Straight-ahead jazz may lose its KKJZ-FM gig

[Lois Gilbert]

Straight-ahead jazz may lose its KKJZ-FM gig

By Martin Miller, Times Staff Writer
May 20, 2006



Is classic jazz radio — at least in the Los Angeles area — headed for oblivion? That's what the jazz community fears now that KKJZ-FM's (88.1) license-holder, California State University Long Beach Foundation, has launched a search for new management at the public radio station.

Five local radio companies, with roots in genres as diverse as classical music and urban contemporary, have been asked to submit proposals on how they'd run the station that broadcasts to much of Los Angeles, Orange County and the inland Empire, as well as to the nation at large via the Internet. They include KCRW-FM (89.9), KUSC-FM (91.5), Southern California Public Radio, Taxi Productions Inc. and Pacific Public Radio, which currently operates KKJZ.

"KKJZ is a very famous jazz station and there aren't many more around like them," said Frank Sinatra Jr., son of the singing legend, and a professional musician who lives in West Los Angeles. "[Straight-ahead] jazz is the biggest music in the world, except in the country it was created. It would be such a big loss if they stopped playing jazz. That station is the last lighthouse in the fog."

A move away from the station's 25-year-old format that features classic or "straight-ahead" jazz greats like Miles Davis, Billie Holiday and John Coltrane would mirror the national pattern. Former classic jazz stations in Detroit and Chicago have recently scaled back their classic offerings while introducing new musical genres in hopes of attracting more listeners. The only other major-market classic jazz station with a professional staff is WBGO-FM in Newark, N.J.

While classic jazz's fan base is shrinking and aging, so-called "smooth" jazz outlets, with a more contemporary, saxophone-rich sound, have enjoyed a steady rise in popularity and financial success at commercial stations like CBS Radio-owned KTWV-FM (94.7) of Southern California.

The search for a new operator for the 30,000-watt campus station was prompted by the expiration of Pacific's contract in December, said Toni Beron, assistant vice president of public affairs at Cal State Long Beach. Beron said the university foundation is interested in a company that can sustain a sound financial future.

"I want to make clear this is not an attempt to push out Pacific Public Radio," she said. "We want to make sure KKJZ continues its jazz format and there is no intention of changing its roots in jazz…. We're trying to cover the costs that are related to running a premier jazz radio station."

In judging potential station suitors, the university foundation will review a company's ability to strengthen ties between the college and the radio station, Beron said. In particular, the foundation wants to see more internships for students and better ways to integrate the college's arts and jazz program into the station as well.

Those asked to compete are among the region's highest-profile radio operations.

KUSC is one of the nation's largest and most respected nonprofit classical music stations. Southern California Public Radio operates KPCC-FM (89.3) at Pasadena City College and helped that station climb atop the heap of local public radio ratings with its smart mix of news and public affairs. It's also a sister company to Minnesota Public Radio, which operates a regional network of almost 40 public radio stations. And Taxi Productions Inc., singer Stevie Wonder's company, runs KJLH-FM (102.3), an adult urban contemporary format.

KCRW, the Santa Monica-based powerhouse, said it would not compete.

Meanwhile, Pacific is far from confident about its odds in this competition.

"We just don't have the dollars to match them," said Jeff Adler, Pacific Public Radio chairman. "Things are stacked against us. The university has become bottom line and they look at the station and say, 'You should be a cash cow for us.' "

The station, which has about 40 full and part-time employees and 300,000 listeners, struggles to break even each year with an annual budget of about $3 million. Like other public radio stations, it relies heavily on listeners for financial support — a recent pledge drive brought in about $400,000, Adler said.

Another important source of funding for the station comes from the annual Long Beach Blues Festival, an event that usually brings it about $500,000.

"We're concerned that no matter what is said during this process that jazz isn't going to be on the forefront of everyone's mind," said Sean Heitkemper, KKJZ's acting general manager. "We have one mission and that is to be the beacon in the night for jazz and blues on the public broadcast spectrum."

Bids are due from the five radio companies on Aug. 1, with a final decision expected at the end of September. (The university foundation has the option of rejecting all the bids.)

The winning bidder will have to share revenue with the foundation — an unusual requirement for a public radio station. The percentage split between the parties has yet to be determined, Beron said.

"It will be used to cover costs related to the station space and related foundation expenses," Beron said. "The bottom line of what we're trying to do is not financial."

Of those invited to participate in the bidding process, Southern California Public Radio seems like the strongest candidate. But the real question is whether the company is interested.

"We don't know yet whether we will respond," said its president, Bill Davis. "But clearly God isn't making more FM spectrum, so when a station comes available to manage you have to take a look at it."

[Ron Thorne]

I'm not at all confident about the outcome of this one.

