[JPL] Time To Re-Think How We Do Radio

Jae Sinnett jaejazz at yahoo.com
Sat Jan 17 15:48:54 EST 2009


Yes Jeff, it is difficult and I appreciate you jumping in here. Bobby and Toby as well. The food thing Jeff is off the chain. It's been amazing for us as well. I literally get 30-60 emails a week about my recipes at the beginning of my Sunday show and I'll get maybe 2-5 per week for the jazz...BUT... they pledge like crazy for the show. 

One thing we need to realize is that this affects all of us...or will... and at the same time all of us can make a difference. The music isn't hurting but the industry is. The scary part is that no one is talking about it. There is a strange sense of complacency with too many in jazz. We have to find a better way to reach people and help them understand the music. How to do this from a radio position is a good question but those that continue to say it's not our job as programmers to teach our listeners about jazz aren't thinking about the possibilities of that chair and how we could help to make the situation better. My guess at some point is that some may not have that job much longer if we don't do something about it...particularly if you're in a smaller market.

I can do things as a musician to get folks to understand jazz. I do it all the time. I've figured out some ways to do it as a programmer but the important point is that I'm thinking about it and now acting on it. I think with me the first thing was simple...realizing that more would tune in IF they understood the music. That's it...right there. That thinking should go across the board. I've seen some musicians and programmers play the music and act surprised that some folks don't get it. I'm not surprised one bit. It's common actually...even with many that do listen.

You want a premium that will do well for your jazz fundraiser? Put together an educational package that is specifically designed for educating the public about the music. Actually I think record companies should do it too. They will sell... probably more than the records they release. Some may think it's a crazy idea but I'm working on it here. Most of the industry I think is resolved to just playing and releasing the music and then see what happens and hope for the best. That's the mentality. We need more educational and information tools to help bridge that gap of understanding...mis-understanding. I guarantee you it will help with bringing more into this music. This is in my view is what we need to be talking about seriously.  

Jae Sinnett      


--- On Sat, 1/17/09, Jeff Turton <jturton at comcast.net> wrote:

> From: Jeff Turton <jturton at comcast.net>
> Subject: Re: [JPL] Time To Re-Think How We Do Radio
> To: jazzproglist at jazzweek.com
> Date: Saturday, January 17, 2009, 12:54 PM
> Sponsored by: JazzWeek Summit 2009
>              http://summit.jazzweek.com/
> 
> -----
> 
> No Jae I understand what you're saying. I'm not
> saying you're lecturing (in the traditional sense),
> ranting or  anything like that. You have also missed my
> point. I'm saying that people's perceptions differ
> when they listen to the radio. I more than understand
> people's difficulty with the music, I just
> don''t think the day to day presentation is the best
> place to educate people on how to listen to the music. I
> think there are far better ways to impart the knowledge to
> those who want it and it's incumbent upon us to figure
> that out. The new technologies and approaches people take in
> their listening habits provide us many new opportunities.
> That's why I mentioned podcasts. If people can download
> a podcast that's entertaining and helps them listen to
> the music as they cruise around that's certainly one way
> of doing it. If you were to produce a number of shows
> similar to the one you mentioned in your first post and made
> these available for download from the station's site it
> would be a great way to engage listeners without talking up
> valuable programming time.  Video is also another thing
> that's possible and again posting these for download is
> a great way to allow listeners to learn on their own.  You
> mention dead guys over the Living, In my limited time on the
> air each week I rarely play dead guys because people can
> hear that somewhere else. I'd rather let listeners know
> about all those living they can actually go hear Live, it is
> a conscious choice I make in my programming. I don't
> think I'm depriving my audience my doing making that
> choice. You have a specialty show that provides access to an
> educational approach, hey that's great for your audience
> if they appreciate it but most people don't need that in
> their day to day listening. Look we have huge issues here.
