It's official...“Miller Time” premieres this Sunday, January 6, on SiriusXM Satellite Radio! #jazz

Legendary bassist, composer, producer and two-time Grammy winner Marcus Miller pursues yet another creative avenue with “Miller Time,” his new show on SiriusXM's Real Jazz featuring acoustic and electric jazz and anecdotes about the many stars with whom he's worked intimately including Miles Davis, Herbie Hancock, David Sanborn and his long time writing partner, the late Luther Vandross. The two hour show airs every Sunday at 6 pm and Tuesdays at midnight.

 

In 2012, Miller returned to composing and exploring new music of his own on his latest release Renaissance with a sharper focus than ever before, a new band of curious and like-minded young musicians, and a mission to travel the world – country by country, city by city, venue by venue – to take the message of this musical movement straight to the hearts, souls and minds of the people. Renaissance has been nominated for a 2013 NAACP Image Award in the category of Outstanding Jazz Album.

 

Miller will also be co-hosting the Smooth Jazz Cruise 2013 later this month.

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Radio Stations Propose Paying to Play Music

For more than 70 years, over-the-air radio stations have played music without paying the performers who recorded the songs.

That could be changing.

This month, the National Association of Broadcasters released what it described as a framework of a deal in which stations would pay a total of about $100 million a year in performance fees.

“It’s a crack in the dam,” said David Kaut, a regulatory analyst for the research firm Stifel Nicolaus.

The association’s outline suggests that the largest stations pay a performance fee of 1 percent of net revenue, and smaller stations a lower rate or none at all. While labels and musicians have long sought performance fees, broadcasters have argued that the stations provide important promotion for artists, and that a fee might put small stations out of business.

Even if a final compromise is reached, it would still need Congressional approval.

Monday, the broadcasting group will hold an online discussion to answer questions from its members.

“I think some people inside the industry think we should fight and fight and fight,” said Peter Smyth, a board member of the radio group and chief executive of Greater Media, which owns 23 stations. “But at the end of the day, we have to make good deals that help us move forward.”

Mitch Bainwol, chief executive of the Recording Industry Association of America, a trade group that represents record labels, said that the plan released by the broadcasters “signals a new day where two very significant sectors that should be partners ride off together in a productive way.”

Last year, after the both the House and Senate judiciary committees approved bills that would require performance fees for broadcast radio, lawmakers asked the two sides to work out a deal themselves. The groups have regularly discussed the issue since February.

Laws passed in the 1990s require fees to be paid for online radio. Last year, SoundExchange, the organization that collects performance fees, brought in more than $180 million. The money is generally split between the copyright holder, often a record label, and the artist. Under the new plan, fees for online radio would be reduced.

The record industry would welcome any additional income, as revenue from recorded music has been cut almost in half over the last 10 years.

“It took me a really long time to come to the conclusion that I would pay performance royalties,” said Mr. Smyth. “Eight months ago, I’d say it’s nuts.”

Mr. Smyth said his feelings changed when he realized the risk involved in trying to oppose the bill. Stations fear that Congress could eventually require higher fees than they are proposing.

Although the two sides appear closer than ever before to a deal, serious hurdles remain.

The framework released by the broadcasters calls for a federal mandate that every cellphone sold in the United States include a chip to allow FM radio reception — a “critically important” part of the plan, said Dennis Wharton, the group’s spokesman. Having radio available in all cellphones could help broadcasters compete with online streaming services like Pandora, which are popular on mobile devices. Mr. Wharton said the chip would help provide a public service, as information during a local emergency could be heard on a phone.

The record companies are in favor of the chip requirement, but the cellphone industry has expressed serious concerns, saying that it could make phones bulkier and shorten battery life. “We are completely, inalterably opposed to this,” said Gary Shapiro, chief executive of the Consumer Electronics Association, which represents some wireless companies.

Mr. Bainwol said that in the last year many potential deal-breakers had arisen, but that the two sides had so far found ways to work around them. The chip question, he said, just happens to be the “issue du jour.”

