What are Johnie Kayes plans for THE WAVE in LA?

[Bill Harmonic]

It appears the first changes have been made. The instrumental to vocal ratio has been modified. It's now two vocals for every instrumental. Use to be about 50-50. I was looking at their music list for this afternoon (3pm) and saw Michael Jackson's "Don't Stop Till You Get Enough" (that's enought for me). Looks like all the usual vocal suspects but just a faster rotation. It will be interesting to see what they will fill with vocally. Also appears that most of the instrumental currents have gone bye bye. Per Cat's observation, we can only wonder what instrumentals from the library make the cut.

 

[davideduardo]

I've always maintained that the variety of broadcast radio formats is dwindling and have never deviated from that observation. Obviously, you believe otherwise and that is your privilege.

That's not a question of "believing" but of facts. Eliminating stations with less than a 1 share (0.2 to 0.3 rating at the time) we take any Top 10 to Top 15 market from the period of 1958 to 1962, we find that the norm would be an array of Top 40's, MOR's and, depending on ethnicity and location, perhaps a country station or insturmental format and an r&b station.

Here is the array from Cleveland at the time: 3 MOR, 3 Top 40 and 2 (1 a daytimer) r&b stations. No FM had a 1 share.

Today, that market has 19 stations with a 1 share, inclduing Oldies, NPR/PBS, three variants of AC (enough that at lesat 2 distinct formats could be claimed there), two in News / talk, country, rock, Urban, Urban AC, Classic rock, AAA, Sports, Christian Contemporary, Classical and Gospel. That's about four times the number of formats the market had in 1960.

The same kind of multiple exists in most markets... some even greater. An example of where even more formats now exist would be markets like LA or Dallas or Houston where there are 4 to 6 distinct kinds of Spanish language stations, where none existed in 1960, as well as all the English language variants.

​

 

[AC Tones]

It appears the first changes have been made. The instrumental to vocal ratio has been modified. It's now two vocals for every instrumental. Use to be about 50-50. I was looking at their music list for this afternoon (3pm) and saw Michael Jackson's "Don't Stop Till You Get Enough" (that's enought for me). Looks like all the usual vocal suspects but just a faster rotation. It will be interesting to see what they will fill with vocally. Also appears that most of the instrumental currents have gone bye bye. Per Cat's observation, we can only wonder what instrumentals from the library make the cut.

Agreed. Can't think of too many "instrumental" cuts vis-a-vis this format that work next to "Don't Stop Till You Get Enough." Maybe Herbie Hancock's "Rock It" or AWB's "Pick Up The Pieces." Talk about a train wreck. ??? The Wave as we knew it and once loved it is dead, guys. That's the REALITY, and we must operate under the assumption that others will follow. Only those outlets that are not subjected to the pressure of unrealistic expectations for generating ratings and advertising revenue will survive. Find them and support them and their sponsors, if you truly care about this format being an endangered species on radio. I have said it time and time before and I will say it again (Bill has heard me rant about this both publicly and privately---Sorry Bill, gotta do it again ): In RELATIVE terms, this is a niche (vice "mainstream") format, and it needs to be embraced, programmed and marketed as such. Maximize profitability by delivering a great product, making the product more available and affordable to mobile listeners, and minimize overhead.

 

[AnotherCat]

Looking at what is playing now which would be 8am hour there they sometimes play two vocals then an instrumental then 1 vocal one instrumental. The focus both vocally and instrumentally is 70s/80s - songs from that era or covers of the same. Vocally they are all over the place - Emotions "Best of My Love", S Wonder-You are the Sunshine of My Life, EWF - Thats The Way of the World, John Mayer "Waiting for the World to Change" and a Michael Buble . Instrumentals are covers - Paul Jackson Jr. "Never Too Much" PWhite "Could It Be I'm Falling In Love" Boney's "Sweet Thing" the exception instrumentally was Koz's "You Make Me Smile" which was an A/C hit and in that context could be percieved more as an A/C crossover than SJ hit.

In short, they are predominantly an oldies station that uses a few instrumentals. The format that bit the dust right before SJ made their slide was oldies so this "evolution" seems strategically weird. Only thing I can figure is the idea is to fill the gap left by the demise of oldies and the "hardening" and more current orientation (90s and up) of mainstream A/C with a format that skews softer and older without resorting to Neil Diamond and Bread.

Is there an audience for this in fast-track, trendy LA?
The Wave built their brand and their strength on being one of the first to deliver an alternative type of programming for adult listeners.
Now they have become what they originally created an alternative to.