> As I pointed out there are perceptions this is difficult,
> hard to listen to music. All of us,  we enjoy it and find it
> incredibly entertaining. Bottom line, we need to make people
> feel comfortable being part of what we love and there are
> many ways to do it. We can argue our end of it all we want,
> it ain't helpin' people listen and participate in
> the music. I've tried many different things over the
> years, some have worked some not (Since you mention food on
> your show, I began incorporating food into the Jazz Brunch
> in 1986 and we were an important destination for the chefs
> of Boston as the food scene grew. Todd English, Chris
> Schlesinger, Barbara Lynch, Ming Tsai, Ken Orringer and many
> others were all guests on the program before anyone knew
> their names. They are now national food stars. There are
> 50,000 a year at the Boston Wine Expo now when we started
> promoting it during the first year, almost 20 years ago,
> there were only 2000, believe me there are many ways of
> doing this. Food provided me with huge visibility and it is
> still critical to what I do. It is the Jazz Brunch after
> all). We can argue research, playlists,  all that stuff till
> were blue in face and we do. Maybe the research is wrong and
> the playlist limitations to restricting but I'm still
> not seeing anything new that's going to help us get
> people to pay attention to the music. We need to all begin
> thinking of things differently, as they say maybe
> "start thinking outside the box" and wasn't
> that  your point in beginning this discussion .
> 
> Jeff Turton
> WFNX Jazz Brunch
> 
> 
> On Jan 17, 2009, at 11:55 AM, Jae Sinnett wrote:
> 
> > Sponsored by: JazzWeek Summit 2009
> >              http://summit.jazzweek.com/
> > 
> > -----
> > 
> > Jeff, I guess if you think I'm talking about a
> "jazz lecture" then you've missed my point. To
> the contrary. I've been doing this a long time too and
> I"m considerably a better programmer than what you
> think I'm suggesting. That's another disadvantage
> someone would have in bringing this subject up...that there
> will be those that think I'm talking about going on the
> air and ranting about what it is they're listening to.
> You're not hearing what I'm saying. Here it is in my
> detail...From my perspective there are two fundamental
> problems with jazz....
> > 
> > 1.Many don't understand it (main problem) and 2.
> How to get people to believe it's something worth
> checking out. From my perspective the problem is a musical
> one as I've said before. For example, consider that jazz
> is the only music that is swung(we do have jazz
> "hybirds" that are played with straighter eighth
> note variations but contain a high level of
> musicianship)...this means that any music people are
> confronted with other that jazz they will have a straight
> eighth note concept to pop their fingers to. American music
> was structured on rhythm so we can't underestimate the
> significance of this. Knowing that there are few places to
> hear jazz... once many do for the first time it sounds
> strange to them. The first two musical
> "abnormalities" are the rhythm and the fact that
> it's usually instrumental. Then you have the
> improvisation and most of the music...if not ALL of what
> they listen to doesn't have improvisation.
> > 
> > Lets look at some history...Many of the major record
> companies dropped their jazz divisions. Most of the
> "jazz festivals" don't have much jazz. Jazz
> record sales are basically a flat line and most
> musicians...at least those not able to tour...are going into
> debt recording their CD's because they can't sell
> them. Heck, even the ones touring don't sell as much as
> they use to and it's going to get worse. If folks are
> "getting" this music would any of this be
> happening? Most of the jazz names people are familiar with
> are gone which adds to the downward spiral. The dead
> continue to out sell the living. Jeez. More and more
> "jazz" formats are disappearing or cutting back.
> How often have we seen those notifications here on the JPL?
> Go into any high school and talk about jazz. See the
> response. They don't hear it in the world they live in.
> Why should they? It's not written about in the
> publications they read. It's not in movies they watch or
> on the TV shows they
> > usually tune in for so there is no reason to for them
> to want to investigate it...as I said in my second reason.
> Trust me this situation with jazz is not just with younger
> folks.
> > 
> > Now lets look at a couple of the main
> "remedies" many have suggested over the years...1.
> Varied programming. Well if we play so and so it would bring
> more into jazz. Nope, Hasn't happened...at least at a
> noticeable level. Usually those being suggested have little
> to do with jazz anyway...MMD...Bad Plus...etc...but when you
> go down that road in public radio you can also say goodbye
> to your meaningful fundraising dollars. One example of an
> exception is Garaj Mahal. The difference is these guys
> groove and the music "feels" good and the CD works
> well in a "jazz" format. Not frantic and confused
> sounding like this latest Bad Plus nonsense. Most young
> colleges formats play this stuff and they barely have any
> money. Most are volunteers so how is this helping jazz? They
> obviously aren't breaking the bank by playing them and
> if they are helping anyone it's the groups they
> play...not jazz.
