Terrestrial radio. Over-the-air radio. Standard radio. Traditional radio. Conventional radio. Whatever you choose to call it, it's the radio we all grew up listening to. No special equipment required. And . . .
I am thrilled to announce that our favorite music returns to this type of radio this weekend! On 90.9 FM WDCB. Beginning this Sunday, February 9, I will be hosting The Sunday Jazz Brunch on WDCB each weekend from 11:00am to 2:00pm.
What can you expect from the new Sunday Jazz Brunch? For starters, you'll hear quite a few artists who've made Sunday mornings a special place for us over the years on our other Sunday Brunch shows: Ramsey Lewis, George Benson, David Sanborn and Grover Washington Jr., just to name several. We'll also feature a special "Chicago Music" segment each hour, showcasing artists from Chicago or based in Chicago.
Since WDCB is primarily a jazz station, the new Sunday Jazz Brunch will favor that particular genre in both the instrumental and vocal content of the show. As always, however, I'll be choosing music based on how well it fits that uniquely intimate Sunday mood.
I invite you to give the new show a try and let me know what you think. Address your comments, suggestions and requests to me at [email protected].
(By the way, if you've gotten used to listening to radio through your computer or HD Radio, The Sunday Jazz Brunch is also available on WDCB 90.9 HD-1 and streaming on www.WDCB.org. And the Smooth Jazz Sunday Brunch will continue to air on www.SmoothJazzChicago.net from 6am to 6pm Central each weekend.)
~Rick O'Dell
Our Smooth Video of the Day: Ramsey Lewis will officially launch The Sunday Jazz Brunch with this tune.
In addition to being able to listen to SmoothJazzChicago.net anywhere in the world on internet with your computer, smart phone, or tablet, we are excited to announce that Chicagoans can now listen to Smooth Jazz Chicago without an internet connection. We are now on WTMX 101.9 HD2! By pairing our new signal with an HD radio, we hope to provide listeners with another way to take your favorite smooth music with you on the go.
HD (hybrid digital) radio provides a CD quality simulcast of many traditional AM and FM terrestrial radio stations plus addition new “sub stations” which feature content that cannot be picked up on an analog terrestrial radio. Like traditional terrestrial radio, no subscription fee is required to listen to any of the stations. Smooth Jazz Chicago’s new terrestrial radio home, WTMX 101.9 HD2 is one of these stations. When using an HD radio, first tune to 101.9FM and then wait a few seconds for the HD signal to lock in. On most HD radios, a small indicator light with the HD radio log will appear on the screen. Once the HD signal is locked in, turn the tuning knob or button up once to receive WTMX 101.9 HD2 Smooth Jazz Chicago. Additionally, the song and artist titles should appear on your HD radio’s screen.
(When you have access to an internet connection, I still highly recommend using it to listen to Smooth Jazz Chicago on computer by visiting SmoothJazzChicago.net, on smart phone or tablet using our free custom apps available in the App Store for iOS devices and the Google Play store for Android devices, or an internet radio for the most optimal and reliable signal and audio quality when compared HD radio.)
While HD radio has been around for over ten years, it is still in its infancy in many respects. The key advantage of HD radio is that you are not required to subscribe to a cellular data connection in order to listen on the go. Over the past few years, more and more automakers have been integrating HD radios in the dash on their new vehicles. Click here for a list of new vehicles that offer HD radios as either standard equipment or as an available option. A handful of automakers, including BMW and Volkswagen, have offered HD radios in their vehicles for at least the past five years. Check your owner’s manual or consult your dealer to see if your car may already be equipped with an HD radio. At the moment, other HD radio offerings for at home or on the go are limited but growing. For more info please visit the Official HD Radio website.
If you have any questions feel free to leave a comment below or send me an email!