The music labels would like to put something in front of lawmakers shortly after Labor Day, in hopes that something could be passed before the end of the current Congress. Whatever the timing, Marty Machowsky, a spokesman for the MusicFirst Coalition, which represents labels and musicians, said that the outline distributed by the broadcasters’ association was an important development.

“There’s really a sense,” he said, “that this has the potential to be a significant breakthrough.”

By JOSEPH PLAMBECK - NY Times

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City Sounds Radio - This Week On Jazz In The City: Saxman Darren Motamedy

This week on, Jazz In The City, an interview with saxman Darren Motamedy. Darren is a Seattle based musician who has composed, arranged, produced and recorded his 9th album titled Don't Cha Know. This release has risen to number 4 on the independent artist chart and has received considerable national airplay.

Although the album shares some urban contemporary/ funky R&B stylings, Motamedy never sacrifices the jazz theme that has always been such a major part of his music. From the Intro to Lonely Hearts at Sea, these tracks will enlighten your senses and enhance your enjoyment of some of the finest smooth jazz recorded to date.

On this show, a discussion of the highlights of Darren's career... past, present and future and may even talk about a new album that's in the works. The chatroom wll be open and there will be time for questions, so don't miss out on a great session with one of the Pacific Northwest's premier smooth jazz artists.

Darren Motamedy will be live on Jazz In The City this Sunday, Oct. 18th, at 11:00am Pacific Daylight Time.

Visit City Sounds Radio or use the buttons on the right.

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Matt Marshak - Live This Sunday 9/27 On Jazz In The City at citysoundsradio.com

We're having a Family Funktion with

Matt Marshak this weekend

And what the heck is a Funktion anyway?

It's a tremendous new album, by Matt Marshak, that's loaded with plenty of foot tappin' grooves. Matt is one of the hardest working energetic young artists on the circuit today. His shows are always very high energy and definitely crowd pleasers.

Matt has had four prior cds; Preservation in 2001, This Time Around in 2004, Groovosphere in 2006 and On The Rocks in 2008. Groovosphere was tagged as the best cd of the year and On The Rocks had a Top 30 nationwide smooth jazz hit.

Matt is a very personable artist and, I know, has several stories to tell about the making of this album and the inspirations that are special to several of the tracks.

He will be live on Jazz In The City this Sunday Sept. 27th at 11:00am Pacific Daylight Time. Drop on over to the chat room at www.citysoundsradio.com and join in the fun. We've had a great turnout for the artist interviews........and who knows........you just might win one of the artist's cds.

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Smooth Jazz And The Music Industry [City Sounds Radio]

Is the smooth jazz genre truly on it's way out?

You have probably read about or possibly even experienced, the removal of smooth jazz from an FM station in your area. It has been said there is no interest for this style of music and the buzz has been gloom and doom for the future of the genre. Is it really true or an attempt by the industry to restructure this music? And if there is no interest, why are the concerts and festivals sold out in cities all over the country?

These and many other questions will be answered by industry insider Adam Leibovitz, President and founder of ASL Music Media & Promotions. Adam is also the general manager and vice president of promotions for Innervision Records who houses such smooth jazz artists as Blake Aaron, Shaun LaBelle, Will Donato, Rupert Leighton, D-Lucca and Richard Hart.

In addition, he is one of the founders of the Groove Jazz Music Chart that took the place of the defunct Radio & Records Chart. This new chart is published in two formats; one for FM stations and the other for internet stations.

Adam will be live on Jazz In The City this Sunday Sept. 20th at 11:00am Pacific Daylight Time. If you've had those burning questions you wished you could get answered, then this will be the show for you!!

City Sounds Radio
Or use one of the City Sounds links on the right panel of this page.

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Culbertson Wakes Up The Smooth Jazz Network

Broadcast Architecture’s Smooth Jazz Network has named Smooth Jazz musician, producer and broadcaster Brian Culbertson as the new weekday morning drive air talent for the network, replacing the Ramsey Lewis morning show with Karen Williams.

