Welcome to the first 'behind the mic' announcer profile on Smooth Jazz Now. We chose Mike Marshall of Hamilton's Wave 94.7 because they were the first in this country to introduce the format 24/7. Afternoon Drive host Marshall has been in radio since high school and his love for Jazz and Smooth Jazz goes way back. (Update : May, 2003 - Mike is no longer at The Wave in Hamilton)

John Beaudin - Hi Mike, it's great to have you on Smooth Jazz Now.com and I've listened to you a lot online. You know, so far there are only three afternoon drive announcers in Canada and we have to stick together! (Laughing)

Mike Marshall - (Laughing) The Three Musketeers and may the number quickly grow! John, I'm flattered by the attention and glad to finally get to chat with one of Canada's Smooth Jazz pioneers. We've visited your web site often to read the interviews and what have you. Thank you for pulling together all of the information and also for giving the Smooth Jazz fans a chance to make their feelings known.

John - Thanks for the kind words. What's your feeling these days on Smooth Jazz and is the excitement still there for you?

Mike - You'd better believe it! As a broadcaster, it's been fascinating to watch the format grow as it has over the past fifteen years or so. In the late ' 60s and early ' 70s, CKLW in Windsor-Detroit was home for 5 years and I used to listen to WJZZ, an FM that played a pop/jazz mix during the day. A forerunner, if you will. My wife Val and I used to listen to the Smooth Jazz stations in Florida while vacationing and there was a Smooth station in Buffalo that quite a few people in this area listened to for a few years. Working for The WAVE was a natura thingl for me because I became a jazz fan when I was about 20. I got hooked on the hip big bands of Stan Kenton, Count Basie, Woody Herman and Duke Ellington, then Oscar Peterson, Miles Davis, Dave Brubeck, Chet Baker, Art Blakey's Jazz Messengers, Jimmy Smith and all the rest. As the years passed, jazz continued to evolve and some of it became more contemporary with the likes of George Benson and Pat Metheny, all of which led us to what's happening today. When we first went on the air at The WAVE, we all felt like we'd just been given the keys to the candy store and the feeling has never left.

John - Tell me about some of the releases that have stopped you in your tracks since The Wave went on the air in September 2000?

Mike - Geez John, I could probably come up with a list that's a mile long. There are the obvious things like the Boney James/Rick Braun album, "Shake It Up." The first time I heard "Grazin' in the Grass" when The WAVE was going on the air I got this really warm, fuzzy feeling and thought, "My God, I've found a home!"
I'd noticed Braun's muted trumpet work a few years earlier on Tina Turner's "I Don't Wanna Fight" when we played it at CHFI in Toronto. I pulled out the liner notes to see who it was and never forgot the name. More recently, his "Kisses In The Rain" has gone through the roof and Boney ain't chopped liver either.
I tend to think in terms of tracks rather than albums. Two other things that really grabbed me when we first hit the air were "Silk & Satin" from Spyro Gyra's "Got The Magic" and Joyce Cooling's "Callie" on "Keeping Cool." The two of those and "Grazin' In The Grass" were all Smooth classics in the making.
Joe McBride's instrumental version of "Woke Up This Morning" on "Keepin' It Real." I like a lot of his stuff. Joe McBride and the Texas Rhythm Club always reminds me of the big roadside signs we saw when visiting Texas back in the ' 70s. "Drive Friendly," they said and that was in the days before 'road rage.'
Can't forget Down To The Bone, especially their third album, "Spread The Word." I love "Keep On Keepin' On," " Downtown Shuffle" and "Righteous Reeds." "Downtown Shuffle" really does it for me, it's funky stuff. All of their music really picks you up because it's fun.
Jimmy Sommers and the "360 Urban Groove" album. Only had to hear "Lowdown" once and I bought the CD.
Jeff Golub's "Cut The Cake" "Do It Again" is in our collection at home too. We also enjoy the Golub/Sue Ann Carwell version of "If I Ever Lose This Heaven." Everything on the CD is so well done. I really like the arrangement on Stevie Wonder's "Jesus Children Of America."
As far as vocals are concerned, Kuh Ledesma's "Dreaming" from "Precious." I'm sure you know the album. I also really like "I Cry." Gerald Albright plays sax on both tracks. The lead track on the CD, "Lover's Journey," made me think that might be a good name for a late evening radio show, although it's probably been done. A lot of good tunes on "Precious."
Also, "Ability To Swing," the Thomas Dolby thing. Patti Austin and Lee Ritenour. The first time I heard it, it just knocked me out and if it's possible to wear out a song on a CD, that one is well on its way.
Gotta mention Carol Welsman, too. Her "Inclined" and "Hold Me" albums. She makes "Night & Day" sound like it was written last night. Molly Johnson -- both albums. And there's another local guy, Chris Smith, and his "Room Inside My Heart" CD, with Warren Hill on some of the tracks.
Boz Scaggs and "Miss Riddle." "Desire" is another favorite tune from "Dig!" "Cousin Dupree" and "Jack Of Speed" from "Two Against Nature" by Steely Dan. Those are some of the things that come quickly to mind. Incognito. Maysa. Count Basic is cool. Kelli Sae. "Joy & Pain" was not something I knew a couple of years ago and after hearing Count Basic do it, I went back to the Frankie Beverly/Maze original and Count Basic and Beverly's group both have outstanding "live" albums.