(It's Rick O'Dell. Let me jump in here with an additional request. If you currently have an HD radio--portable, tabletop or in-car--please send us an email and let us know how satisfied you are with it. Please be honest because your experience with HD will serve as a guide to others who are in the market for an HD radio right now. I'll include listener comments in our next blog on this subject. Thanks. My email: [email protected])
Our Smooth Video of the Day: From his solo debut The Nightfly here's one of my all time favorite musicians, Donald Fagen of Steely Dan (who celebrated his birthday on Friday, January 10th) with "I.G.Y."
Paulinho Garcia and his Trio perform at the Parrot Cage this Sunday
I hope you’ll plan on
joining Scott Adams of The Sounds of Brazil and me this Sunday, August 25, at
the Parrot Cage Restaurant. It’s the
first ever (hopefully the first annual) Summer Samba Brazilian Brunch presented
by SmoothJazzChicago.net and BrazilClubUSA.com.
Executive Chef Angel
Cruz is preparing several Brazilian dishes for us to try, and you’ll be able to
dance the samba to the music of the Paulinho Garcia Trio.
Seatings are at 10:30am
and 1:00pm. Our brunches at the Parrot
Cage always sell out, so a reservation is a must. Please call (773) 602-5333 and reserve your
table now.
See you Sunday!
Our Smooth Video of the
Day: Paulinho Garcia and Tony do Rosario perform one of the best loved Brazilian melodies of all-time.
The saxophone is the premiere instrument of Smooth Jazz.
Recently, longtime Smooth Jazz fan Kathleen Gregory of Lockport sent over a formidable list of questions, so it gives us the perfect excuse to bring you the latest edition of YOU ASK, I ANSWER. Here's Part I.
1. How long do you give a new song to catch on
with listeners before deciding not to play it or add it to the rotation? Does
it make a difference if the new song is a vocal or instrumental? Does it matter
if the song is played by a new act? If a song doesn't quite catch on (for
example, Basia's "From Newport to London") will you play it from time to time, or is
it gone forever?
Here's how we've always approached
"adds" going back to the days of WNUA. Adds are what the industry likes to call new tracks that make the
playlist, by the way. First of all, we don't give new tracks a chance "to catch on with
listeners." When we add a new track to the playlist, we make a firm
commitment to it. We don't throw a new tune onto the playlist as an
audition with the chance that we might pull it off if it doesn't meet our expectations. That's why we like to take a good deal of time before
deciding whether a track merits airplay. We'll listen to a new tune
often eight, nine, ten times or more, and sometimes we'll even evaluate a new track by
committee. Several of us will lend our ears to it. Then, we'll arrive at a group decision on it. Vocal or instrumental, new or established artist,
it makes no difference. This is the process every new track has to go
through before we make a decision on it. I hope I've made it clear that new music is serious business to us.
Once we commit to adding
something, we break in the new track on the air slowly. It begins in a low
frequency rotation. As listeners become more comfortable with it, we bump
it up into a higher rotation. We'll give a new track anywhere between 100 and 300
total spins in current rotation, which take anywhere from five to six months on the air. That's
usually enough exposure for us to observe if our listeners have embraced
it. If we feel positive about it, we'll stay on it a little longer.
Then, we'll move it into a slower rotation by putting it into our permanent
active library. If we don't, it goes into an "icebox" category and might surface from time to time on a weekend program such as Dinner Party.
2. When you put together your show, do you have
a vocal to instrumental ratio per hour? Do you have a ratio for male to female
vocalists?
We have software that
schedules our music--after we program it to obey certain rules of
scheduling. As was the case on WNUA, we by and large have a 55-45 ratio
of instrumentals to vocals. There is no set ratio for male to female
vocalists. At the same time, we try and shoot for optimal variety in our mix of vocal tunes, alternating males and female voices, pop and R&B and so on.
3. Do you have a limit for certain instruments
like piano, bass, or saxophone?
The saxophone is the
signature instrument of Smooth Jazz. I'm sure you could have guessed that! As
such, we try and make sure there is at least one saxophone-based instrumental
every four tunes. It doesn't matter where or how often the other instruments play.
4. How do you put together a show? Do you have
themes?
Our weekend shows (e.g.,
Dinner Party and Sunday Brunch) lend themselves to themes and featured artists.
