Supporting the Jazz Genre and The 4 Land's Region of Central Europe

top banner
personal notes banner

Personal Notes Menu

Overview *   
Behind The Scenes - Part 1
Behind The Scenes - Part 2
Behind The Scenes - Part 3
Behind The Scenes - Part 4
How To Listen To Jazz - Part 01
How To Listen To Jazz - Part 02
Next Time *  How To Listen To Jazz - Part 03

Contact Me anytime by Email or drop by our Blog Page at FaceBook to say Hello or Befriend

Email :
Facebook :

Top Of Page Return to The Home Menu
top banner
personal notes banner
Our Radio Shows - Behind The Scenes Part 1
Welcome to my Personal Notes feature where I explain and discuss topics relating to the JAZZNET247 Project and the Genre. This is the First Part about our Radio Show's Production.
wes george

Having worked in conventional commercial radio for 4 years in the late 70's and 80's and the Internet Radio Digital Age for the past 27 I set out here to uncover what I learned along the way which may be insighful to radio listeners, music fans and maybe useful to current and future broadcasters. I will break it all down into 3 distinctive areas i.e.

1) Research and Assemby
2) Preparation, Production and Upload
3) Reporting and Marketing

I was fortunate to have had a Marketing background and learned the programming skillsets I needed along the way through my Marketing and Multimedia company, I also had a decent IT system here with multiple computers, lots of screens and professional software to use as a basis for the radio station. However in 1994 when I started out everything was a learning curve and it took a lot of Development and Trial and Error.

Most importantly the station was to be legal with royalties paid back to the artists, it isn't much but it is their livelihood, and after using conventional licensing for broadcasting I discovered the company I use currently i.e. LIVE365, albeit in the old days it was their former incarnation.

For reference purposes for this series I will use our old STREETJAZZ show and how it developed from 'Soup To Nuts' each week. The show typically took 20 - 30 hours from Start To Marketing.

So the process started by 'Introducing The Station' to Record Companies, Servicing Agents and to the Artists themselves, many Indie artists working on a tight budget are not signed to a record company and cannot afford to have their music serviced by a music marketing company. I was very fortunate to build up a wonderful relationship over the years and receive most of the latest releases each week within the jazz sub-genres that I featured i.e. Smooth, Vocal and Brazilian Bossa Jazz.

For every show I had a repeated Pre-Determined Format which again was finely tuned 'over time' and each of the shows had 24 tracks split into 6 segments with 4 tracks each. Our STREETJAZZ show had Features which included :-

1) ClubTrax - A song taken from my live club days, mainly a Soul, Funk or Fusion Jazz track from the 70 - 90's. This song appeared on Track 04 of the Playlist.

2) Featured Artist Of The Week - We played two tracks from this artist of artists, usually one from the past, and one which had just been released, these appeared as Tracks 05 and 17.

3) Our Brazilian Music Seque - There were two Brazilian Flavoured vocals and two instrumentals clustered together in a Segment, BUT like all of our programming we didn't have more than two instrumentals butting each other, and these had to be two different instruments, (if you place two back to back sax tracks together they could end up sounding like 'one track'.) These songs appeared on Tracks 09 - 12.

Another trick to ensure separation was a 'Station ID', 'Artist Liner', 'Jingles', 'Other Language Comforters', 'Artist Advert' or 'Grapevine Info' insert, but broadcasting as we were to a truly global audience in 114 countries whereby 85% of the audience don't speak English as a first language, I always used 'Voice-Overs' and 'Other Inserts' sparingly during a 2 hour show.

4) Our StreetJazz Vaults Seque - Having amassed tens of thousands of albums and songs over 62 years, 99% of my Music Library was older music, but many of todays' listeners would never have heard of a lot of these Artists or Songs, so I featured another 4 tracks from the past to introduce them, many of whom paved the way for the music that we hear today. These songs appeared on Tracks 13 - 16.

With these Features included in the Playlist we had circa 10 - 12 Slots available each week for New Releases and we split these through the Playlist making sure to start the show off with a vocal and have a vocal track every 2 or 3 places throughout the Playlist. By its very nature, today's Smooth Jazz genre is very Instrumental orientated and can become tedious to a Listener very quickly with one instrumental after another.

Selecting the Tracks for the Playlist meant Listening to EVERY INCOMING TRACK which I Weighted.

We understand that Music is very Subjective so all I could do is to use my knoweledge and experience as a Guideline.

When I say Listening - I really mean playing a 10 to 20 second Sample at circa 1 minute and 30 seconds into the Timeline of the Track.

Weighting meant Categorizing all of the tracks into 5 Categories i.e. 1 - 5 :-

1) These were Original, Memorable and Outstanding on a first listen. Very rare.

2) These were original, well played and had a Memorable Hook after ONLY ONE LISTEN. My key to this Category is that I can remember some of the song after one play, maybe the Hook, maybe a Solo.

3) These were well structured and played and fitted into the Genre very well.

4) These were 'Me Too' tracks with no originality and used drum machines or sequencers behind a lead instrument. Vocal tracks were usually poorly sung, maybe poor harmonies or had poor lyrics.

5) These tracks were poorly played, no originality and artists who were clearly jumping on the bandwagon as Smooth Jazz was popular at the time.

Categories 4 and 5 rarely made it on to our Playlists and we Selected from Categories 1 to 3. Many tracks were ' Carried Over ' to another week, sometimes just because of the glut of a particular instrument on that week i.e. sax tracks.

Another Acid Test is ' Which Tracks would make it in to My Personal Music Collection', and we would I Listen To myself ?'.

Once the 24 Tracks were chosen I would be ready to start Preparation of the Tracks which I'll discuss in Part 2.

Note :- Our STREETJAZZ Channel uses most of the elements that I describe in this article, and you have a number of ways to tune in to the latest show including :-

JazzNet247 Radio Europe Listening Options -
* Tune In @ Using The LIVE365 Player
* Tune In @ Using The StreetJazz Player

Next Time on Personal Notes
- Preparation, Production and Upload - This is where things get tricky and Sequencial Preparation Order is paramount for an Equalized Output and Delivery.

Wes George

Top Of Page Return to The Home Menu