Culbertson has been the weekend morning host for the network since early 2007, and says the transition to hosting the coveted 6-10 a.m. weekday position is a natural one. "I’m extremely thrilled and excited to be the new weekday morning show host for The Smooth Jazz Network," he says. "As a musician, it’s an honor to be able to speak directly to the millions of fans about my passion for the music, and as the host to give them a fun and energetic start to their day!"

Culbertson joins midday host Miranda Wilson, Smooth Jazz icon and afternoon driver Dave Koz and evening host Maria Lopez in the network’s lineup.

The network’s weekend lineup is enhanced by the addition of Allen Kepler 6-10 a.m., with "Smooth Jazz Weekend" and "The Smooth Jazz Top 20 Countdown," followed by the best-selling instrumentalist of all time, Kenny G from 10 a.m.-2 p.m., Grammy winner Norman Brown from 2-7 p.m. and Paul Hardcastle from 7 p.m.-midnight.

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Smooth Jazz Shown The Door In Miami

As far as smooth jazz radio is concerned 2008 went out much like it started. Beginning the day after Christmas, Clear Channel’s WLVE (Love 94) in Miami switched from Smooth Jazz to what it is calling Rhythmic AC. What that really means is the station, now dubbed 93.9-FM MIA, ‘Move to the Music’, will be playing inoffensive and semi-current hits from the likes of Leona Lewis and Rihanna plus a clutch of instantly forgettable oldies from Madonna, Justin Timberlake and Jennifer Lopez. Frighteningly the word is that Rick Astley's ‘Never Gonna Give You Up’ has already been heard.

Although the Smooth Jazz format will soon be available on the station’s HD2 sub-channel the move is entirely consistent with the genre’s ‘on air’ demise. Following on from the loss of smooth jazz radio in New York, Baltimore, Philadelphia Washington DC and Jacksonville, the closure is just one more in a sequence that has decimated the market right down the I-95 corridor. There is little doubt that, when the casualties in Houston and Denver are added in, the prognosis is indeed dire.

Leaving aside the growing band of smooth jazz starved radio listeners, the principle victims in all of this are those mainly independent artists who struggle to find an outlet. Consequently let’s thank heavens for the publicists, websites and streaming radio stations who are prepared to offer a voice to those performers who otherwise would now never be heard.

It’s a Smooth Jazz Therapy prediction that 2009 will be the year when the phoenix that is Smooth Jazz rises from the flames to find a new on-line home. Check back here often to follow how it happens.

By: Smooth Jazz Therapy, written and produced by Denis Poole.
Smooth Jazz Therapy

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WLVE/Miami Flips To Rhythmic AC

The coming of Christmas Day left radio with one less major-market Smooth Jazz outlet, as Clear Channel's WLVE (Love 94)/Miami returned from all-holiday programming at 10 a.m. with a new format: Rhythmic AC, as "93.9-FM MIA, Move to the Music." The station is launching commercial-free with core artists the Bee Gees, Madonna, Prince, Justin Timberlake, and Jennifer Lopez.

"If you can sing and dance to it, we'll probably play it," said Clear Channel/Miami President/Market Manager Brian Olson. "There is tremendous passion across South Florida for this format. We are thrilled to bring this exciting and upbeat programming to listeners."

WLVE's former Smooth Jazz programming will soon be available on 93.9's HD2 subchannel, Olson said.

In the past year, major-market flips away from Smooth Jazz have included Lincoln Financial's move of KJCD/Denver to Sports, Emmis' flip of WQCD/New York to Triple A as WRXP, and Citadel's decision to move WJZW/Washington to Oldies.
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Note: I only leanred about this, this morning. Not good. Good news though. It frees up a button on the radio. Having said that, I won't know how to use that button, as there is less on the radio almost daily. I also believe XM/Sirius will go belly up. We'll be listening to internet radio and our iPods only in the future.

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Pump It Up for Web Radio

In the classic song "Radio Radio," Elvis Costello sang the words, "They say you better listen to the voice of reason. But they don't give you any choice because they think that it's treason."

Of course that song is nearly thirty years old so I doubt that Elvis Costello and the Attractions were talking about Web radio. But much of the anger and contempt that Elvis was directing at commercial radio of the time holds true for the controversy raging today over Web radio.