That's where we have the best opportunity to do special features.
Thematic shows can be polarizing (listeners can love or hate them),
however. That's why we rarely do them during the week, when we're trying
to build the largest listening audience we can.
5. How far in advance do you do it?
Personally, I like to
plan things at least one month out. But, if I've learned anything from 30
years in the business, it's that you always have to be ready for last-minute
changes.
6. How much time do you dedicate for
requests per day?
I'll generally leave
room for one or two requests each hour.
7. Do you use CDs?
Very few stations play
CDs anymore. Most music gets copied from CDs or downloaded song by song into a hard drive, as
audio files. Our music scheduling program then grabs them and puts them on the air at the proper times.
(We'll get to Part II of Kathleen's list in a few days.)
Got a question you'd like me to answer? Got a list of them I can start working on? Drop me a line anytime: [email protected]
~Rick O'Dell
Our Smooth Video of the Day: Our newest "add" at SmoothJazzChicago.net, Paul Hardcastle and "Easy Street."
From the first
day I started dabbling in the streaming radio realm (back in '09 at
AccuRadio.com), I sensed a distinct divide between the worlds of
terrestrial and internet radio. With few exceptions, those employed on
the terrestrial side viewed internet radio as something of a poor
stepchild, as something less than "legitimate" radio. At the same time,
those whose careers began on the internet radio side perceived
terrestrial as outdated and representing obsolete notions and
practices. As someone who was fortunate enough to have had
opportunities on both sides, I saw how counterproductive this attitude
was for everyone involved. Those on the terrestrial side had gotten comfortable doing things the same way for so long that they were turning a deaf
ear to new ideas that could refresh and revitalize their medium.
Similarly, those on the internet side were too quick to dismiss and
devalue lessons and principles that the terrestrial side had learned
long ago, especially when it came to programming.
Therefore, I wanted to launch SmoothJazzChicago.net with an open mind. I wanted to try and combine the best
of both worlds, implementing the best practices from the
terrestrial side that I had absorbed in my thirty years of working in
over-the-air radio and supplementing them with features unique to the
streaming radio platform. That was my specific vision for
SmoothJazzChicago. Well, it seems that others on the internet side, at
least, are finally starting to catch on.
I came across this
article this morning in the industry press, and I had to chuckle. It seems pureplay internet broadcaster Slacker has decided there might
be some value after all to having--fanfare, please--hosts on some of their most popular channels. And they could be bringing back more than just announcers. According to the article, Slacker is intent on "integrating old school radio fundamentals
to make their service more than just a lifeless algorithm that
endlessly spits out music."
Imagine that. New technology admitting old technology might have gotten something right, starting
with actual people--warm, breathing human beings--who presence might
complement their music programming by enhancing the experience of those
who are listening. Wasn't that the idea behind disc jockeys in the
first place? But wait! Since there are technically no discs to jockey
anymore, they had to come up with a new name to go along with the
new/old job. This is the name they settled on: "human curation," which
to me is a mouthful. Like when stewardesses became flight attendants
and janitors became sanitation engineers.
I'm a proud old schooler who refuses to change my business card to read "Human Curator." But I
will admit I'm happy to see one branch of the broadcasting industry
come to its senses about something, because it's been awhile since that's happened. And it's something I've felt was important all along. Call 'em DJs or curators, the human touch is as vital as ever to the listening experience.
The Solarium inside the South Shore Cultural Center, home of the Smooth Jazz Sunday Brunch
One thing you can always count on with our Smooth Jazz Sunday Brunch since 1992 is that you will be dining in a one-of-a-kind setting. From the spectacular open-air atrium at the Hyatt Regency to the magnificent Normandie Lounge at the Hilton and Towers, where they furnished the room with art deco treasures salvaged from the French ocean liner, the SS Normandie, to the 43rd floor Edelweiss Penthouse at Swissotel, we’ve tried to make our Brunch a feast for all the senses.