The

 

[AC Tones]

Well put, Cat. The Wave has become the antithesis of what made it so great to begin with. It took a couple years, but I have finally moved on. Here is my NEW concern. I hope there will not be a knee-jerk reaction to the spate of highly publicized flips (which was really the result of a gradual degradation in programming and originality in the studio over many years) by pushing for the production of more funk and straight up material in the studios. I have heard a number of artists come out publicly about needing to go "back to basics," but I hope they don't go back TOO far, if you know what I mean. There is a lot of fresh, vibrant, melodic "contemporary" jazz music being made---it just needs spins. I fear that a knee-jerk reaction to push for more funk and straight up material in the studio could do every bit as much damage as corporate radio did to this format in the mid-1990s, and could bury the genre for good like what happened with "Beautiful Music." Creativity and innovation need not mean gutting an entire genre of the fundamental elements that made the music great to begin with. JMO, but I hope artists and promoters aren't getting the wrong signals that NOW, all of the sudden, diehard listeners of this format want tons of funk and classic, "straight up" jazz. Based on how well my programming strategy is resonating with my listeners, I can tell you that that is simply not the case. My diehard listeners far prefer upbeat, melodic "contemporary jazz" with vibe as opposed to the sound of a "popping bass," funk, and straight up material, which, given my brief 18-month experience as a programmer, have been sure listener killers. Whenever I slip in a funky/fusion cut as a change of pace, my sharp listeners notice it and the feedback invariably is not positive.

 

[EarlThePearlShow]

Hmm, I just heard I Am by Mary J. Blige on the stream. If I'm putting format labels on songs, I would say that particular song is more urban/ac than mainstream ac or hot/ac. As an ex-smooth jazz air talent, current oldies urban assistant PD/air talent, and casual Wave listener, I must admit that I'm really curious to see where Jhani is going with this station.

 

[AnotherCat]

Golub, Ken Navarro, and Steve Oliver, to name three and hope for more..are creating really viable instrumental adult alternative music. I did an interview with Golub and we talked a lot about having a certain background (i.e. growing up with Hendrix, Cream, John Mayall, Jeff Beck, etc) and allowing that background to be a part of your influence but to always move forward and create new music that is relevant to the present. These guys that are trying to bring back the 70s need to be reminded that people born in 1980 turn 30 this year. The generation moving into the demo were in preschool in the 70s. time to move forward.

This is also probably going to be the decade when we reevaluate "familiarity" as a priority criteria for music selection. After about 30 years on the playlist a song goes from familiar and comfortable to burnt out and run into the ground. People are ready for fresh music..as Chris' listener response is indicating..

 

[TheBigA]

Here's my take, as someone who worked at a classic jazz station for a few years:

Jazz is about improvisation, and doesn't have to be strictly instrumental. Smooth jazz as a format had lost its swing in the last few years, and the format, by definition, should allow programmers to improvise around various formats to come up with a sound that suits their audience.

I believe that means lots of vocal music that could be considered Urban AC. I think it was about 12 years ago that Toni Braxton had a huge crossover hit with Unbreak My Heart, and it found a lot of airplay on stations like WJJZ. Same with Anita Baker earlier in the decade.

This format needs to redefine itself quickly or it'll be gone by the end of the year. The age has to come down a few years, the music has to crank up a notch, and the presentation needs to become more dynamic. That may mean they will lose their current audience. Oh well. It don't mean a thing if it ain't got that swing, and if they add some swing, they may find a new audience that will more than replace those they lost.

 

[AnotherCat]

Doesn't improvisation entail bringing something new to the table. Maybe that means finding the strong trax on current contemporary instrumental CDs instead of going for the cover or the one that is the most unobtrusive and finding vocals that are compatible rather than allowing yourself to be the last-ditch effort for record companies who want to get a little life out of a song A/C and Urban A/C won't touch because they consider it a stiff?

Gotta get some life and entertainment factor into the presentation too. Nobody else in any format sounds like old MOR announcers. I remember in the late 90s the SJ station here telling their jocks to sound like the NPR classical announcers. Now even the NPR classical announcers have real people voices and a conversational delivery.

 

[TheBigA]

Doesn't improvisation entail bringing something new to the table.

No, in fact in most improvisations, an artist will quote a familiar passage from a classic song. Instrumentals are radio death. They have been for years. Any radio format that focuses on instrumentals, especially unfamiliar ones, are courting their own demise. And trying to sound like NPR stations is not a good idea either. Unless you want to be unemployed.

 

[AnotherCat]

Then why, during the days before it required a huge promotional budget to get songs on the radio, did instrumentals cross over and do well in A/C and even the 70s version of Top 40. Breezin, Morning Dance, Feels so Good, Songbird, You Make Me Smile, Lily Was Here, Angel Eyes, etc. These songs did have something in common - even though they didn't have lyrics they had the structure and hook driven melody lines that pop songs have.

To say that instrumental = death seems terribly all encompassing. The type of instrumentals that BA began to encourage that were based on riffs and grooves rather than strong melodies and had a rather dark mood are hard for a listener to latch onto. Focusing on that type of song and the cost of crossing a song over has left no room for instrumental crossovers recently but there is a lot of gray area between all and nothing.

