Its All In The Presentation

[vlewis08]

The Smooth Jazz Format can be, and is being executed in two ways..There are station's that lay it back, automate/voice track and are happy to know that their station is listened to in banks, car dearlerships, and offices, It is a viable "at work" type of format, greatly reducing intrusive jocks etc....
So this method is more a "backround" station...However, If a Smooth Jazz program director realizes that his Smooth Jazz format can be brought out from the backround, and into the foreground a bit, then I beleive the Smooth Jazz format can and will be a sustainable and viable offering to listener's....

Without being intrusive and overly chatty, Personalities working the Smooth Jazz format, with consistant coaching can bring the format out into the open, and do it without any problems. All one needs to do is critique their format, get everyone on the same page (personalities etc) and execute the format in a professional and entertaining manor.

 

[cklw800]

Too late. Hardly any jocks left in the format to coach. They had a chance to do this years ago but radioeconomics (and gutlessness) forced reliance on research and playing it safe and got us to where we are now. Any new stations in this format will be on the BA Network. Welcome Augusta, Georgia as the latest affiliate. There is NOTHING that can be done on the local level for this format. BA is relying on small struggling owners right now (like Augusta) to keep their machine rolling. The format will evolve to Smooth AC and include a lot less R&B to attain a more mainstream audience (according to other posts I've read on this board, some advertisers expressed concern about the large black audiences that show up at promotional events like at restaurants). Your post would have been relevant in 2003, the last year I can remember the format being enjoyable to listen to with great local jocks. But radio is broke, in trouble and will spend less and less on talent especially for this format. Since WJJZ's resurrection on another channel in Philadelphia, I don't know of any local jocks that have actually gotten a job in the format. Ramsey Lewis, Dave Koz and the voice actors have taken their jobs away. Smooth Jazz radio is toast on the local level in terrestrial radio. And the current successful instrumental artists will be relying on remakes and lots and lots of guest vocals on their releases. Look for big name vocalists on instrumental artist releases. This will dilute the genre even more, making it hard for the format to not violate expectations of any resemblance of something called Smooth Jazz. Hate to post such a downer, but I haven't heard much good news for this format all year for fans and jocks. BA is happy though with every announcement saying "we're so excited...we're so thrilled (to have Dave Koz on instead of the local shmuck being paid over $30,000 a year"). Happy Holidays!

 

[vlewis08]

Although Your Post/Reply (above) Holds Some Merit, I Beleive That The Description Of "Smooth Jazz" As It Stands, Is Still A Highly Viable Format Targeting Mostly The 35-54 Plus Demo And Will Continue To Do So Now, And In the Future.

The Format Does Need A Fresh And New Programming Philosophy.

As The Newly Appointed Program Director/Operations Manager Of "Smooth Jazz 106.3" In Northampton, Massacusetts (Springfield, Ma Metro) My Philosophy Is To Bring The Format From A "Backround" Music Station, To A Well Executed Foreground Station. And Yes, It Can Be Done!

Nomenclature Aside, Wheather Its Called "Smooth Jazz" or "Smooth AC" Isn't What Will Decide It's Future, Only Good, Logical, Common Sense Programming Will StrengthenThis Format For Station's That Are Currently Programming Smooth Jazz, In Any Market.

 

[cklw800]

vlewis...that's great! I didn't know you were talking about yourself in that post. Congratulations. If you're active and a non-major conglomerate PD, then yes, it can be done! I thought you were like many of the posters here like me on the outside of the format looking in. If you're doing the format and saying that then it can be done. I hope you stream and we can listen in! I didn't think there were any of you left! Good luck and Happy Holidays!

 

[P-R]

Good point ck and good luck Vlewis!