It would be tragic if America lost yet another bastion of freedom in terms of jazz expression on the airways, but not at all surprising.

While classic jazz's fan base is shrinking and aging, so-called "smooth" jazz outlets, with a more contemporary, saxophone-rich sound, have enjoyed a steady rise in popularity and financial success at commercial stations like CBS Radio-owned KTWV-FM (94.7) of Southern California.

Therein lies the essential problem.

Personally, I yearn for a "saxophone-rich sound" every waking hour, especially one which sounds like every other one on every other smooth jazz station.

Finally, these call letters are very close (if not quite as hip) to those I was associated with a few decades ago . . . KJZZ-FM.

Here's hoping!

[clinthopson]

Many disgruntled supporters, including myself, have been venting.

The current management, which is temporary after the firing of GM Judy Jankowski who was the real force behind the deterioration of the station which at one time had some fine, highly knowledgable djs as Ken Borgers, Dick McGarvin, James Janisse the late Chuck Niles and Sam Fields, now has a bunch of voices who know very little about our music and are confined to a playlist of safe vocals and instrumentals.

The only answer for the station is to send the current management team packing, bring back Borgers, McGarvin, Janisse and others who, I think, have the ability to reinvigorate the true base of the station and bring folks like me back into the fold.

[Gary Sisco]

"Saxophone-rich sound"?

Hey, that's unusual in straight-ahead (or any) jazz, huh?

Smooth has gained popularity because it isn't jazz. Jazz isn't a popular music in the US. What smooth is is EZ-Listening Music for boomers who won't admit to themselves that they're squares. It helps give them a delusion of hipness, despite all evidence to the contrary.

On the other hand, I'm with Clint. If you're going to play jazz on the radio or even talk about it, play the real thing.

Or nothing.

But if you choose nothing, don't expect to keep your jazz listeners.

How hard is it?

One of the worst things that's ever happened in the history of music is the idea that radio stations can be run "like businesses" by people who know just about nothing about music.

Approved play lists. If you have one of those, what you don't have, by definition, is disk jockeys. What you have, at best, are announcers.

Like Clint, I choose stations to listen to based on the jock. Or nothing. I don't just choose a station. When I was coming up in fact, one dialed up *shows,* not stations. The stations were irrelevant apart from this or that jockey's show.

If there's not going to be shows like that, in fact, I can't think of a single reason to dial up a station. Or even to turn on the radio, for that matter. And I don't. Radio is long history for me. Root Doctor and our pal Record Detective are the only real jockeys within my radio receivable range, and, predictably, almost no one hears their shows because the station otherwise couldn't be lamer and hasn't enough power to matter anyway, though their shows deserve to be very widely heard, not only because they play great and unpredictable music, but also because they know how to put on a good, listenable radio show for people.

They're disk jockeys, in other words.

Not "managers."

[clinthopson]

The web has opened us up to a great variety of programming. I'm usually tuned into WBGO. I like the djs and their selections. Most of the things they play are pretty much straight ahead with nods to more recent ag lite, which is just fine for me.

When I want something more eclectic, I stream dr-dk jazz. A Danish station with very little talk, and an incredible variety of music from Jelly Roll to very free European players. Of course, I don't know what the hell the announcers are talking about since they are speaking Danish. It goes something like this: "Arska varka nerka veska Oscar Peterson eska veska parska."

[Gary Sisco]

Originally Posted by clinthopson

"Arska varka nerka veska Oscar Peterson eska veska parska."

That's easy. It means: Arska varka nerka veska Oscar Peterson eska veska parska.

[Ron Thorne]

Originally Posted by clinthopson

Of course, I don't know what the hell the announcers are talking about since they are speaking Danish. It goes something like this: "Arska varka nerka veska Oscar Peterson eska veska parska."

Translation: "If you don't dig Oscar Peterson, you can kiss our Danish asses."

[hornplayer]

The only answer for the station is to send the current management team packing, bring back Borgers, McGarvin, Janisse and others who, I think, have the ability to reinvigorate the true base of the station and bring folks like me back into the fold.

Is that a really possible scenario? Losing that station would be tragic.

"Saxophone-rich sound" oh really? and what is "rich" about the sound of Kenny G or Najee?

[Ron Thorne]

I'm listening to KCSM-FM online as I type, and they're a dying breed, also. I love this station, and support them financially, along with several others on a rotating basis.

We need to be heard with our voices and our money, no matter how small the contribution may seem at the moment!

We can't afford to lose any more jazz stations in America . . . period!

[Ron Thorne]

I'm certainly not pointing any fingers, but am curious as to why it took an Alaskan digging into this thread story to post the following link:

THIS COUNTRY MAY LOSE ONE OF ITS BEST AND LAST JAZZ AND BLUES STATIONS

Please click on the above link, get involved and contribute in whatever way you can.

Thank you!