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SJ.COM: The format is over a dozen years old... Is "Smooth Jazz" still doing it for you after all these years? Are you still feeling the passion for the music?Ê BK: More than ever. I believe that the format has become more accessible for the user. Not so much for the 'Jazz Police' as they are called, but for the folks who like to listen to the music. There seems to be more passion from the listeners and even the artists. Some don't like the commerciality of the format. How does that saying go? You don't have to be good to be popular but you have to be popular to be good... Melodic is a very important key to our format. Our listeners like what they know and they know what they like. The state of radio these days requires you to know all about computers, plus you have to know how to program, in addition to understanding sales and promotions... It all stops here with me. The trade off is that I get to do a lot of what I love. There's a line from one of my favorite movies, Streets of Fire starring Wilam Defoe, that fits, "They always hire guys like me to do jobs like this." SJ.COM: What are you doing in your market that you feel is unique to the format?Ê BK: I would have to say community involvement. That may not be unique to other stations, but we can function very well in this city verses the other larger cities. We are very active with local promoters and concert events including Clear Channel Ent, House of Blues, and the Playhouse Square Foundation. The fact that we are independently owned and operated allows us to get things done in an expedient manner. We don't have to go through a corporate board to move on an idea, we go to the President of the broadcast division of Lorian Broadcasting, who happens to be Gary Kneisley. He's a partner in the team and makes decisions very quickly. SJ.COM: In your opinion, what's the deal with new music? Are you happy with the direction that the format is heading and what would you personally like to hear more of from the new stuff? BK: I like the direction that new music is heading. BWB is an example of the great production that's available in new music... Euge Groove, who makes new music that is passionate, is writing songs to entertain people and not necessarily to entertain musicians. More non-muscians listen to the station than musicians. SJ.COM: What would you say to the comment that Smooth Jazz radio doesn't play enough new music? BK: We do play a lot of new music, we just don't play a lot of new, weird music. If the record companies give us a lot of great music by established or non-established artists, we will play it. Norah Jones is good example of this. SJ.COM: What's the best way for a new Smooth Jazz artist to develop their career? BK: We play some local artists, but we have to discriminate. Poorly produced material doesn't make the band look good and it doesn't make us look good. I tell developing artists to make songs that they like. Play a lot, rehearse a lot and get an incredible producer. Good song construction with a good producer to make the project the very best it can be is my best advise. If after all that, don't feel bad if it doesn't work out. If artists create something they like, then it's their piece of art, their poetry. SJ.COM: Are you consulted by anyone? BK: We don't use that word anymore. I've been in this business for 35 years and if I don't know what I'm doing by this point... Broadcast Architecture works with WNWV. They provide me with really good tools for programming Smooth Jazz in our city. We value their research information tremendously. SJ.COM: What type of research does BA assist you with? BK: Auditorium testing twice a year with approximately 120 in attendance (it's the turn it up if you like, turn it down if you don't method). SJ.COM: What if people call you to request a song that doesn't test well? BK: I don't believe phones. When I was in Philly, Ottmar Liebert was huge, but a few years later, he tested poorly and when we stopped playing his music, nobody called to complain. all the listeners who listen to us came to us from somewhere else... because it's a newer format with composites of other formats (Sting, Sanborn, Steely Dan). SJ.COM: What artist(s) do you think will be the next core artist(s) (the next Rick Braun, Boney James, or Sade)? BK: Euge Groove because of his ability to play, write songs and meet people. Kim Waters too as he's progressed so much as a sax player and women just adore that man. I'd also say Chuck Loeb and Cheili Minucci. SJ.COM: If you could cross over any sound or artist into the format without concern of risking ratings, who or what would you introduce to Smooth Jazz? Why? BK: The original objective of NAC (New Adult Contemporary) will lead you to the answer.... Instrumental music with adult vocals, that's the format. Non-respective of ratings, I would like to bring in some of the new vocals that are available to Triple A radio. Julia Fordham, Jewel, Everything But The Girl, Sarah McLachlan, Don Henley (more great songwriters). Vocals are the glue to hold the format together. I have to give credit to Frank Cody for that line. SJ.COM: How do you utilize Internet presence to further your radio station's image and your programming? BK: We're just about to launch a loyal listener club on our Web site which will be an email data base management system allowing us to offer advance ticket sales. We tie in everything we do with sales. The sales manager and I are an equal team as we both have the same job and that is to make money for the station. SJ.COM: What's in your CD player (home or car)? BK: At home I am playing something on Paras Recordings called "The Grand Circle" by Ah-Nee-Mah on Neo Pacifica; produced by David and Diane Arkenstone. In the car, Joni Mitchell, "Misses". SJ.COM: Outside of radio, are you an enthusiast for anything else (wine, golf, movies, etc.)? BK: Two things. I love to cook (my favorite cuisine is anything with tomatoes and garlic). I've won awards. Second thing is, I work out every morning in the gym with. This is great for mental management. |