The South Shore Cultural Center
The tradition continues in 2013 at the Parrot Cage Restaurant. Located inside the South Shore Cultural Center, our Brunch at the Parrot Cage offers diners a chance to stroll through a historic Chicago landmark. Seating takes place in the Solarium with its floor-to-ceiling windows providing views of the lakeshore that have remained virtually unchanged and unspoiled since the building opened in 1916.
As for the menu, the Parrot Cage features a combination of tried and true Sunday morning favorites such as waffles and omelets made to order and gourmet creations prepared and served by students of the acclaimed Washburne Culinary Institute, one of the City Colleges of Chicago. Their brunch is consistently named one of the Top Brunches in Chicago by diners at OpenTable: Chicago Restaurants.
To further enhance your dining experience, the Smooth Jazz Sunday Brunch is proud to feature live music. On most Sundays, the talented student musicians of the Harold Washington College Jazz Ensemble will be performing during the brunch. On April 21, Chicago rock and now Smooth Jazz icon Jim Peterik will appear with his band Lifeforce, playing selections from their newly remastered two disc deluxe edition of Forces at Play, as heard on SmoothJazzChicago.net.
And, if you’re feeling lucky, you could be Rick O’Dell’s ongoing giveaways during each Brunch. During each seating, Rick will be holding a drawing for CDs, concert tickets and other fun prizes.
The next Smooth Jazz Sunday Brunch at the Parrot Cage is April 21, 2013. Make your reservations soon, because most brunches fill up quickly. Call (773) 602-5333, or send an email to [email protected]. Seatings are at 10:45 am and 12:00 pm.
Smooth Jazz
fan Kathy Baker of DeKalb put it best: “I
had the most fantastic time last year.”
She posted those words on Facebook right after I put up the news that we’d
be giving away a weekend package to this year’s Jazz on the Vine.
Like Kathy,
you could be coming back eager to share the exciting details of your weekend at
the AAA Four Diamond Osthoff Resort’s annual “Jazz on the Vine” weekend May 10
and 11. We are giving away a grand prize
package which includes overnight accommodations for two and tickets to all the
performances:
May 10
Saxophonist
Shilts (5:15pm)
The Larry
Carlton Quintet (7:15pm)
Larry Carlton
Acoustic
Alchemy (9:15pm)
May 11
Trumpeter Cindy
Bradley (1:45pm)
Guitarist Matt
Marshak (3:45pm)
Fourplay
(6:15pm)
Saxophonist Michael
Lington with special guest Bill Champlin (9:45pm)
To enter,
click here. Give us a list of your three
favorite Smooth Jazz artists or tracks.
If we select your set and feature it on the air at noon on my
midday show during the weeks of February 17 or 24, you’ll win a pair of CDs by
artists appearing at this year’s “Jazz on the Vine.” And you’ll qualify for the grand prize to be
given away March 1.
(The fine
print: CDs to be awarded will depend on
what is available but will include two of the following artists: Larry
Carlton, Fourplay, Cindy Bradley, Matt Marshak, Shilts, Michael Lington,
Acoustic Alchemy. They will be mailed in 3-4 weeks. Winner agrees
to provide their own transportation to and from the Osthoff Resort.)
Our Smooth
Video of the Day: It’s Larry Carlton
captured live doing one of his signature tunes back in 1990.
I asked for it and I got it:
lots of excellent questions from listeners and fans. I promised to answer them all, so here we go.
What are the chances Smooth Jazz
will be back on regular radio in Chicago?
As a full-time format?
Doubtful, unfortunately. And now
there’s another issue that’s working against us. It came up in a conversation I had with
longtime Chicago broadcasting executive John Gehron last week. “AM’s dying,” John pointed out to me, “and
companies are trying to move their talk formats to FM.” That’s putting even more of a squeeze on
available frequencies on FM. Unless
there’s an independent owner out there who’s willing to take a chance on Smooth
Jazz, we don’t have much of a shot. But
I’ve learned never to say never . . . .
What’s your prediction for the
future of Smooth Jazz radio, short and long term?