When I was at WLOQ in Orlando, the owner Herb Gross wanted the station to be brought out of the background and had the things vlewis speaks about done. Herb was passionate about the station and believed the place could be more than a jukebox/mp3 player and encouraged talent growth, input and to be more than a "laid back liner card reader". He fought for years to prevent a digital system being installed for he didn't want the talent to become lazy (he felt actually handling the CDs caused someone to be more alert and be more in tune with what was going on and offer a better presentation. He also didn't want Voice Tracking/Automated periods...wanted live 24/7 365. Unfortunately, in 2006 Herb had a power struggle with his family and lost control. Since then...the station has went automated in many periods, fired long time staff and done many of the things ck spoke about. It was a fun ride being there and listening to it while it lasted. Vlewis, I know you can make it happen. One of the keys is having the passion and by your posts I believe you have it. That passion will be infectious to those around and help make the vision happen

 

[Bill Harmonic]

Presentation is one important part of the process but after programming smooth jazz stations since the early 80's, it's not the most important. All listeners of smooth jazz come to that format for two things which are the tempo and texture of the station. That's where the presentation is important. Your staff has to be foreground with information that is not only musically oriented but also community and lifestyle oriented. This audience is hip and they want to know what is going on and what they can do to better their life. But a great smooth jazz station also has to be on the cutting edge of music which is the major problem of the format today. There are two kinds of listeners to smooth jazz. The P2's only come for the tempo and texture. They don't know Boney James from Kenny G but they know the station makes them feel good. The P1 listener does not want the same old 400 songs! They want to hear new music even if it is Kenny G (the antichrist for many smooth jazz listeners). You build a solid foundation with your library then play the new music from both established artists and those up and comers who have the chops and you will be a force to reckon with. You set up your station to talk about the new music and make it the focus of your presentation (how many times do you want to back announce "Songbird"?). The late Bill Gavin once said that there are two kinds of program directors. One is the kind that can pick the hits and if you're one of those, pat yourself on the back. The other kind couldn't pick a hit if their life depended on it but they were smart enough to find someone who could. NEW MUSIC IS IMPORTANT! If you think that you can just change the presentation and not the music, you have not gone the entire way towards success. Let's hope you have a signal and some marketing because if you don't then the presentation and NEW MUSIC will become even more important because that helps the listener come to a subpar signal. By the way, voice tracking is not the enemy. It's what you do with the voice tracking that counts. If your staff and breaks are set up correctly then no one will know which is the point. Orlando has not died so much (they are still doing well) because of what they have done but their change happened because they lost focus on what got them to the game which was a station that had the reputation to break and play new music. Great jocks who had something to say and if you like the music you listened because you didn't want to miss something. If you weren't into the music but still liked the station then the tempo and texture carried the game. Just a side note to P-R. Herb had some of the right ideas but don't build him up because he was crazy. I turned down the PD job there twice, once because Herb was in control and the other because they were in the process of changing and I thought that wouldn't be the place for me. One of the best is KIFM in San Diego. They've got their act together. Good luck Vlewis and P-R did hit it on the head talking about the passion. Without that you're nothing but BA.

 

[P-R]

Thanks Bill! And...yes you are correct...I know what you mean about the "crazy" part and my brush had made an incorrect painting (should have been more like a Dahli or Picasso when I mentioned him). One small example...I was on-the air solo for 24 hours during one of the Hurricanes passing into Orlando. The storm is just hitting Orange County...an intense moment...and Herb who was up north at his summer home in Minneapolis calls me on the studio line to ask about a CD/Song that I had played ten minutes before. I asked him if he was aware a hurricane was now in Orange County and he responded calmly..."oh, yeah...now about that Dave Koz cut..." LOL That kind of first clued me in on the "crazy" part

 

[hieroglyph]

The key words "It's all in the presentation" should be a motto that all SJ programmers should live by. I program jazz music at a non-comm station and one of the biggest challenges that we faced was reconstructing what the genre is becoming. Saturated down with elements and pieces that simply weren't jazz-related. The previous management identified the station as Smooth Jazz/NAC. The new guys came in and tore the walls of shame down and began programming "real" jazz. We also starting identifying ourselves strictly as a jazz station. I'm not a fan of the term "smooth jazz" because I think the newbies that have come along in the business; both in radio and radio promotion have lost the focus on what the music is all about. Background to foreground is fine but I think that if you want to keep an audience entertained and interested, especially the 35-54 demo, you must blend in creativity. SJ programmers (the one's left) have to really think outside of the box and try to mix in variety. Jazz music is all about improvisation and syncopation, first of all and that's what the typical fan of jazz is looking for...don't get it twisted about how BA's approach from a sales standpoint that the genre has become too "urban" because that's a bunch of mularky! There are as many, if more white artists that are doing jazz as well as people of color and other ethnicities. I'm just bringing this up because of what CK mentioned about large black audiences attending certain jazz functions. An example of creativity is programming sounds of contemporary (smooth) jazz instrumentals and vocals with some mainstream and straight ahead instrumentals and vocals. Believe me, it can be done with the right touch from the music selection to imaging to personality. It has worked on our end tremendously with our core 45+ demo. The 35-54 numbers have gone up significantly and we have received nothing but positive response from our listening audience. I also think that if a programmer lends an ear to independent artists and give them a chance by exposing their chops and talents, that it can ultimately make a differnce. There's plenty of new talent coming out everyday and all they want is a chance to shine for the moment just like your Braun's, Boney's, Kenny G's, etc. BTW, I love the comments by Bill Harmonic on Kenny G. being the antichrist of SJ! Classic stuff!! ;D
New music is truly important but offering a retrospective of jazz musicians who laid the foundation of what jazz is today is just as important too.