John - (Laughing) Wow, thats a hell of a list but good choices! The station has had the same on air line-up since the beginning - radio is such a roulette game.

Mike - We have great people on the air at The WAVE. Bob Farrow in the morning, Vickie Van Dyke midday's, Gary James at night and Brian Wood comes in from CH TV for vacations. Everybody is really into the music. Even Phil Meighan, who does news with me on the Smooth Ride Home, and each one of us, with our varying tastes, brings something different to the table. Also, and I'm sure you've experienced this; our listeners are constantly writing and calling with suggestions. They are passionate about the music. In many cases, our WAVE listeners have brought in CDs for consideration by our programming committee. We also have to thank the artists themselves, many of whom take the time to make us aware of everything that's out there. It's like one big family that wants to see this thing work.

John - You and I are both fans of the bridge songs - the vocal tunes that bring the instrumentals together - how important are they?

Mike - Really important, John. Unlike you, I'm still a student, if you will, when it comes to Smooth Jazz radio. That said, it was my feeling early on that there was a need to play a healthy dose of vocals familiar to people who weren't necessarily dedicated Smooth Jazz fans. There has to be a "comfort factor" to attract those listeners, something they know as they get into the other things. It was reassuring to read your interview with Carol Archer of Radio & Records. She referred to the familiar vocals as a point of entry for the casual listener and said, given the choice of 15,000 or 15-million people hearing their music, most of the instrumental artists would choose the latter.
Often, there's no need to go outside the format because you've got established people like Al Jarreau, Luther Vandross, George Benson, Brenda Russell and others with songs that were proven hits on, let's say, Soft Adult Contemporary radio. Your "bridge vocals" can be past hits and current hits. If a song by someone not thought of as a Smooth artist really fits and it's familiar it should be played. Taking into account that much of our audience will come from Soft AC, I'd go after them.
When you think of it, we've sort of come full circle. Back in the ' 60s, lighter jazz instrumentals by Stan Getz, Ramsey Lewis, Dave Brubeck and others were played on pop radio. Now, the pop vocals are crossing over to Smooth Jazz. It's no longer a "niche" format but one with much broader appeal.

John - With only three Smooth Jazz station in the country we're averaging one per year since The Wave went on . Do you think the pace will pick up a bit?

Mike - That will be interesting, John. It's good to see the number growing. The music gets more exposure and everybody benefits. I'm sure we're being watched. All three stations are doing it differently so the others may sit back for a bit to see what works best. As I intimated earlier, I'm a huge believer in this format and the music. There's no reason why it can't be just as successful as it is in the U.S. and Europe. Look down the 401 at Detroit. Last summer, for all intents and purposes, they were tied for Number One. And they're just one of many success stories.

John - Sometimes being a Smooth Jazz musician is a thankless job. The same's been said about being a Canadian musician but luckily that's slowly changing and musicians are making a bit more money. Tell me who do you think are the most underrated musicians in Canada?

Mike - (smiling) I'm tempted to say the ones we don't know. We're lucky to have the talent that we do in Canada and you want to see them all do well. Carol Welsman is one artist I'd like to see go right through the roof. She just oozes talent and class.

John - Carol is simply world class, I love her! Tell me about your beginnings in Radio. What the heck got you into this?

