SJ.COM: How about a little background on JRN?

SH: Jones Radio Networks started out as Drake-Chenault/Jones Satellite Services in 1989. I was working at Drake in Albuquerque at the time this joint venture started. For a couple of years Drake had been providing programming to Jones for a 7-channel cable radio service called Galactic Radio (later Superaudio). In addition to the usual mainstream formats there was "Light Jazz," which I had created in '87. Another was an Easy Listening format I programmed, which was renamed "FM Lite" and later evolved into NAC (now Smooth Jazz). In '89 we began modifying the cable radio formats so that they doubled as radio formats. I left Drake in 1990, after which Jones completely bought out the radio network service and moved everything to Denver. I "returned" to Jones in 1996 to manage Superaudio for cable (which split from the radio formats and lasted until 2000) and also to program FM Lite (Smooth Jazz) for radio. We got a boost at the end of '96 when SW dropped its Smooth FM format. JRN now has nine 24-hour formats with over 1150 affiliates. We also have a ton of other programming and services, like "Delilah" from our Seattle division, and we rep even more products through our New York division, MediaAmerica. All in all we do business with over 4000 stations.

SJ.COM: How many Smooth Jazz stations? And in what kinds of markets?

SH: We're in 25 markets, a number that I expect will grow slowly. 80% of those are Arbitron-rated markets, which is totally different from the other JRN formats. The largest metros are Charleston, SC, Colorado Springs, Fort Wayne, Gainesville-Ocala, Youngstown and Lexington, KY. These are markets that will support the format, but their size makes it hard to do it well locally. Similarly we're in a lot of resort areas, which are smaller but draw Smooth Jazz fans from the big markets: Palm Springs, Key West, South Padre Island, Wilmington, NC, Ocean City, MD, and Panama City and Ft. Walton Beach, both on the Florida panhandle. Another opportunity is university towns, not for the undergrads, but the community that surrounds them. In addition to Gainesville, FL, we're in State College, PA.

SJ.COM: Overseeing one radio station is a full time job, how do you stay on top of 25 stations?

SH: Our affiliates run the gamut in terms of what they are willing or able to put into the format. Anything that can be automated on their end runs the risk of being neglected. Thankfully many affiliates have sharp GM's and OM's that see the need to properly execute, localize and promote the format. I do a monthly newsletter to underscore the importance of this and to help them do Smooth Jazz, and sell it, successfully. I could never do this part of my job without e-mail! I love programming, but I've always enjoyed the consulting side too, after 9 years in the syndication business at TM Programming and Drake in the 80's.

SJ.COM: Steve, how about a little background on your affiliation with the format?

SH: I started "Light Jazz" (on reels!) at Drake in 1987, which was mainly for the cable service. In 1990 I joined John Sebastian at KLSK in Albuquerque, which was essentially a new age station. An amazing experience, but unfortunately the format didn't make it. In 1993 I became PD at WNWV, the Wave, in Cleveland, before joining Jones. I've been programing our Smooth Jazz network for nearly 7 years. We've outlasted our many predecessors (The Breeze, The Wave, Smooth FM) by years.

SJ.COM: Cheri?

CM: I've been a broadcaster for over 20 years, the last 11 of it in Smooth Jazz, and a total of 13 years on Denver morning shows. I've hosted hundreds of Smooth Jazz events, and this aspect of my job has been very satisfying because it feels great to share my passion for this format face to face with Smooth Jazz listeners and advertisers. As you know, in general, they are an enthusiastic group of very nice people. However my involvement with the format has been complete. On the air I have lots of multi-format experience, but Smooth Jazz is most enjoyable because I can be me, not a hyped up "personality" speed talking up the ramp of every song. I also like being a part of the creative process behind marketing and promotions. And then there's the music, really wonderful, heart-felt music from some the most gifted musicians of our time. Having a hand in developing the sound of this format, almost from it's inception, has been most rewarding.

SJ.COM: Is "Smooth Jazz" still doing it for you after all these years? Are you still feeling passion for the music?

SH: Absolutely! The quality of production is better than ever. To me instrumental music is a rather different listening experience than vocals. And some mixing of the two creates a potent combination.

CM: Yes, the format still does it for me, but I'm not getting as many of those "wow" moments as I did a decade ago. The format has "tested out" many interesting textures and styles. What is left is good, but there are few surprises anymore. Unfortunately surprises are what make "wow" moments happen. Of coarse it's possible that I'm just so close to it that, for me, the formula has become predictable. One of my biggest challenges as Smooth Jazz Music Director for Jones Radio Networks is remaining musically objective.

SJ.COM: In your opinion, what is the state of new music? Are you playing a good amount?

SH: Of course most of the hour is library material. Familiarity is important for any boomer format, and it's harder to achieve with mostly instrumentals. Still we're playing 3-4 currents or recurrents an hour, and using a little more of that material than some do. But we're very picky about what we add. Beyond compelling melody, great musicianship and strong production, we look for new flavors of sound that complement the format. Sameness is a dangerous trap for Smooth Jazz. I think some artists may be copying what they see as acceptable (sax with drum machine always comes to mind). More than anything I want to have an emotional response to a song whether there's a lyric or not.

CM: Steve and I program a generous amount of new Smooth Jazz into the Jones format. However, I believe that while new music is important to our listeners, familiarity is equally desirable. For the most part, the new music that is presented to me is sophisticated in it's production values, and massive in it's quantities. We couldn't possibly give adequate air time to all of the new Smooth Jazz and still provide our listeners with their older favorites, the glue that makes our listeners stick through the unfamiliar cuts.

