> This week's sponsor:  Resonance Records
>
> GOING FOR ADDS NOW:
>
> Resonance Records has re-serviced MIKE GARSON's CONVERSATIONS WITH MY FAMILY [ ****1/2 Downbeat '' A glowing achievement''] stickered with some fine jazz tracks. This is our first official solicitation for adds (due to  Reference Recordings having a title out in the spring which we did not want to create any conflict with).   GARSON is a piano and keyboard wizard, who has worked with Stan Getz, Stanley Clarke, his band Freeflight and many others. There are some gorgeous tracks ready for airplay.  As a bonus, the DVD features Peter Erskine and the sadly, late great LA bass player, Dave Carpenter + a preview of Resonance artist Lori Bell on flute.
>
> Resonance has just released Pittsburgh native CATHY ROCCO's debut YOU'RE GONNA HEAR FROM ME. Check out her take on ''Autumn Leaves'', ''Come Rain or Shine'' and ''Give Me One Reason'' (with a guest turn on organ from John Beasley).   ROCCO is not some newbie-want-to-be a-jazz-singer.  ''She is a formidable swinger'' Will Friedwald, New York Sun, from the liner notes, which are worth a read.  Cathy is supported by Tamir Hendelman on piano, Dave Carpenter on bass and Vic Stevens on drums.  CATHY ROCCO has a big voice and a keen sense of drama.
>
> ADDING ON OCTOBER 7:
> Christian Howes with Roger Kellaway ''Heartfelt''
> Toninho Horta: ''To Jobim With Love
>
> ++++++++++++++++++++++++++++++
>
> Gene...it's interesting to me how similar it is programming my show and programming for a concert. This position is from actually being in the chair or being on stage. I know that some will think programming for a live concert is different than radio programming...yes and no. I program my show into the computer earlier in the day. Once in the chair I find myself making several changes as the night goes on based on feel. The same on stage...several times I will have a playlist for the group and I will change a song here and there because the "feel" dictates it. How do I put that into words? Not sure but it's a gut feeling and I think programming should be that way. Follow that gut instinct.
>
> This is why the so called radio research is puzzling for me because to me radio programming is an in the moment art form...or should be. The moment could feel like you should play something but the research tells us we shouldn't. That's crazy. The ability to be able to do this comes with experience and time in the chair. I would bet many of the programmers on this list know what I'm talking about but at times find themselves drawn to the research models. It's a line we walk between the debate of what is good radio and what is the best musical presentation. Again for me...I tend to go with my gut and it's worked.
>
> At times here on the list programming procedure seems to be based on criteria that seems to place the musical importance in a secondary role. The music is always first and foremost in my view. It's an art to learning how a piece of music affects the listener. You can also alter the way a listener is affected by what will follow. Sometimes a simple verbal explanation will work but it can be done through mood variation.
>
> My question is how many actually program their show ahead of time and either leave it the way it was programmed or make changes as the show is happening? Most now I guess are playing through the computer and the logs can be set up in advance...at least here we do on our OMT system. I put my show right in front of me in the log. It's interesting really and I would love to know the views of programmers in this area.
>
> Jae Sinnett
>
>
> --- On Fri, 9/19/08, jctrane at gmail.com <jctrane at gmail.com> wrote:
>
> > From: jctrane at gmail.com <jctrane at gmail.com>
> > Subject: [JPL] Programming guidelines
> > To: "Jazz Programmers Mailing List" <jazzproglist at jazzweek.com>
> > Date: Friday, September 19, 2008, 1:14 PM
> > This week's sponsor:  Resonance Records
> >
> > GOING FOR ADDS NOW:
> >
> > Resonance Records has re-serviced MIKE GARSON's
> > CONVERSATIONS WITH MY FAMILY [ ****1/2 Downbeat '' A
> > glowing achievement''] stickered with some fine jazz
> > tracks. This is our first official solicitation for adds
> > (due to  Reference Recordings having a title out in the
> > spring which we did not want to create any conflict with).
> > GARSON is a piano and keyboard wizard, who has worked with
> > Stan Getz, Stanley Clarke, his band Freeflight and many
> > others. There are some gorgeous tracks ready for airplay.
> > As a bonus, the DVD features Peter Erskine and the sadly,
> > late great LA bass player, Dave Carpenter + a preview of
> > Resonance artist Lori Bell on flute.
> >
> > Resonance has just released Pittsburgh native CATHY
> > ROCCO's debut YOU'RE GONNA HEAR FROM ME. Check out
> > her take on ''Autumn Leaves'',
> > ''Come Rain or Shine'' and ''Give Me
> > One Reason'' (with a guest turn on organ from John
> > Beasley).   ROCCO is not some newbie-want-to-be
> > a-jazz-singer.  ''She is a formidable
> > swinger'' Will Friedwald, New York Sun, from the
> > liner notes, which are worth a read.  Cathy is supported by
> > Tamir Hendelman on piano, Dave Carpenter on bass and Vic
> > Stevens on drums.  CATHY ROCCO has a big voice and a keen
> > sense of drama.
> >
> > ADDING ON OCTOBER 7:
> > Christian Howes with Roger Kellaway
> > ''Heartfelt''
> > Toninho Horta: ''To Jobim With Love
> >
> > ++++++++++++++++++++++++++++++
> >
> > I have found the recent discussion of programming
> > strategies very
> > interesting reading. That is, programming an hour of music
> > using
> > 'formulas' such as X number of vocals, X number of
> > classic
> > tunes/artist, etc. My question to all: What are the BASES
> > for
> > developing these guidelines?
> > Is there any controlled research out there concerning the
> > 'effectiveness' of these formulas in terms of
> > increased listenership,
> > decreased program tune-out, or other measureable criteria?
> > Or are
> > programming folks using their own sensitivities (as
> > listeners) in
> > structuring music sets? Understand, i am not attempting to
> > belittle
> > programmers' artistic sensibilities and in fact, use my
> > own experience
> > as a listener in structuring my show.  Just
> > wonderin'...
> >     Gene Abkarian  KRFC
> > --
> >
> > Jazz Programmers' Mailing List:
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>
>
>
>
> --
>
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