 

[Bill Harmonic]

For any smooth jazz or jazz programmer there should only be two types of music. One is good and the other is bad and it should not matter where it comes from, plain and simple. But the folks who did that in the past are gone for the most part. Gone to the non com's, to the internet (like me) or out of the business altogether. I'm hoping that the "mainstream" format (SJ as it is being presented today)(I'm also not a fan of the term "smooth jazz", an oxymoron for sure, but the word that bothers me is "jazz" because it just scares to many listeners. Just try "smooth" instead.) has just about bottomed out and that a new hybrid that includes the best of all worlds is just on the horizon. I want BA to evolve their idea of what the format is so they get out of the way and the people who have the passion can step back in to make the magic once again. It shouldn't matter whether you play Stanley Turrentine, Kenny Garrett, Boney James or Richard Elliot. It has to have the tempo and texture needed to make the sound uniform by keeping a thread or theme through out the songs you play that takes your listener everywhere and makes them come back for more. The problem comes when you step to far out of the box and the comfort zone of that listener. It's still not about solos or running scales. It's about melody. It's about matching up diverse artists. It's about making what you play seamless so every set seems like one song. It's about being different but not for the sake of being different but because if done correctly, different is good!

 

[hieroglyph]

BH, I agree with you totally in regards of what you first mentioned. As a matter of fact, those words were eloquently spoken by Duke Ellington when he referred to types of music. This year alone, I've heard a lot of good music but most of the music hasn't been bad for the most part. I have to disagree with you that most listeners are afraid of the term "jazz". Those types of listeners are the ones who aren't educated and up to speed on what the music is all about and they are the ones who tend to roll with the scale playing and other nonsense. I don't see BA evolving but more or less headed towards a downhill spiral out of control with the way they try to program the music with the overpaid VT'd talent simply because when I attended the NAB/R&R in Charlotte this past Septemeber, I left with a bitter taste in my mouth when I heard Kepler and some of the other programmers from the major markets emphasisng more on the quality of the sale rather than sound. Let's face it...dollars are more important than the preservation of uniformality. Being different is what makes creativity so critical with this genre and it can be done because personally I feel like that this is the only genre along with classical music where diversity stands out and can be meshed into an entertaining alchemy as long as you know how to do it.

 

[Nock]

I have to disagree with you that most listeners are afraid of the term "jazz". Those types of listeners are the ones who aren't educated and up to speed on what the music is all about and they are the ones who tend to roll with the scale playing and other nonsense.

I have to disagree with your disagreeing, I believe jazz as well as smooth scares away listeners. They hear the word "jazz" and they think straight ahead jazz which scares many. Case in point, my nephews give me _ _ _ _ about the music I spin on my show. Having never listened to what I do, they have it in their mind what jazz is. And that is elevator music, big band sound etc. I keep trying to get them to listen because I believe they could hang with what I am playing for the most part. Smooth or Jazz is not attracting "New" listeners only keeping the ones you speak of. We need those listeners, don't get me wrong, How do we attract the new ones that I think they have pre conceived notion of what jazz is and not what it could possibly be? They are scared to try and BA is doing nothing to attract rather making it difficult to get out of the elevator music rut we are stuck in commercially.

Note to all programmers: LET'S BREAK SOME NEW ARTISTS THIS YEAR!!

BTW, great thread! Probably the best in a while!