 

[TheBigA]

Then why, during the days before it required a huge promotional budget to get songs on the radio, did instrumentals cross over

Comparing then and now is apples and oranges. On so many levels.

 

[AC Tones]

Doesn't improvisation entail bringing something new to the table.

Instrumentals are radio death. They have been for years. Any radio format that focuses on instrumentals, especially unfamiliar ones, are courting their own demise.

I am amazed how this format (which in the big scheme of things as far as market share goes is statistically insignificant) continues to be a whipping boy for industry insiders and some sort of poster child for an incurable form of a terminal radio "illness." Cannot disagree with you more, man. Terrestrial radio's problems FAR transcend the decline of "Smooth Jazz" as a radio format. Instrumentals did not kill this format. Anyone who knows anything about this genre will argue just the opposite---instrumentals have been the foundation of this genre for the last 20 years, and will be for 20 years to come. You can take this one to the bank. Corporate radio's incessant pursuit for familiarity and mass appeal in the 1990s (which found its way into the studios in the form of more cover tunes, predictable and boring compositions, and less originality) bred contempt amongst base listeners. The format is viable and potentially profitable in the right markets with lower overhead, sharp programming, and realistic expectations for ratings and ad revenue. Why is this such a difficult concept for you all to comprehend? No one here has ever suggested the format is going to make tons of money, nor have we suggested it will fetch Top 10 numbers for market share. But it is sustainable in the hands of the right people, and we'll get by just fine without the input of high-priced consultants and people meters. The new "instrumental" music being made has great vibe and is ORIGINAL if you are a true fan of this music. Personally, I have not had this much good new material to work with since I have been broadcasting. It is truly an exciting time for me as a programmer, and for the listeners who have remained loyal to this format throughout the dark times.

 

[TheBigA]

Corporate radio's incessant pursuit for familiarity and mass appeal in the 1990s

Familiarity and mass appeal produce numbers and results. As long as radio is ad-supported, and not subscription based, the focus will be on familiarity and mass appeal. Subscription based models, like Pandora, can operate around uniqueness and originality. Sure, smooth jazz has passionate fans. So does bluegrass. But we're talking about a mass medium, so the goal has to be mass appeal. If that kills off a format, or moves it to subscription media, so be it. But don't blame "corporate radio" and consultants for what's happening to this format. Corporate radio and consultants were responsible for its establishment in the first place. At least some of the problem was the music itself, which lost its focus as record labels collapsed under their own weight.

 

[AnotherCat]

Familiarity and mass appeal produce numbers and results.

that was the mantra we chanted when I came into radio (CHR and A/C) in the 80s, and we more thoroughly affirmed it during the 90s because back then it was working. Then the focus narrowed and narrowed and small groups of songs got fried to a crisp and permutated into all kinds of Jacks and Jammin's. It's 2010 now. Wanna talk about apples and oranges. Listenership is decreasing daily and it's not just because of competition from other media. It's because radio is locked into an early 90s model that has sent listeners looking elsewhere or left them stuck in "settle for less" mode.

This piece originally appeared in Allaccess..then showed up here..this guy is onto something but it's probably too late
http://www.allthatjazzinc.com/index_files/page0074.html

 

[AC Tones]

Corporate radio's incessant pursuit for familiarity and mass appeal in the 1990s

But don't blame "corporate radio" and consultants for what's happening to this format. Corporate radio and consultants were responsible for its establishment in the first place. At least some of the problem was the music itself, which lost its focus as record labels collapsed under their own weight.

So we are all supposed to bow to you all and say, "Thanks for creating this format we all love." He who giveth can taketh away??? Thanks, but I'll pass. For better or for worse, the format is here to stay in one form or another, and those who have embraced it since the 1980s have now been charged with defining its future on radio, and frankly, "we" want it that way. Unlike our terrestrial radio predecessors, "we" embrace accountability as much as we embrace opportunity, and I, for one, am grateful corporate radio has turned its back on this format and its listeners. It gives guys like me a unique opportunity to make things right on the Internet, and I can tell you I am taking full advantage of it.

Sure, corporate radio and consultants may get too much of the blame in discussions about this format's demise (there is plenty of blame to go around), but I also think they take FAR too much credit for its inception and early success. The music was there. It was fresh and innovative for its time---a true adult-oriented alternative format. It was being produced by artists who were already well-established and respected by their peers like David Sanborn, Pat Metheny, Bob James, Michael Franks, Joe Sample, Spyrogyra, The Yellowjackets, Jeff Lorber and the like. So it's not like the founding fathers of this genre had to scour all reaches of the earth to find the music (like programmers have had to do in recent years because of how stagnant the format had become). Would love to see the labels weigh in on this discussion. So it's ALL their fault now. Big money consultants and corporate radio with their gorilla-like influence and bullying tactics had NOTHING to do with stunting growth/innovation in the studio, either directly or indirectly, in their hunger for music that appealed to the masses, is that what I am hearing from you? Sorry, sir. I have to respectfully but ardently disagree. You all had a VERY big hand in this, and I am not the only one who feels this way.

