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Not-so-smooth jazz: An insider's look at a format's decline
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One of the most significant developments in broadcasting this year has been the rapid decline of the smooth-jazz or contemporary jazz format.
Non-existent in the years in which the fusion of the ‘70s bred a new brand of more accessible jazz in the mid-‘80s, the format took off in the ‘90s thanks in part to the pop profile created by the likes of Kenny G and Dave Koz. By the end of that decade, every major city in America had an FM station purveying some brand of the “quiet storm” concept.
That, however, was then. The 21st century has seen the format in retreat, with one report noting that half the smooth jazz stations in the country have disappeared over the past two years. We’re talking major markets, too, including New York, Chicago, Baltimore, Indianapolis, Miami, Atlanta, Washington, D.C. and, just recently, Detroit. California, by contrast, remains largely hospitable to the format – while San Francisco’s KKSF folded, you can still hear smooth jazz on the its SoCal flagship, KTWV, San Diego’s KIFM, Sacramento’s KSSJ and KJZY out of Sonoma.
There are all sorts of opinions/explanations for the decline, but I wanted an insider’s perspective. So I turned to Jim Bryan and Doug Wulff, who operate Modesto’s smooth-jazz outlet, The River, KRVR 105.5 FM. I first encountered these business partners 15 years ago when they were preparing to launch the station and have interviewed them for various newspaper stories since.
The team’s joint responses to my e-mailed questions follow but there are two preliminary points to make.
The first is that Bryan and Wulff are the sole independent broadcasters in a market dominated by Clear Channel and similar behemoths. The second is that they blame the decline to a certain degree on Arbitron’s switch to Portable People Meters (PPM). According to the ratings company’s site:
The PPM system automatically reports audience exposure to inaudible codes embedded in a broadcast signal … The PPM service gives broadcasters more choices than ever before in determining their level of participation in radio audience measurement at the local market level. Since the PPM ratings are based on detecting inaudible codes hidden in broadcast streams, it is up to the radio broadcasters to decide if they want their audience measured and how many of their broadcast operations … they want rated.
Question: How have the smooth-jazz format's fortunes fluctuated over the past decade?
Bryan and Wulff: Smooth jazz grew in the ‘90s. The River signed on with the format in 1995 and grew nicely with the format with a growing and healthy economy. Currently, we are down to 37 stations broadcasting smooth jazz full-time nationwide.
Question: What economic factors within American radio brought the decline?
Bryan and Wulff: Some of the largest broadcast groups, especially Clear Channel, made the decision to dump smooth jazz in large markets like San Francisco and Chicago. The reason I feel they’ve done this is because of the new PPM ratings system Arbitron has switched to. Many formats, including smooth jazz, have not done as well with this new ratings system, as compared with paper diaries of the past. These large broadcast groups fear that business will slow down for the format if the new PPM ratings continue falling. The same listeners and their loyal support is still there for smooth jazz.
Question: While running the risk of flattering you and your listeners, I believe it safe to say that smooth jazz attracts a more educated and affluent audience. So are we just too coarse a society to support this music (and jazz in general) on the commercial airwaves?
Bryan and Wulff: No. We feel these upscale listeners are still supporting the format.
Question: You guys operate in a markets surrounded by the Clear Channels of the world. Is that where the smooth-jazz format -- and jazz in general -- is headed, a few independent stations?
Bryan and Wulff: The format has always done better in larger markets. San Diego’s KIFM has been No. 1 several times in the past and, even with the new PPM rating system, is still in the top 10. Sacramento has made it to No. 2 (12+) in their market a couple times. Although their ratings have dropped with the new PPM system, they still look healthy and I would doubt their owner, Entercom, would dump the format.
Question: As you see it, what role does the smooth-jazz format play in fostering a jazz audience, smooth and otherwise?
Bryan and Wulff: Smooth jazz has had success in reaching much larger, more mainstream audiences than traditional jazz. Our listeners identify our music as jazz, so this helps bring more interest in being open to traditional jazz music and concerts.
Question: What impact is music on the Internet (AOL radio and the like), TV (Music Choice) and satellite (Sirius/XM) having on broadcast radio in general and the smooth-jazz format in particular. After all, I now have multiple sources that I can turn to and hear, say, Peter White.
Bryan and Wulff: The Internet looks to be the source that more listeners are spending time with and our Internet stream has grown to thousands of listeners in dozens of countries. Other sources like Music Choice and satellite have less of an impact but do offer a commercial-free option. Free, over-the-air radio like The River is still the most popular way to receive the format. With all the features like traffic, weather, local news, contests, concerts and live DJs, terrestrial radio offers things listeners will always want and can’t get from new sources like Internet and satellite.
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