Nock

 

[Bill Harmonic]

This has been a terrific thread and thanks for letting me be a part of it. Hope I have made some contributions. Nock is correct in that when you say the word "jazz", it brings images of Coltrane, Dizzy and many of the greats. Just a fact of working with the format for over 20 years now. I get that from both the older listeners and the younger ones. But that's the least of our problems. My greatest success has always come from the fact that you don't have to just play the hits but you also have to make them at the same time. That's why I did not take the WLOQ job because they were worried about my background of going out on music and they wanted someone who would not take chances which ironically is what got them to the ballgame in the first place. You have to be responsible enough to stretch the limit but not get carried away. It's up to you to make the most interesting commerical product you can because if you want to keep doing it, you must be able to make it viable to those who have a vested interest in your success. That's where the contemporary format came from and what it has gotten away from. I was never here to educate my listeners but to give them something they can enjoy because I believe it's about the entertainment. If I could educate them by turning them on to new music, then so much better for all. I have never run my stations by telling listeners that this artist or tune was cool, in fact they told me. I listened to all, from the very new who just found the sound, to the (what we called the jazz nazi's) mainstream folks who thought anything contemporary was just not acceptable let alone was a sin to play that stuff on the air (see the antichrist). I did have other shows that played variations on the theme that would allow my listeners more access to different types of music that fit the time slot and over all theme of the station. I've always loved this format because it was not low common denominator and you have to give your listeners credit for having a brain. I believe that you program for an intelligent listener who has the option to move to other aspects of your programming if they choose. But I also saw the need to just supply great product for those who just came for the tempo and texture and could care less about grooving to Miles. If you become too hip for the room then you're dead. Hieroglyph is correct in that the right person can put together a wonderful spectrum of sounds that go beyond ordinary but my fear is that to many of those people have left the format. But I'm looking at this as an opportunity for anyone who has the chops, can to now bring those back in play, so this wonderful art form that I have spent so much time with can come back. You just have to figure out where you can do it and how. It seems at times like we argue over little points but I'm encouraged by the tone of these writings. Looks like we have some people who care and that's where it starts. Remember to not go where the path may lead, but go instead where there is no path and leave a trail! Looks like the people in this post can do just that.

 

[P-R]

Some of this reminds me of discussions a few years back when Jazz FM/GMG in London touted research that the word "Jazz" was turning people away and they had not made a "profit" in 15 years of existence...causing them to rebrand themselves as Smooth FM. This was brought up in discussions where I was at in Orlando...nothing became of it. External marketing wise I think it is more than time to rest the tired logo of the sax that some use. Have outside marketing steer away from the word...get the bodies in the door and if they like the feel/vibe they will discover
they are listening to SJ. From personal experience of listening to streams or my mp3 player, I have had people who are in the room or car ask, "What is that music" and when I tell them they are pleasantly surprised. This has been an enjoyable and educating thread...thanks to all who are taking the time and energy to add to it

http://www.smoothradio.com

 

[Nock]

Probably why XM still continues to call it C Jazz. Which by the way they are sounding better than ever. Bill interesting to read your posts on how you put your stations together. Never been fortunate enough to do it on the commercial side however I have served as MD to a non com reporting C Jazz station. The "thread" is the interesting part of programming this format. You can go left and right of center as long as you occasionally come back to center. Sometimes I go further out to the left or right and have to remind myself to get back to that thread that keeps weaving. I still think the Chill Electronica sound was abandoned way to early. Folks did not have a chance to "get it" I still mix at least 4 chill/electronica tunes in per hour and makes for some very interesting listening. BTW, one of my hottest spins right now is Patrick Bradley out of Chicago. A shame because he will never get played by BA and that is who we have to count on to get the music out. Probably why I stay involved because you never know what incredible music is going to show up next in your mailbox. I have a very good friend and well known jazz musician that has hit top 5 in the past and he has a new project due out any day. He is scared _ _ _ _ less about having success given the state of the format. A shame because I have heard the cd and it needs to get played.