Here's the history of the problem: As the ability to stream quality audio over the Internet has improved over the years, a huge benefit arose in the form of Web radio. By providing the ability to listen to music over the Internet, it enabled many benefits, including the ability to listen to hometown stations after moving to another area, niche music programming that would never occur on standard radio, and, best of all, the ability for independent and unsigned musicians to easily promote their music to wide audiences.

Now to you, me and pretty much everyone else in the world, this all sounds pretty good. But to the Recording Industry Association of America, anything that lets people listen to what they want to listen to rather than what the RIAA tells them they should listen to—especially anything that lets musicians promote themselves without first signing away their souls to RIAA member companies—is very bad and must be destroyed.

So a course was laid out to destroy Web radio. Now in a sensible world, one would say that when it came time to make sure that Web radio stations reimbursed artists, that the logical course would be to charge commercial Web radio stations the same rates that traditional broadcast radio stations pay.

But when it comes to the RIAA and their minions, logic is almost never involved. Instead the plan was to charge Web radio stations exorbitant per channel fees that for most Web radio stations would result in fees that were many times what the stations made in profit, essentially forcing most Web radio stations to shut down.

And using their pals in government and the copyright office, the RIAA and its "non-profit" subsidiary SoundExchange had these exact rules put in place that will basically cripple the still nascent Web radio movement.

Of course once people found out about this there was a pretty big outcry, which resulted in lots of lobbying and a bill submitted to Congress (called the Internet Radio Equality Act) that would put the rules into a more equitable percentage of revenue model for collecting fees from Web radio.

While the bill's chances in Congress aren't looking that strong right now, it has had one good effect. Faced with this bill ruining their plans, SoundExchange and the RIAA have begun negotiations with some groups of Web radio stations to come up with more equitable terms for Web radio fees.

This is good but in my opinion it isn't enough. For one, not all Web radio outfits are covered by the groups in these negotiations. Plus, without the force of law, there's no guarantee that these agreements won't change (especially after the threat of Congressional action goes away).

So that's why I think now, as the Congress returns from its vacation, is the right time to put the pressure back on to get the Internet Radio Equality Act passed, either by contacting your representatives directly or through the SaveNetRadio Coalition at www.savenetradio.org.

Now you may be thinking, what does this Web radio stuff have to do with my business? I think that many of us have become so used to the Web and its innovations that we forget how young and fragile it still is. There are still many entrenched and well connected interests out there that see the innovations of today as threats to their established business models. Today it's Web radio, tomorrow it could be your technology that's facing the results of special interest legislation.

Because if radio really is a sound salvation, let's keep as many options and outlets open as possible. Otherwise, to quote Elvis Costello once again, "Radio is in the hands of such a lot of fools trying to anaesthetize the way that you feel."

By Jim Rapoza - eWeek.com

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Webcasters Offered Lower Royalties If They Promise to Remain Small

The performance rights organization that collects royalties from streaming music providers on behalf of recording artists and copyright holders, has offered small streamers a reduced rate that caps royalties collected at 10% to 12% of their annual revenue. But for selected streamers to qualify, they would need to sign an agreement with the SoundExchange organization that would include a cap on growth, and a possible penalty for growing too fast.

In a statement late yesterday, SoundExchange described the restriction as "a usage cap to ensure that this subsidy is used only by webcasters of a certain size who are forming or strengthening their businesses." Webcasters would have until September 14 to sign on the dotted line, which is not long after Congress reconvenes after summer recess.

Current royalties rates that took effect last month have been recently described as 30% of revenue, though many webcasters have presented data that suggests that a zero was left off that percentage.

Yesterday's announcement by SoundExchange clearly has a "carrot" and a "stick" side to it, the latter of which reads like an ultimatum. "Small webcasters who do not sign the agreement, but continue streaming, will be responsible for paying the new rates first announced by the Copyright Royalty Judges (CRJs) in March, the first payment of which was due July 15, 2007."