 

[TheBigA]

Listenership is decreasing daily and it's not just because of competition from other media. It's because radio is locked into an early 90s model that has sent listeners looking elsewhere or left them stuck in "settle for less" mode.

They aren't looking elsewhere for unfamiliar music by unfamilar artists. Don't mistake changes in their behavior with desire for unfamilairity, because a look at what they download, what they stream, and what they have on their ipods says their musical taste hasn't changed much. But they don't want commercial interruptions, they don't want to pay for music, and they don't want to wait for their favorites.

 

[TheBigA]

So we are all supposed to bow to you all and say, "Thanks for creating this format we all love."

Who cares? The format was there for a time, it was great while it lasted, and it's time to move on. I had lots of fun myself playing Grover Washington Jr. and a lot of the folks you mention. But that was then. I left it all behind a long time ago.

Look, have fun living your radio dream on the internet. That's fine, and that's what it's there for. No one's looking for blame or fault or any of those negative words. It's just clear that the format was stagnant for a while, it lost its direction, and now it's time to reinvent. I think that's a pretty exciting prospect.

 

[TheBigA]

To both AC Tones and Another Cat: This isn't about corporate radio or ignoring listeners. This is about the difference between ad-supported media and subscriber based media.These are two very different business models. One isn't better or worse than the other. They're just different. If either of your get enough subscribers for your stations, you can play SpiroGyra or cows farting. The point is that you have a listener base, and they pay for what you do. Commercial radio, regardless of who owns it, is advertiser-supported. The advertisers rule. If the same small play list played a million times gets them the numbers they want, then it works. If the numbers don't support the playlists or the imaging, then it's time to go back to the drawing board.

That's what they're doing at The Wave. I give them credit, because in most markets, they just killed the station and fired everyone. In LA, they're hanging on to the name and the image, and adjusting the music. That's fine, because I've watched the music change a bunch of times, and watched different markets adapt the general "smooth jazz" concept to various mixes of AC, urban, vocal, and instrumental. I think the term "smooth jazz" is done, and I agree that The Wave should drop it. It's not the same old Wave, for better or worse. It will find a new listener base and either survive or become the next FM sports outlet.

 

[AC Tones]

To both AC Tones and Another Cat: This isn't about corporate radio or ignoring listeners. This is about the difference between ad-supported media and subscriber based media.These are two very different business models. One isn't better or worse than the other. They're just different. If either of your get enough subscribers for your stations, you can play SpiroGyra or cows farting. The point is that you have a listener base, and they pay for what you do. Commercial radio, regardless of who owns it, is advertiser-supported. The advertisers rule. If the same small play list played a million times gets them the numbers they want, then it works. If the numbers don't support the playlists or the imaging, then it's time to go back to the drawing board.

That's what they're doing at The Wave. I give them credit, because in most markets, they just killed the station and fired everyone. In LA, they're hanging on to the name and the image, and adjusting the music. That's fine, because I've watched the music change a bunch of times, and watched different markets adapt the general "smooth jazz" concept to various mixes of AC, urban, vocal, and instrumental. I think the term "smooth jazz" is done, and I agree that The Wave should drop it. It's not the same old Wave, for better or worse. It will find a new listener base and either survive or become the next FM sports outlet.

I have to say the "cows farting" comment made me chuckle. Not exactly the change of pace I am looking for in my programming, but funny nonetheless.

Look, I understand what you are saying. Commercial radio operates under a different set of rules than a guy like me. I don't have a staff to pay. I don't have to rent commercial office space or pay for utilities. I am not getting screamed at for my Arbitron ratings. The only thing that rubs me a little is when commericial guys come to this board and spout off about how the format is a ratings killer, got old, etc. For educated people who have followed this genre for 20+ years, these general statements absolving corporate radio of any sort of responsibility for what happened to this format are as predictable as they are tired. Those are the excuses I read from corporate guys here time and time again. What would be refreshing is some sort of acknowlegement of responsibility from corporate radio and their high-priced consultants that trying to make the format something that it NEVER was also contributed to its demise. Their push to make the format a "mass appeal" format was akin to slapping NASCAR paint onto a Chevy Sprint and entering it into the Daytona 500. It was a cost-effective, steady, fuel-efficient performer for daily use, but its 3-cylinder engine was NEVER suited for a ratings race, and really had no business being on the track to begin with. And I think that is our biggest gripe. The format is VIABLE, particularly in light of some of the great music being cranked out these days, as long as it is not bound to unrealistic expectations for ratings and ad revenue generation.