2008 The year of breaking new artists!!

Nock

 

[hieroglyph]

I'm glad that this post is garnering some attention because of the simple fact that...hey, let's face it, radio as we know it is dying in a slow and silent way. With the digital age ushered in and making its stamp on us worldwide, it has had an overwhelming effect on radio programmers both comm and non-comm, the artists themselves and the music industry. Deep in my heart I feel like we're the only genre that can save what is left of how people listen to radio. We can agree to disagree all day about how people feel about the term "jazz" and BH, Nock, you guys are right to a certain extent that there are people out there that listen to the music that can misinterpret what the music is. I have had encounters with individuals in our market that couldn't quite embrace the changes we made with our playlist and how we schedule music during the week. There was one gentleman that told me he loves jazz but couldn't quite get with the "Sunday Jazz." I hadn't a clue on what he was talking about when he first said those words so I asked what did he mean by that and he replied that he was more used to hearing the usual stuff like Paul Brown, Grover, Boney, yadda-yadda but he had a difficult time listening to the mainstream or straight ahead vibe. He didn't know how to describe it thouroughly so he referred to what is normally played during our Sunday afternoon/evening rotation. So I had to explain to him that the stance that the new management was taking was to interpolate more of what was missing. From the research we did with our audience, we found that our listeners wanted more of the mainstream/straight-ahead appeal. Our numbers were higher during our overnight hours as opposed to our other dayparts which were OK but not where we wanted to be. We carry the Jazz Satellite Network's "Jazz with Bob Parlocha" which he does nothing but M & SA & a little bebop here and there. I guess I fall into the category of going where no one has gone before and seek to blaze the trail because I learned a long time ago from a great businessman that if you go into a situation with a laid back attitude and not take chances on making a conformation to something new and simply roll the dice and see if it works, then you're doing nothing more than sitting on your ass. The trait of leadership is non-existent if you don't try something innovative to see if it works. If it doesn't, then oh well, back to the old drawing board. That's why I'm not scared of going outside of the box but not too far out by juxtaposing the melodic sounds of jazz. Most of our listeners on this side of the fence is getting it and are appreciating the approach. Even those who stream our broadcasts are sending us comments that they are digging the concept of what we're doing. The numbers may be few but I think we'll be making an impact in '08.

 

[cklw800]

I am totally awed by this thread, the best discussion of this genre I have participated in so far. Phil has been on a thread with me other places with compelling content. I do think BA will thrive with help from the big markets who have big enough audiences to bite and make a revenue turn. They will rely on places like Augusta to round out their income, targeting struggling small owners who can be talked into whatever sounds good where they don't have to pay talent. I had thought that radio would utilize alternate internet progamming on their own sites to help out, or localize their HD signals. But if they don't have enough money to pay their over the air talent, they don't have any money to put into the new medium. That could be the savior of contemporary jazz. Apparently if no money, there will be no effort. I agree with having the perfect balance of guts, research and just plain skill in order to have success. I maintain what I've said elsewhere that we need the money the Wave guys had back in 1987 and a brave good-signaled radio owner to start a new "wave" of great contemporary jazz. Or a PD like vlewis who can get national attention if what he does hits the mark in a big way. He right now has a chance to do this and force a change in the way the format is presented. It would be great if he could make the Kepler guys at least nervous in 2008.

 

[cklw800]

Oops. Looked back at my post..noticed I referred to Bill as Phil. Well, gotta admit it's a catchy handle. When I'm not actually looking at your name "Phil" Harmonic is what stays in my head. Glad to know you've been in the format for a long time. I should have known from your first post on another thread. Great great insight. Hope you can be a part of a new revolution with this music. Nock, you as well with your great program.

 

[Bill Harmonic]

"Phil" Harmonic is wonderful! Why didn't I think of that? Great stuff and thanks for the tip cklw800. If I ever get back on the air that will be the name. It's certainly much better that Sleepy LaBeef or Dime Bag Dick. Whether I'm part of it or not, I do believe that there will be that new revolution with not only this music but with radio in general but when that's coming is anyone's guess.. That's why I'm taking my stuff to the internet which is touchy at the moment for us little guys. I got started doing jazz shows on AOR's and AC's and would like to do that again so I'm also going to try and syndicate my ideas to a few people I know. I probably won't go into the bidness fulltime (for SJ) unless something unique comes up and I don't think the industry is ready for that especially where I live because the market is run by to many no brainers. It will come back in from the outside from people who think in the same vein we do. There's no left on the inside that can produce the magic. I just want to be my eclectic self and work on my website. Not a plug but just finished John Gorman's book on WMMS in Cleveland and it's a great read on what you can do with nads, common sense and a brain. The question becomes how can we take that spirit and imagination and make this business we love so much relevant for today and tomorrow?