But SoundExchange's reference to the discount rate as a "subsidy" might also suggest a certain bluntness to the "carrot" end of the offer as well: If indeed the discount rate is described in the agreement SoundExchange would have its prospective smaller members sign as a subsidy or rebate, it may actually be treating the amount of the discount as a kind of deferral. That suggests that if webcasters stray out of bounds, or perhaps grow too big, they could find themselves owing the deferred amount back.

Broadcasting attorney David Oxenford wrote for his firm's blog today that SoundExchange's offer appears to be little more than a restatement of a similar informal offer already made to small streamers.

"It does not address the criticisms leveled against the offer when first made in May," Oxenford wrote, "that the monetary limits on a small webcaster do not permit small webcasters to grow their businesses - artificially condemning them to be forever small, at best minimally profitable operations, in essence little more than hobbies."

But the SoundExchange offer could present a solution to a problem posed by the original royalty rates now due to it since last month. At the time the Copyright Review Board presented its final decision on rates, webcasters both large and small said the per-performance formula could result in royalties that could put them out of business, or that could force large media interests to suspend or cease streaming operations.

As the amended offer now appears to be phrased, the organization could perhaps be assured of a kind of "royalties farm," made up of streamers whose growth rate would be self-pruning. They could not grow large enough to pose a serious threat in court or in Congress, and depending upon how their agreement is worded, they may not afford to back out of the deal or go out of business during the guarantee period between now and 2010.

Web broadcaster and RAIN newsletter publisher Kurt Hanson obtained a copy of the SoundExchange offer. On his Web site today, Hanson reported that SoundExchange's growth cap limits streamers to 5,000,000 aggregate tuning hours (ATH) per month, after which the regular royalty rates agreed upon by the CRB take effect. A single ATH would be recorded by a single listener, so at that rate, a small webcaster would be limited to a total audience at any one time of about 6,944.

Hanson also located a reference to the term "non-precedential" to refer to the offered discount rate, which may indicate that new members would have to agree that just because they're being offered the rate now, doesn't mean they'll be guaranteed that rate after 2010.

By Scott M. Fulton, III, BetaNews

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Webcasters Get Royalties Reprieve

SoundExchange has temporarily agreed not to enforce the webcast performance royalties set to go into effect on July 15, according to the SaveNetRadio Coalition. SaveNetRadio was formed after the Copyright Royalty Board announced new, higher performance royalties on March 2 -- rates most webcasters say would all but bankrupt their industry. SaveNetRadio said on its Web site, "Congress and SoundExchange have heard loud and clear the amazing outpouring of support for Internet radio from webcasters, listeners and the thousands of artists they support. A commitment has been made to negotiate reasonable royalties, recognizing the industry's long-term value and its still-developing revenue potential. During negotiations, SoundExchange committed temporarily not to enforce the new royalty rates so webcasters can stay online as new rates are agreed upon." SaveNetRadio continues to encourage Net-radio listeners to contact lawmakers in support of the Internet Radio Equality Act, which would set aside the CRB rate increase and set a transitional royalty rate of 7.5% of revenue for 2006-2010.

By Brida Connolly - radioandrecords.com

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Groups File Against Satellite Merger; Karmazin To Address NPC

The FCC received petitions from a handful of groups Monday (July 9) to deny the proposed $13.6 billion merger of Sirius Satellite Radio and XM Satellite Radio. The NAB in its petition called XM and Sirius' proposal "a simple and straightforward case" and said the merger should not be permitted. In a 57-page joint petition filed by Common Cause, Consumer Federation of America, Consumers Union and Free Press, the groups told the FCC "this merger to monopoly must be rejected."

The groups addressed "satellite radio's unique product and geographic market characteristics," noting that "satellite radio possesses a unique bundle of characteristics that clearly distinguishes it from other audio entertainment products. These characteristics reflect fundamental traits of the license and the technology used to exploit it."

The petition also addressed "the rapid growth of the satellite radio market," pointing out that 14 million subscribers have signed on to the service in just five years and that "subscription[s are] expected to rise to as high as over 40 million within the next few years." The groups added, "The fact that satellite radio will not drive terrestrial radio completely out of business is irrelevant to the antitrust and public interest analysis. Satellite radio is a substantial market that deserves the full protection of the antitrust laws and the Communications Act."