SJ.COM: If you could cross over any sound or artist into the format without risk of ratings, what sound would you mix in?

SH: I miss some of the "new age" music of a decade ago, particularly the tracks that have some energy and melody. I noticed a lot of creativity, and it was a great texture that mixed nicely with the format. I question whether music testing methodologies favor inherently familiar types of music, such as covers and oldies, over others that are much harder to summarize in a short hook.

CM: New age, hip hop, adult alternative, old R&B, reggae... all of these genres have songs that could fit within the Smooth Jazz sound, and all have even more songs that would not fit. Is it "smooth?" Does it flow? Is it "hip," or is it another stale oldie with sax in it? Will it segue in between Boney James and David Benoit, or will it stick out like a sore thumb? How is it that a new age act like Secret Garden will tank in auditorium tests, but sell a quarter of a million copies without any real airplay? Maybe it's because an 8 second hook isn't an adequate sample of the this type of music. And as I've been known to suggest, put a Beach Boys hook in the middle of that auditorium test and watch the meters peg, yet no one would consider making the Beach Boys part of the Smooth Jazz format. That would be silly, right? Well, lots of old R&B and Top 40 will test high, but calling it Smooth Jazz insults the intelligence of our audience.

SJ.COM: How do you encourage your stations to individualize themselves?

SH: Marketing and promotion are so critical. When a station saves money using a network, they must still have resources and the drive to promote in order to succeed. This really came to light when one of our stations changed frequency. The signal is greatly improved, and they're getting more response now. Yet we still uncovered listeners who thought the format had gone away! It takes LOTS of marketing on and off the air, to "cut through." It doesn't just impact diaries, but actual listening as well. I constantly advocate database marketing.

Localization and tying in with community are so important. Using network jocks doesn't prevent it at all, but it requires effort for any station. One of our affiliates has actually gone door-to-door!

I have mixed feelings about locally programmed dayparts. On one hand they allow for even more localization and give the station a local personality who can do station events, which are important. On the other hand some local shows lack consistency with the network programming, musically and otherwise. That's bad.

SJ.COM: Any indication on who the next format star will be? Feel free to throw out as many names as you like.

SH: Some who have been around for a while but are headed for greater stardom include Jeff Golub, Gregg Karukas and Chuck Loeb. Somewhat newer artists would include Michael Lington, Joyce Cooling and Steve Cole. These are all great musicians whose writing and production just get better and better. New artists are a good thing for us, but usually they take time to develop. Some are peaking after a decade.

CM: Jeff Golub, Diana Krall, Warren Hill, Craig Chaquico, Euge Groove, Norah Jones.

SJ.COM: You play more titles than most Smooth Jazz stations, do you think that affords you more opportunity to play more new artists (more indies)?

SH: Not really, although we're always open to new artists. If a track is strong enough we play it, new or old, regardless of artist. Note that not all of our library titles air in every daypart, even though we serve all time zones. This is certainly a mood format, and that mood does vary subtly with the time of day.

CM: More often than not those extra titles are just deeper cuts into new albums of already established artists. For instance, right now we're report two tracks from the new Greg Adams, Marc Antoine, David Benoit, Norman Brown, Will Downing, Jeff Golub, Kenny G, Boney James, Norah Jones, Joe McBride, Lee Ritenour and Peter White. It's not that we have any rules against new verses old artists, it's just who's the best. The best music gets played more.

SJ.COM: How would you advice independent who are seeking airplay in our format?

SH: The competition for ratings, and thus for airplay, is fierce! I suggest to artists: get qualified opinions on your writing, playing or singing, and production. You may not want to do all those things yourself in a project, especially starting out. Consider finding a great producer. And when you're finally ready, hire a promoter. Don't work your record to stations yourself.

CM: Keep trying, if the material is truly worthy, eventually it will break through. Understand that radio programmers are hired to get the highest Arbitron ratings possible, and that goal isn't attained by playing lots of low rotating unfamiliar cuts. Historically, we get the highest ratings by only playing the best of the best in a high rotation.

SJ.COM: Do you feel that Internet presence is important for Smooth Jazz radio outlets?

SH: More so than in almost any other format. And web sites, database marketing and e-mail are the most efficient way to promote. I do all I can to consult stations on their web sites and urge them to find a way to stream again. And one of our stations will do so by year's end!

SJ.COM: What was the last concert you caught?

SH: I caught a day of Colorado's Winter Park Jazz Festival last summer, including Lee Ritenour, Chris Botti and Boney James. That's always a great day of music outdoors in the mountains.

CM: Fourplay. They were outstanding.

SJ.COM: What's in your personal CD player (either at home or in the car)?

SH: Out of the format (for now anyway) it would be the new Carole King. During my commute, instead of using a phone, I audition a lot of Smooth Jazz. As you suggested earlier, time is always scarce.

CM: The new Boston. (I was curious, besides, one can't live on a diet of solid Smooth Jazz 24/7, variety gives perspective.)

SJ.COM: Outside of radio, are you an enthusiast for anything (sports, movies, wine)?

SH: I love the outdoors -- hiking, camping, and gardening. The latter is a challenge in Colorado. Fine food and wine are always one of my great pleasures. And getting out on a road trip is the best way to escape the routine, right?

CM: Skiing, inline skating, sailing, scuba diving, and piano.

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