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TALENTED JAZZ SHOW HITS UNTAPPED MARKET
AIR FAX: Negro show featuring jazz at its best, does exceptional selling job for Brewery. Show features Negro authorities and live talent.
First Broadcast: July 24, 1949
Broadcast Schedule: Sunday, 3 to 3:30 P. M.
Station: WTPS, New Orleans, La.
Sponsor: American Brewing Company
Power: 1,000 watts
Preceded By: Bob Eberly Show
Followed By: Public Service Feature
One of the finest examples of using radio to cover a direct market has been adopted by the American Brewing Company of New Orleans, La., using WTPS in the same city. Thirty-minute show is entitled "Music of New Orleans."
As one of the most foresighted advertisers in the South, the American Brewing Co. saw in this show a chance to tap a virtually untouched market as well as give both themselves and the station a program containing prestige value. The untouched market was the vast Negro population in the South. The station's and advertiser's prestige stem from presenting a show for the Negro, done by Negroes.
Selecting music as the show feature, accented the already smart planning done for the show. To keep the show in character, Jazz is featured predominently. And to add interest to an already unbeatable package, the show proved that it was ready to give the heretofore neglected audience^ jthe best in entertainment. It lined up an all-star Negro cast — top flight musicians, and an MC who is an authority on jazz.
American Brewing Co. follows rules of radio good taste and public acceptance by stressing identification and good will, with a minimum of interruption. This not only keeps continuity throughout show, but gets away from that sponsor bugaboo, listener irritation from too frequent commercials. At the opening and closing of the show, there is a short sponsor identification. Besides this there are two commercials spotted during show. One of these is a singing commercial featuring the principals. The other is institutional. Also, Regal Beer, the product promoted, features a "Regal Salute" of the week, to an outstanding local personality who is the subject of a minute-and-a-half interview by the MC.
The all-star Negro cast, used on "Music of New Orleans," features an array of talent rarely found outside network productions. Master of Ceremonies is Elwood "Woody" Smith, a voice graduate of Julliard School of Music. Together with an extensive knowledge of Jazz and its makers, he has had such professional experience as a leading role in a Broadway musical, and featured entertainer at "Cafe Society" in New York. Besides singing the show's featured ballad, Smith handles continuity in form of learned commentary on the music and interviews the subject of "Regal Salute."
Another weekly feature is Walter "Fats" Pichon, noted jazz pianist, protege of the late George Gershwin, and famous for his similarity of musical style to the late Fats Waller. Appearing with Pichon is the Ragtime Jazz Band led by George Lewis, one of the immortals of jazz. With these the program uses a small musical combination "The Gondoliers," and a prominent Negro guest artist each week.
Proof of "Music of New Orleans" outstanding idea is best demonstrated by its
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