Monday was the deadline for the public to file comments to deny the satcasters' proposal to merge.

In its petition, the NAB also characterized the satcasters' union as a "monopoly." The lobbying group recalled Sirius' own argument to the FCC when it called on the agency to "preserve intra-service competition and overall DARS [digital audio radio service] diversity of programming" and prevent a "DARS monopoly."

The NAB also argues that Sirius and XM have not offered any hard evidence that a merger will serve the public interest by way of a price break benefiting consumers and notes that both companies have stated that neither is suffering a financial burden so great that one of them might cease to exist unless they merge their operations.

The NAB also said the FCC "should summarily dismiss the application as volatile of the satellite DARS anti-merger rule. In the alternative, the commission should designate the application for hearing to determine whether grant of the application would serve the public interest, convenience and necessity."

Earlier in the day on Monday, the satcasters issued a press release headlined "Sirius, XM Highlight Growing Momentum in Favor of Merger." Sirius CEO Mel Karmazin said, "The support for our merger is as diverse as the programming we provide. The thousands of pro-merger comments from organizations representing diverse populations and interests, individuals, businesses and experts plainly demonstrate that the combination of Sirius and XM is in the public interest."

"These FCC comments strongly validate our contention that the merger will produce substantial public interest benefits," said XM Chairman Gary Parsons. "These include greater programming choices, better prices, rigorous competition and more rapid innovation."

Meanwhile, the National Press Club announced that Karmazin will be the club's featured luncheon speaker on July 23. The chance to speak before the media in that setting is traditionally regarded as an honor in Washington, D.C., and the event almost always generates news. When NAB president and CEO David Rehr was invited to address the club on Oct. 4, 2006, staffers at the NAB pounded their chests with the sort of pride that means "Our guy has arrived." Such an engagement for Karmazin will mean the same thing to satcaster-merger enthusiasts and be a chance for those on the other side to collect more information to volley back at the satellite crowd.

By Jeffrey Yorke - radioandrecords.com

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Satcasters Point To HD Radio As Competition

Sirius CEO Mel Karmazin has to love newspaper articles about the arrival and growth of HD Radio and how such retail monsters as Best Buy, Circuit City and Wal-Mart are now selling HD Radio receivers. That's because Sirius and XM Satellite Radio have already taken that route: They've gotten into the retail stores and been through the hype that goes with that, and with each new media blast about HD Radio comes the realization that it is, in fact, a competitor.

And Karmazin needs audio competitors to make his case to the FCC that the satcasters not only compete for terrestrial radio's audience, but also with all the new stuff -- Internet radio, iPods, HD Radio -- that has come to market in the decade since Sirius and XM were awarded their $80 million-plus licenses to build their mega-billion-dollar companies. Neither of which has made a dime since the first tune bounced to earth from their iron birds.

In an article in Tuesday's (July 3) Washington Post, Karmazin acknowledged that increased rivalry from newer technologies could threaten the future of satellite radio.

"It's not news to us that HD Radio is a competitor," Karmazin told the Post. "It may be news to regulators because they don't follow this as much as we do, but this is the market we saw when we announced our merger."

But HD Digital Radio Alliance president/CEO Peter Ferrara acknowledged what many in the terrestrial radio business have been complaining about recently: There are too few HD Radio receivers in automobiles, where most Americans listen to radio. Ferrara says it will be hard for broadcasters to wrestle carmakers' attention from the satcasters until there is more mainstream demand for HD receivers in cars.

And, for the first time this year, reports the Post, subscriptions for XM and Sirius are growing, through their partnerships with automakers including Chrysler, Ford, General Motors, Toyota and Honda. Ferrara sees that as more of a threat to the widespread adoption of HD Radio. "If they [merge], they can control the dashboard," Ferrara tells the Post about the satellite companies. "They already have the partnerships. They could block us out."

By Jeffrey Yorke - radioandrecords.com

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