> > 
> > Then you have some folks working in jazz that really
> don't understand it. Whoa! Oh yea. Presenters, writers,
> etc. I can go on with this but for another time.
> > 
> > Number 2: We can do the spoon feeding route. The radio
> research guideline method of programming. You know, the
> standard flare or something that sounds like that...med
> tempos...minimal improvisation...fairly short in
> length...little or no big band...no Latin jazz....lots of
> vocals...TINY repetitive playlists...yada, yada, yada. Now
> is this method helping jazz or helping to keep the station
> afloat? In my view it does little to help jazz. It might
> sell lets say a few hundred more records in the bigger
> picture...of those artists playing jazz that way but in
> general it's not helping the music. In fact it's
> hurting it because now most artists playing and recording
> jazz...outside of vocalists...aren't playing the music
> that way. It's helping the station stay afloat by
> keeping everything safe but the music goes nowhere. I like
> how some say that's smart programming. No it isn't.
> I'm an example of someone not programming that way and
> I'm having tremendous success
> > so it can be done. My playlists are light years more
> expansive than what the "research" says it should
> be.
> > 
> > The bottom line here is if we don't figure out a
> way to get folks to believe jazz is something worth their
> time and help them to understand it we'll continue to
> see more disappearing formats. That's a fact so whatever
> remedies that have been brought up in the past...they
> aren't working. My point is that we need to bump heads
> to figure out how we can change this for the better. Jazz is
> thriving in it's creativity folks but most of the
> artists recording jazz can't get in front of an audience
> consistently to perform their music. It's a ridiculous
> struggle for them and now for jazz radio. I've shared
> some of my examples...like with food. I connected jazz to
> food on my Sunday show and it's increased my audience
> two fold and my dollar's to staggering amounts on Sunday
> afternoons. Many of these folks weren't listening to
> jazz before until I made them believe it was something cool
> to check out and have on when you're eating good food.
> They get it now and this is
> > what we have to do. This is what we have to do and can
> do as programmers. It's just finding a way and it can be
> done. At this point it can only help in my view.
> > 
> > Jae Sinnett
> > 
> > 
> > 
> > --- On Sat, 1/17/09, Jeff Turton
> <jturton at comcast.net> wrote:
> > 
> >> From: Jeff Turton <jturton at comcast.net>
> >> Subject: Re: [JPL] Time To Re-Think How We Do
> Radio
> >> To: jazzproglist at jazzweek.com
> >> Date: Saturday, January 17, 2009, 9:53 AM
> >> Sponsored by: JazzWeek Summit 2009
> >>             http://summit.jazzweek.com/
> >> 
> >> -----
> >> 
> >> Jae,
> >> 
> >> While I agree that there needs to be some aspect
> of
> >> programming that informs the newer listener I
> disagree that
> >> it necessarily needs to be part of ones day to day
> >> presentation. One of the biggest complaints
> I've had
> >> over the years from listeners, newbies and
> otherwise is that
> >> they are not turning on their radios for a Jazz
> lecture.
> >> They want to turn on their radio to listen and
> enjoy what
> >> they hear, So I think the challenge then becomes
> providing
> >> music that they can be entertained by and to some
> small
> >> extent be challenged by while they are
> entertained. When I
> >> first began learning and programming in the
> 70's there
> >> was a guy on the radio in Boston, Steve Elman.
> Steve did a
> >> normal show during the week, playing the music but
> on Sunday
> >> nights the show became a learning experience. He
> would pick
> >> an artist or a concept and over the 4 hours expand
> on that
> >> in a way that you could learn more about what you
> were
> >> listening to. I've always liked that idea and
> I think
> >> would love that kind of show to be more
> interactive with
> >> Live musicians, but I don't think you can do
> that
> >> throught the normal listening week. Eric Jackson
> also does a
> >> similar thing with his Monday night specials and
> that is
> >> exactly what it is, a special. It happens once a
> week and
> >> that's part of the motivation for tuning in.
> Most of us
> >> do shows once a week or maybe a couple of times a
> week and I
> >> think it's impratical for us to assume a
> listener wants
> >> this kind of programming day in and day out.
> There's no
> >> way on Sunday morning when I'm on the air my
> listeners
> >> give a damn about being educated, they want to be
> >> entertained while they get their day started.