On terrestrial radio, bleak. On satellite radio, good, although the choices
there will always be slim. On the
internet, excellent. I do think we need
more traditional radio thinking on the internet side to improve the product. There’s a lot of substandard internet radio out
there that you have to wade through before you get to the good stuff. Internet music stations are not created
equal.
Give us your vision of the Smooth
Jazz station you’d create if cost were no object.
Wow—I get to dream with an open checkbook? Well then, I’d love to create a national
Smooth Jazz superstation to be delivered on all the major platforms: terrestrial, satellite and internet. We’d hire a veteran major market Smooth Jazz
host to handle each daypart (Talaya from the Wave/Los Angeles; Carol Handley
from KWJZ Seattle; Miranda Wilson from KKSF San Francisco; Michael Tozzi from WJJZ
Philadelphia; Sandy Kovach from WVMV Detroit; and so on) and fill in with the
likes of Dave Koz and Steve Cole. On
weekends we’d feature premiere syndicated shows such as Legends of Jazz with
Ramsey Lewis, Chill with Mindi Abair, the Dave Koz Weekend Show. Oh, and we’d be playing the traditional
Smooth Jazz mix, 55% instrumental, 45% vocal.
I’d bring the entire genre and format together under our
umbrella to coordinate marketing and promotion of everything from concerts to
cruises to new releases, and we’d have some kind of presence—someone on the
ground—in every city where a Smooth Jazz event would take place. We’d coordinate with record labels and artist
managers to make sure nothing would escape our attention. And we’d do a fair amount of contesting. It would be a total one-stop Smooth Jazz network.
I’d also like to see us get back to presenting concerts across
all tiers, from top-priced shows in large venues all the way down to intimate “Listener
Appreciation”-type parties where we introduce a new artist and give away
tickets or charge only $20 or so to get in—in as many cities as we could.
I want the format to do what it did best in its heyday, to
be a classy place where people can come to relax and be soothed or be uplifted
and inspired.
Why did the format fail so hard on
commercial radio so fast?
RO: The end of the
format on commercial radio wasn’t all that fast. It was more of a steady decline. Here’s a chronology of when the Smooth Jazz
stations in the country’s top ten markets left the format for good:
New York – 2/08
Los Angeles - ???
Chicago – 4/12
San Francisco – 5/09
Dallas/Ft. Worth – 10/06
Houston/Galveston – 3/08
Washington DC - 8/09
Philadelphia – 9/08
Atlanta – 1/09
Boston – 9/99
These format flips weren’t equally significant. When WQCD in
New York decided to pull the plug, that was the tipping point, when everyone
else started losing confidence in Smooth Jazz. Madison Avenue saw the change happening in
their backyard and started diverting ad buys to other formats. When revenues start to drop, ownership gets
nervous and starts looking in a different direction.
Do you agree with Carol Ray that 25
year old “chestnuts” should be retired into special programming to allow for
new music to be almost “exclusive?”
I know where Carol’s coming from, and I respect that. I beg to differ. Playing lots of new music sounds exciting,
but it’s a ratings killer. On the other
hand, the chestnuts I think she’s referring to have had proven staying power with
our audience. It wouldn’t be the same if
we stopped playing Anita Baker, Luther Vandross, Stevie Wonder, Sade and
artists like that. When they wanted to
unveil the RAV4 in 1996, Toyota didn’t stop producing the Camry. The popularity of the Camry enabled Toyota to
finance new models such as the RAV4.
How do you select which artists to
play?
First, we need to break this down into two groups: instrumental artists and vocal artists. Within the former, we look for a compelling
and melodic hook (e.g., is it hummable?).
Within the latter, it gets a bit tricky.
Ideally, we look for an artist who has musical integrity and some degree
of jazz heritage, like an Al Jarreau or Steely Dan. We also consider artists who aren’t
associated with jazz but who are generally embraced by Smooth Jazz listeners,
such as Michael McDonald, Phil Collins and Seal.
How do new artists get airplay?
