For Labels and Distributors
Transition Radio built trust by giving serious music the time and sequence it deserved. All That Jazz Global is opening that conversation again—with the labels and distributors who keep the catalog moving.
"The goal is sincerity: sincere music played by sincere musicians, broadcast to a sincere audience."
— Earl McGhee, Chicago Reader, May 26, 1972
Transition Radio began in Chicago in 1971. The surviving archive documents a sales response associated with its programming, a major institutional advertisement from Columbia, and early label activity involving Black Jazz, ECM and A&M.
"Transition has undoubtedly the freest format of all the commercial FM jazz ventures: 45 to 50 minutes of music per hour, which permits programming of side-long cuts and other adventurous musical forms."
— Chicago Reader, May 26, 1972 (Steve Metalitz)
"The theory that jazz won't sell is untrue… What happened before was that many jazz musicians had to change their styles to exist. But now, jazz is more commercially viable as it is."
— Earl McGhee, Torch, May 7, 1973
"The station, particularly concerning listenership, has been substantially successful and is practically paying for itself."
— Earl McGhee, Torch, May 7, 1973
In a letter dated June 15, 1972, Bob Koester’s Jazz Record Mart documented a sales response associated with Transition’s programming. That historical record does not promise present-day sales, reach or airplay.
The labels noticed. Columbia Records bought Transition's first major institutional advertisement:
"Just recently Columbia Records bought the first major institutional advertisement. Ironically it was for a rock group, The Pure Food and Drug Act."
— Chicago Express, Sept. 13–19, 1972 (Ray Townley)
The surviving archive also documents label activity around Transition involving Black Jazz, ECM, Columbia and A&M. That history is the basis for a catalog conversation—not a guarantee of placement, sales, reach or public transmission.
All That Jazz Global carries Earl McGhee’s programming judgment forward. Labels and distributors are invited to bring the release, the catalog and the reason it matters; catalog consideration, sponsorship and rights remain separate decisions.
From its first year, Transition put its airtime behind the labels that needed it most:
The playlist drew "particularly [from] the struggling new labels such as the black-owned Black Jazz, and the German ECM, for whom any airplay may make the difference between survival and bankruptcy."
— Chicago Reader, May 26, 1972
Transition was born in November 1971, when Earl McGhee took over a late-night slot on WNIB-FM 97.1 — a classical station — after Radio Free Chicago folded. He financed it out of his own pocket and built the freest jazz format on commercial FM: 45 to 50 minutes of music an hour, side-long cuts, and deep historical programming for listeners who came to listen. The proof remains in the documented press coverage, label activity and record-store response.
Bring the release, the catalog and the reason it matters. Earl will read the brief and decide whether there is a useful next conversation.
Prefer email? Write Earl directly.