Once a lively presence on radio, jazz now finds itself relegated to satellite broadcasters and low-watt stations at the edge of the dial. Aaron J. Johnson examines jazz radio from the advent of Black radio in 1948 to its near extinction from the commercial dial after 1980. Even in jazz’s heyday, programmers and DJs excluded many styles and artists, and Johnson delves into how the politics of decision-making and the political uses of the medium shaped jazz radio formats. Johnson shows radio’s role in the contradictory perceptions of jazz as American’s model artistic contribution to the world, as Black classical music, and as the soundtrack of African American rebellion and resistance for much of the twentieth century.
An interwoven story of a music and a medium, Jazz Radio America answers perennial questions about why certain kinds of jazz get played and why even that music is played in so few places.
Arvustused
An engaging style, the lived experience of the author as a jazz musician and DJ, and a wealth of insights on music, technology, and business combine to make this book a truly significant contribution to the field.--Mark Katz, author of Music and Technology: A Very Short Introduction
Preface
Introduction
Part I Jazz on Commercial Radio
Jazz Here and Jazz There: Jazz Rides the Omnibus
Independent Contractors: Jazz Shows Outside the Format
Jazz Around the Clock: All-Jazz Commercial Radio/Jazz as a Radio Format
Part II Jazz on Noncommercial Radio
Paradise Found, Paradise Lost: The Rise and Fall of Jazz on Noncommercial
Radio
Dont Get Too Far Out: Programming Jazz on Noncommercial Radio
Jazz Is for Everybody: Missions and Mission Statements, Precursors, Models,
and Ownership
Postscript: Jazz Radio Present and Future
Appendix A: Notable Jazz Disc Jockeys
Appendix B: Jazz Radio Stations c. 2020
Notes
Bibliography
Index
Aaron J. Johnson is an associate professor of music at the University of Pittsburgh.
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