Again, we need to draw a line between instrumental and vocal
artists. New instrumental artists are
judged in the same way we judge established instrumental artists: is the music catchy and compelling? For new vocal artists, the standards are much
tougher. Since vocals are the only
consistently familiar selections on the playlist, it’s risky to slip an
unfamiliar artist into that position.
New vocalists need to be a nearly perfect fit to be considered.
Why don’t you play newer music from
established artists (e.g., David Sanborn) instead of the same old songs they
released years ago?
Say you’re at a Hall and Oates concert. Which group of their songs do you think will
get the bigger hand?
Group A: “So Close,” “Everything Your Heart Desires” and “I’ll
Be Around.”
Or Group B: “Kiss On My List,” “I Can’t Go For That” and “Rich
Girl.”
Group A is all newer music.
Group B is “the same old songs.”
As in the case of Hall and Oates, when it comes to David
Sanborn, our listeners are much more apt to embrace his older material (such as
“Chicago Song” and “Maputo”). That’s why
you hear more of it.
Why do you play music that was never
Smooth Jazz when it was released (e.g., “Raspberry Beret” by Prince)?
As a general rule, the narrower a format defines its musical
boundaries, the smaller the pool of potential listeners. If we played strictly Smooth Jazz artists,
all we’d appeal to would be the diehard Smooth Jazz fans. And we’d never grow our audience. A song like “Raspberry Beret” helps open up
the format and make it accessible to more people. Also, having a few mass appeal pop songs on
the playlist never hurts in a workplace situation where majority rule often
decides which station gets played there.
How much input do advertisers have
in the selection of the music? How much
input do listeners have?
I can’t recall ever getting any input from advertisers, to
tell you the truth. Listeners, however,
can have a big say in what gets played, through requests and participating in
station research projects such as focus groups and music tests.
Do you listen to other Smooth Jazz
outlets, like television stations, to find music and artists you might not otherwise
hear?
Yes! But this might
surprise you: most of the time I listen
to other broadcast outlets to try and find non-Smooth Jazz artists who might be
a good fit for us. I do that because,
between the national charts and record promoters, I’ve got Smooth Jazz pretty
well covered.
What makes a song right for the
Smooth Jazz Sunday Brunch but wrong for the weekday?
For many of the same reason restaurants have separate menus
for breakfast and dinner. The mood, the
feel, the lifestyle—they’re all different.
Sunday mornings call for lighter, more elegant musical fare. You’re not at work, wanting music to help
motivate you to finish a project.
Rather, you’re kicking back with a cup of coffee and the paper. When you're at work, you don't want something that might slow you down.
What can we listeners do to make
SmoothJazzChicago.net more successful?
(Speaking for myself, I definitely want you and this venture to
succeed.)
Every little bit helps a lot: telling a friend about the station and
sending them the link; posting the link on your Facebook page; liking our
Facebook page; attending a concert; patronizing an advertiser and letting them
know you appreciate their support of SmoothJazzChicago. We’re grateful for any of these things.
Our Smooth Video of the Day:
Without the Smooth Jazz format, how many of us would even have known
about an artist such as Richard Elliot and a tune like “Street Beat?”
There’s some
excellent news for iPhone, iPad, and iPod Touch users! The long awaited Smooth
Jazz Chicago app is now available for iOS devices. With it, you can listen to the live stream of
SmoothJazzChicago.net anywhere in the world, 24/7 as long as you have an
internet connection.
The Smooth Jazz
Chicago app also provides you with information about the ten most recent songs
played on the station. Like what you
hear? You can share a song with your
friends via Facebook or email or purchase it in the iTunes store with just one
click.
Start your day off right. The app features an
integrated alarm clock. Plus, you can
check up to date traffic and weather reports for the Chicagoland area as well.
The Smooth Jazz
Chicago app is free and can be found in the App Store by clicking this link
or by searching for “Smooth Jazz Chicago” from iTunes or from your iOS device. It is compatible with iPhone, iPad, and iPod
Touch devices running iOS 4.3 or later.