Mike - You've heard the "it all started in a little one-thousand-watt radio station" line, John? Well, in my case it did. I was in Grade 10 in Welland, Ontario, writing the high school column and covering some sports in the local newspaper. My dad, Norm, was a radio legend but writing held more appeal. One Saturday afternoon I ran into a friend who suggested we drive out to CHOW, celebrating its first anniversary with an Open House. Once there we ran into a friend of his who worked on the sales staff and my buddy mentioned that I was Norm's kid. All of a sudden I'm talking to Gordon Burnett, one of the station owners, who was aware of the things I'd done in the Evening Tribune. He asked if I'd like to do some of the same things for the radio station. I agreed. I did my reports on the phone then went to school and got to hang at the station once school was over for the day. One afternoon one of the guys in the newsroom asked if I'd like to do a 'live' weather forecast. I felt such a rush doing it, was hooked and kissed my fledgling newspaper career goodbye. Hasta la vista, baby! Hello radio!

John - Wow, I just wanted to pick up chicks (Laughing). Tell me about the good changes in radio since you got into it?

Mike - Actually, the computers, I love! The fact that everything is on the hard drive; commercials, music, everything. One thing ends and the next thing rolls. You're not sitting there firing the next commercial or the next song. The computer does it for you. Basically, all you have to do is turn your mike on and talk. It frees you up and gives you more time to think about what you're going to do and say next. And if you have a second computer with the Internet in the studio as we do you can access any information required. If your music sweep is long enough you can go out and wash your car in the parking lot, not that I'd suggest such a thing.

John - And the not so good changes?

Mike - Something also made possible by the computers. Voicetracking. At least, some of the voicetracking. As an example, say a woman in Toronto working for a large radio chain does her own 'live' show there but also 'tracks' another show for the company's station in Kitchener. There's a job that no longer exists. Yes, it saves money but as so many jobs in smaller markets are eliminated there are fewer opportunities for someone to learn his or her craft. Eventually, radio as a whole may suffer because there will be fewer less experienced people to fill the available jobs. I worry for the younger people coming into the industry. Will there be a future for them? Will there be a job?

John - Tell us about the most nerve racking experience you've ever had in radio?

Mike - There have been so many, John, that I'm just a bundle of nerves. Eyes darting everywhere, I'm a bag of pliers. Naw, it hasn't been that bad. The worst feeling for me is getting caught in traffic, knowing that I might be late for the first break on the air.

John - We all have those moments in radio where everything comes together, those gratifying moments! What was your greatest moment in radio?

Mike - You know, John, it's always been the little things. A comment someone will make when you're out in public or something said by a listener during a phone conversation. Corny as it may sound, it's always a real kick to know that you've made somebody laugh or touched someone in some small way.

John - Being in the industry we listen to radio differently and we listen to other announcers differently! It used to drive me crazy to hear some announcers talk about themselves too much but after years of therapy, I'm better now! What's your biggest pet-peeve when listening to other announcers?

Mike - Needless talk. But then, we're probably all guilty of that from time to time. In my case, I listen primarily for the music and that's what I'd like to hear. Don't tell me what's going to happen in the next four hours. Just do it.

John - I Hear you! On the other end of the scale what traits impress you when you listen to other jocks?

Mike - Somebody who's takin' care of biz. Someone who's really into what he or she is doing. Somebody who obviously loves the gig. The jock who knows it's what you DON'T say that makes your station a winner.

John - You're a news junkie, have you ever been a newsman?

Mike - Early in my career, I did morning news for about 10 months at CKKW in Kitchener. Did newscasts and sportscasts at CHML in Hamilton but that was just part of the job because I did music, too.

John - You've been with your sweetie Valerie for 30 years, you're really screwing up my image of the groupie loving, heavy drinkin' Smooth Jazz party announcer!!

Mike - I'd like to apologize for that and can only hope that others are holding up their ends..No, wait a minute, that didn't come out right...let's just say my hat is off to the current 'keepers of the flame.' I like to go home at night and I'm happy just to be in the same room with her. I'm still pinching myself.

John - How did you meet Valerie?

Mike - It was early in 1974 at CFTR in Toronto. I was the PD at the time and they were looking for someone to run the Creative Department and one day I noticed a woman walking out to the elevators. Just caught a glimpse of her from behind and liked the way she carried herself. She had a different sort of walk. "Someday, I'm going to meet that woman," I thought. Well, they hired her and I did.

John - Thanks so much Mike, it's a real pleasure to have Canada's first afternoon drive Smooth Jazz host on our site, keep paving the way!

Mike - Thank you, John. Gee, "Canada's first afternoon Smooth Jazz host." That never occurred to me. Can I put that on my resume?

- May 2003 - Mike has left The Wave in Hamilton

        Email Mike Marshall at mjbmarshall@yahoo.com