> Personally I
> >> like the idea of producing podcasts for listeners.
> Given
> >> that most stations stream and post podcasts, it
> would be
> >> very easy to produce the kind of show you have
> described
> >> with Live musicians and explanations of how the
> music is
> >> played and how different players approach their
> music and
> >> post those on the website for easy access any
> time. Then
> >> those who want to learn can do that and then apply
> that
> >> knowledge to the music they hear day to day on the
> station.
> >> I work with a group in Boston called JazzBoston
> and this is
> >> currently what we are working on, how to bring
> more people
> >> to the music and change their perceptions that
> Jazz is
> >> difficult and unapproachable. So this is an
> ongoing
> >> discussion. One of the biggest problems we've
> found is
> >> the intimidation factor most new listeners face,
> which is
> >> obviously where this discussion started but
> it's more
> >> than an intimidation factor related to hearing
> music on the
> >> radio, what we've found is that it's a
> Jazz cultural
> >> issue. This is from a letter recently received
> from someone
> >> who is actually produces Swing events around town
> and was
> >> queried as a relative new listener how to change
> >> people's perceptions of Jazz:
> >> 
> >>>> To reiterate the point I was trying to
> make the
> >> other day at lunch:
> >>>> 
> >>>> 1)      You mention “changing people’s
> >> perception of Jazz”.  I wonder what exactly that
> >> perception is (could be many different as well). 
> In order
> >> to change a perception, identifying it is of
> course key.
> >>>> 2)      That said—using myself as a
> potential
> >> example--a perception I have, as a jazz novice and
> having
> >> only witnessed a few shows, is that it appears to
> be sort of
> >> a “stuffy, contrived scene”.  As I said, the
> Jazz
> >> experts at a show seem to be completely entranced
> in the
> >> subtleties of the music, and while I’m sure they
> are, it
> >> seems very gratuitous to me.  Note that I’m not
> asking
> >> anyone to defend that since it’s just an
> observation, not
> >> a judgment.  Rather, the point is as a novice, I
> don’t
> >> find myself enjoying the music at that level, and
> I thus
> >> somehow feel like I’m, perhaps, “a jazz idiot
> who’s
> >> not getting it” and thus sense that I don’t
> belong
> >> there.  Hence, there is a bridge that needs to be
> crossed.
> >>>> 
> >>>> More than anything, people come to things
> where
> >> they feel they belong, know people, and are
> comfortable.
> >> It’s about building community.
> >>>> 
> >>>> Lastly, from my experience in these
> matters,
> >> it’s important to realize that the perceptions
> are of the
> >> people you are trying to reach are their
> realities, even if
> >> their perceptions are totally misguided.
> >> 
> >> After 30 years or programming I don't find
> these
> >> feelings unique among new listeners. So it's a
> huge task
> >> to overcome and it's more than just how we
> program
> >> radio. I think the bottom line is that we need to
> make
> >> people feel welcome and feel as though they can
> enjoy
> >> themselves. Getting overly academic is not always
> the best
> >> way to do this. I really like the podcast approach
> that
> >> allows people to access the information on their
> own terms
> >> 
> >> Jeff Turton
> >> WFNX Jazz Brunch
> >> 
> >> 
> >> 
> >>>> 
> >>> 
> >>> -----
> >>> 
> >>> You are right Bobby and that's certainly
> one
> >> approach. I think...to my disadvantage in talking
> about
> >> these sort of things about radio is that most
> simply view me
> >> as a musician instead of a programmer. So
> consequently when
> >> I talk about radio the presumption could be that
> I'm
> >> approaching it from the musicians perspective. In
> my example
> >> from the previous note that would be true.
> However, the core
> >> of this issue has little to do with that.
> >>> 
> >>> I think every programmer on this list with a
> few years
> >> under their belt..as you and I have as a jazz host
> and
> >> programmer...can tap into the my thinking with
> this and give
> >> the listeners something more to latch on to in
> terms of
> >> comprehending what they're hearing. The
> history is cool
> >> and helpful but truthfully it misses the point of
> the
> >> problem...which is a musical one from my
> perspective.
> >> Everywhere I go as a performer there are always
> questions
> >> about the musical applications of the music.