You can download a
version of the Smooth Jazz Chicago app for your Android device in the Google
Play store here.
If you’re using
another device such as a BlackBerry or Windows Phone, check out my previous
blog for information on how to listen to SmoothJazzChicago.net.
Have any
questions, concerns, or comments? Let us
know!
A year ago I was having a conversation with floral designer/concert
promoter/raconteur Bernie Scott, when he threw a name at me that I wasn’t
familiar with: Phil Denny. “Phil’s real good,” Bernie was quick to say. Since I’d come to trust Bernie’s ears after
all the years he brought in top notch talent for “Smooth Jazz at South Shore”
in Michigan City, I decided to give Phil’s debut CD, Crossover, a serious listen.
Two words: Bernie’s right.
Phil’s first single, “Push,” has been in high rotation here since
SmoothJazzChicago.net launched in mid-November.
I also had the pleasure of meeting Phil in October when he was part of
Peter White’s band at the Montrose Room and Prairie State College, where he
more than held his own. Equally
impressive about him was that, backstage, he hit me with some very good
questions about our business—where were are right now, where we’re headed, what
a new artist needs to do to move up to the next level. In other words, he's more than just your average camera-friendly face and sweet sounding horn.
My first impression of Phil Denny was ALL positive. He’s just the type of artist we need to move
the genre forward the next five-ten years.
And now, we get to ask him some questions.
RO: Ideally, what would you, an artist, like from
radio, be it over-the-air or internet? If you could program
your own radio station, what would you do differently? What is radio
doing right?
PD: I think it is great that we have
on-going support for the genre at radio despite the loss of most of our terrestrial
stations. The rise in internet radio programming accompanied by the support of
the listeners proves there is a shift in the way in which listeners get their
smooth jazz fix. Access to the music is
key in a "now" culture. Continuing
to offer a broad palette of artists that bring diversity to the format is
essential to growth. I think internet
radio is especially helpful! Artist interviews, segments where new music is
featured, themed programming, station sponsored artist showcases and the use of
social media to engage the listener are all ideas I would implement if I
operated a station. Radio is doing right
by continuing to support the format. In addition, recognizing the trends in how
we listen and respond to music.
RO: What do you expect when you deal with a concert
promoter?A venue?
PD: When dealing with
a concert promoter or venue agent, I look at it as I would any other business
transaction. There should be a certain amount of fact finding involved to
identify whether there is a "good fit." In most cases, the promoter has already done
their homework, though it is also equally important for the artist to
understand why he/she is being hired.
Both parties involved must be fair and willing to accept an
equal amount of risk. An open mind
helps! It is important for the
artist/promoter relationship to work in unison to achieve the end result. I
have found it's best to have a written agreement that outlines the expectations
of the promoter and also what the promoter plans to deliver. Compensation for the performer should also be
fair. Too many times I hear that it
costs the artist to play the gig. While
there is value in exposure, the terms should support the artists.
RO: What's the one thing in your world as an artist, if you could
change, would improve your part of the equation the most?
PD: More live
performance opportunities. As an independent artist, I depend on developing new
relationships that will support my music. The best way to do this, in my opinion, is to
be seen and heard live and to interact with the fans on a personal level. Many of us are closeted and have limited
exposure for this reason. Many of us
have started to create our own opportunities by promoting, funding and
executing our own concerts. I feel
fortunate to be able to support my radio promotions, and that has helped with
my growth. Next is to play the regional
and national stage!
RO: What are the things you would most like to
see happen in Smooth Jazz/Contemporary Jazz in 2013?
PD: We must remember that the listener
base is shifting to some degree, and the evolution of music does not slow down.
While smooth jazz listeners are loyal
listeners, when reaching a faithful audience those who make key decisions
should recognize people are speaking out about change. With that said, it is my hope that a broader
palette of artists be introduced both to radio and to the stage. As an artist, I also feel it would be helpful
if festival committees would do a better job making their submission process
known to the artists/managers. It seems
as though many decisions are made without a fair selection process. If there even is a process!