> People are
> >> practically begging to "get it" but many
> >> don't. That's the problem with jazz and
> too often
> >> those of us in it consciously assume because we
> get it
> >> everyone else should or does. I rarely get asked
> questions
> >> about the history unless someone wants to ask my
> view on a
> >> particular artist or recording. That's usually
> the
> >> extent of wanting to know the history but the
> thing they are
> >> most interested in is how the music works. Many
> are afraid
> >> to ask with fear of sounding
> >>> ignorant but that's what they want to
> know.
> >>> 
> >>> I think we're missing a great opportunity
> here to
> >> help folks with this and you don't have to be
> a musician
> >> necessarily to help them. There are
> "points' and
> >> such that many pocess in radio that can help the
> listeners
> >> but the focus and intentions have to be different.
> If we
> >> don't do something and start talking about
> this
> >> we're going to see fewer and fewer hours of
> jazz being
> >> broadcast. Then that will hurt live jazz. It's
> the
> >> domino affect really. I see it working here and I
> know it
> >> can else were but few seem to be interested in
> talking about
> >> it.
> >>> 
> >>> Jae Sinnett
> >>> 
> >>> 
> >>> --- On Fri, 1/16/09, Jackson, Bobby
> >> <Bobby.Jackson at ideastream.org> wrote:
> >>> 
> >>>> From: Jackson, Bobby
> >> <Bobby.Jackson at ideastream.org>
> >>>> Subject: RE: [JPL] Time To Re-Think How We
> Do
> >> Radio
> >>>> To: jazzproglist at jazzweek.com
> >>>> Date: Friday, January 16, 2009, 4:45 PM
> >>>> Sponsored by: JazzWeek Summit 2009
> >>>>             http://summit.jazzweek.com/
> >>>> 
> >>>> -----
> >>>> 
> >>>> Aloha Jae and fellow JPL'ers,
> >>>> 
> >>>> To quote Duke Ellington in his book,
> "Music
> >> Is My
> >>>> Mistress" and it's one
> >>>> of my favorite quotes about jazz....
> >>>> 
> >>>> "To not know the history of this
> music, is to
> >> miss
> >>>> much of its charm."
> >>>> 
> >>>> It is a beautiful and telling quote!  That
> being
> >> said, I
> >>>> believe you
> >>>> don't have to be a musician, to share
> what you
> >> know
> >>>> about this music to
> >>>> get people appreciate and get closer to
> the music.
> >> You can
> >>>> get "behind"
> >>>> the music and share stories that you know
> about
> >> the songs,
> >>>> the people;
> >>>> the times it was created in to get people
> to
> >> listen in a
> >>>> different way.
> >>>> For example....
> >>>> 
> >>>> During the 60's we all know about the
> bombing
> >> of that
> >>>> church in
> >>>> Birmingham, AL that claimed the lives of 4
> little
> >> girls.  I
> >>>> could play
> >>>> "Alabama" by John Coltrane and
> not give
> >> that
> >>>> particular background.
> >>>> I've heard hosts back announce the
> players and
> >> the year
> >>>> it came out.
> >>>> How boring and insider is that approach!! 
> It
> >> would sound
> >>>> like a dirge
> >>>> because of its somber tone and the
> uninitiated
> >> would
> >>>> probably tune it
> >>>> out.  OR, I could talk about that incident
> and
> >> lead it up
> >>>> to the John
> >>>> Coltrane song "Alabama" and the
> set up
> >> would give
> >>>> listeners a chance to
> >>>> listen with an intent based on the history
> of why
> >> it was
> >>>> written in the
> >>>> first place.  I might even tell them how
> the song
> >> makes me
> >>>> feel.  Now
> >>>> that's getting personal, showing a
> little
> >> vulnerability
> >>>> and above all,
> >>>> being human!  This kind of set up gives
> listeners
> >> a chance
> >>>> to use their
> >>>> own aural imagery creating that tragic
> moment.
> >> This kind
> >>>> of set up has
> >>>> the potential to move from their heads to
> their
> >> hearts.
> >>>> The context the
> >>>> song is presented in makes all the
> difference in
> >> the world
> >>>> to how you
> >>>> will listen to it.
> >>>> 
> >>>> I had a conversation with my Mom just last
> night
> >> about Sam
> >>>> Cooke's "A
> >>>> Change Is Gonna Come."  She knew the
> song
> >> because it
> >>>> was popular but she
> >>>> didn't connect it to what was
> happening at the
> >> time it
> >>>> was created.  I
> >>>> gave her the background of Bob Dylan's
> >>>> "Blowin' In The Wind and his
> >>>> connection to Woody Guthrie through Alan
> Lomax and
> >> all of
> >>>> these
> >>>> connections through the Civil Rights
> struggle.
> >> Now she
> >>>> listens with a
> >>>> different intensity to all of this music.
> >>>> 
> >>>> As programmer's we should always look
> for ways
> >> to
> >>>> connect the music back
> >>>> through our culture.  Like Charlie Parker
> once
> >> said,
> >>>> "If you don't live
> >>>> it, it won't come out of your
> horn."
> >> Music truly
> >>>> is a reflection of the
> >>>> times it's created in.  As
> programmer's
> >> there is a
> >>>> need to be more
> >>>> intimate with the music that we serve our
> >> audiences.  Not
> >>>> only will we
> >>>> grow our audiences we will grow ourselves.
> >>>> 
> >>>> Keep A Light In The Window,
> >>>> 
> >>>> Bobby Jackson
> >>>> 
> >>>> 
> >>>> 
> >>>> -----Original Message-----
> >>>> From: jazzproglist-bounces at jazzweek.com
> >>>> [mailto:jazzproglist-bounces at jazzweek.com]
> On
> >> Behalf Of Jae
> >>>> Sinnett
> >>>> Sent: Friday, January 16, 2009 3:36 PM
> >>>> To: jazzproglist at jazzweek.com
> >>>> Subject: [JPL] Time To Re-Think How We Do
> Radio
> >>>> 
> >>>> Sponsored by: JazzWeek Summit 2009
> >>>>             http://summit.jazzweek.com/
> >>>> 
> >>>> -----
> >>>> 
> >>>> I've been thinking about this for a
> while now
> >> and what
> >>>> brought it to a
> >>>> head with me was a show I did this past
> Monday
> >> evening. My
> >>>> bigger point
> >>>> will be made later in this note.
> >>>> 
> >>>> I had a few "local" musicians on
> the
> >> show with me
> >>>> and we performed. One
> >>>> section of the performance was educational
> in that
> >> I was
> >>>> able to explain
> >>>> to our listeners...to a degree...and
> >> demonstrate...how jazz
> >>>> works. I
> >>>> asked the guys what questions do listeners
> of
> >> their music
> >>>> ask the most.
> >>>> "How does the rest of the band know
> when to
> >> come back
> >>>> in after the drum
> >>>> breaks?" " How do you know what
> to play
> >> for your
> >>>> solo?" "I get lost when
> >>>> the solos start so how do I learn to
> follow
> >> along?"
> >>>> "It just sounds
> >>>> muddled to me so how can I learn to hear
> the music
> >> more
> >>>> clearly?" "I
> >>>> have a heard time with the rhythm of
> jazz...can
> >> you help me
> >>>> to
> >>>> understand?" These are just a few of
> many but
> >> what it
> >>>> clearly shows is
> >>>> that many that listen to jazz...don't
> really
> >> understand
> >>>> it. Now think
> >>>> about those that don't listen...they
> don't
> >> because
> >>>> I would bet they
> >>>> simply don't understand the music and
> most
> >> that
> >>>> don't understand don't
> >>>> have much positive to say about it and
> won't
> >> give it a
> >>>> shot.
> >>>> 
> >>>> The response to that section of the show
> was
> >> amazing.
> >>>> Ninety percent of
> >>>> the responses where about that portion of
> the
> >> show. What
> >>>> this tells me
> >>>> is that clearly many...probably the
> majority of
> >> our
> >>>> listeners... don't
> >>>> know much about what they are hearing and
> >> two...they want
> >>>> to learn. It's
> >>>> simple to me, for jazz to find a bigger
> and more
> >> supportive
> >>>> audience we
> >>>> must find a way to get them to understand
> what it
> >> is they
> >>>> are hearing
> >>>> with the music and making them believe it
> is
> >> something
> >>>> worth listening
> >>>> to.
> >>>> 
> >>>> Most programmers for years simply play the
> music
> >> and tell
> >>>> the listeners
> >>>> who it was they've heard and give out
> bits of
> >>>> historical shorts
> >>>> occasionally. This is the way most have
> been
> >> taught. The
> >>>> reality is this
> >>>> method of programming is not helping us
> build an
> >> audience.
> >>>> It's going
> >>>> nowhere fast. I'm just one that is
> sticking my
> >> neck out
> >>>> here and saying
> >>>> it.
> >>>> 
> >>>> We've all heard that we're not on
> air to
> >>>> "teach" the listeners. I've
> >>>> always disagreed with that assessment.
> I've
> >> always felt
> >>>> the mission of
> >>>> public radio was education first. To
> inform and
> >> most
> >>>> importantly and
> >>>> ironically, every bit of research I've
> >> conducted for
> >>>> our jazz
> >>>> programming continues to tell me that what
> the
> >> folks
> >>>> appreciate about my
> >>>> show the most is what they learn. It's
> not
> >> what or who
> >>>> I play that gets
> >>>> the most interest...it's what they
> learn. So
> >> why do we
> >>>> keep saying we
> >>>> shouldn't be teaching on air?
> >>>> 
> >>>> When I say "re-think" I'm
> referring
> >> to coming
> >>>> up with concepts that do
> >>>> teach listeners about the music without
> >> sacrificing the
> >>>> musical
> >>>> presentation but more enhancing it. We
> need more
> >> ideas here
> >>>> and unless
> >>>> we do more and more formats will disappear
> and our
> >> audience
> >>>> will not
> >>>> grow in my view. Methods so far in keeping
> an
> >> audience like
> >>>> simplifying
> >>>> the music works to a degree in helping to
> maintain
> >> a strong
> >>>> audience
> >>>> base but it also treats the music like a
> relic and
> >>>> doesn't help any
> >>>> artist doing material other than the
> familiar or
> >> something
> >>>> that sounds
> >>>> like such.
> >>>> 
> >>>> I belive we can make this situation
> better. If
> >> anyone else
> >>>> feels the
> >>>> same way and would like to develop or
> start and
> >> objective
> >>>> dialog about
> >>>> this my hat is in.
> >>>> 
> >>>> Jae Sinnett
> >>>> 
> >>>> 
> >>>> 
> >>>> 
> >>>> 
> >>>> 
> >>>> --
> >>>> 
> >>>> Jazz Programmers' Mailing List:
> >>>> jazzproglist at jazzweek.com
> >>>> List information:
> >>>> 
> >>
> http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> >>>> List archive:
> >>>>
> http://lists.jazzweek.com/pipermail/jazzproglist/
> >>>> Sponsorship information:
> jplsponsor at jazzweek.com
> >>>> --
> >>>> 
> >>>> Jazz Programmers' Mailing List:
> >>>> jazzproglist at jazzweek.com
> >>>> List information:
> >>>> 
> >>
> http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> >>>> List archive:
> >>>>
> http://lists.jazzweek.com/pipermail/jazzproglist/
> >>>> Sponsorship information:
> jplsponsor at jazzweek.com
> >>> 
> >>> 
> >>> 
> >>> --
> >>> 
> >>> Jazz Programmers' Mailing List:
> >> jazzproglist at jazzweek.com
> >>> List information:
> >>
> http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> >>> List archive:
> >> http://lists.jazzweek.com/pipermail/jazzproglist/
> >>> Sponsorship information:
> jplsponsor at jazzweek.com
> >> 
> >> --
> >> 
> >> Jazz Programmers' Mailing List:
> >> jazzproglist at jazzweek.com
> >> List information:
> >>
> http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> >> List archive:
> >> http://lists.jazzweek.com/pipermail/jazzproglist/
> >> Sponsorship information: jplsponsor at jazzweek.com
> > 
> > 
> > 
> > --
> > 
> > Jazz Programmers' Mailing List:
> jazzproglist at jazzweek.com
> > List information:
> http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> > List archive:
> http://lists.jazzweek.com/pipermail/jazzproglist/
> > Sponsorship information: jplsponsor at jazzweek.com
> 
> --
> 
> Jazz Programmers' Mailing List:
> jazzproglist at jazzweek.com
> List information:
> http://lists.jazzweek.com/mailman/listinfo/jazzproglist
> List archive:
> http://lists.jazzweek.com/pipermail/jazzproglist/
> Sponsorship information: jplsponsor at jazzweek.com




      


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