For fans of jazz radio, pickings in the regional market recently became slimmer. Earlier this month, Boston’s WFNX cancelled Jeff Turton’s show “The Sunday Jazz Brunch” after 26 years of weekly broadcasts. The reason for the cancellation, according to an e-mail Turton sent out, was “budget cuts due to diminished revenues at both ’FNX and at the Boston Phoenix.” Turton also stated that he “wasn’t surprised,” but was “incredibly disappointed.” As I’m sure were his many loyal listeners.

Within a week came news that WGBH in Boston would replace its “Jazz Gallery” overnight hosts—Al Davis, Kevin Ball and Ron Gill—with a syndicated show taped on the West Coast, called “Jazz with Bob Parlocha.” The irony is that, at one time, Parlocha was the main overnight jazz host for ’GBH. By removing the local hosts in favor of a syndicated show from across the country, ’GBH has eliminated the opportunity for musicians from the greater Boston region to appear as guests and promote their gigs and recordings. Fortunately, Eric Jackson’s show will remain a central part of the station’s early evening schedule.

These moves are a solid indicator of the effect the economy is having on the broadcast media. It’s too bad that when it comes time to cut expenses due to declining revenues, specialty shows that promote jazz, blues and other niche forms of music are usually the first to go. Fortunately, there are dedicated local folks such as Terry McDonald at WSCA and Jonathan Paul and the venerable Bruce Pingree at WUNH to keep the fires burning, so to speak.

Hopefully, as the economy continues to stabilize, things will smooth out and more programming cuts can be avoided. But things obviously won’t be the same. Online radio and newspaper sites continue to have a profound effect on the way people access media, and the recording industry’s ongoing problems with online music downloads are all indicators that a new way of thinking is needed in order for radio to survive.

It also takes an effort from all of us to help ensure this survival. The old saying that “You don’t know what you’ve got ’til it’s gone,” is apropos here. Hopefully, things won’t get to that state anytime soon.

New York salsa in Portsmouth

The Spanish Harlem Orchestra, one of the leading proponents of New York-style salsa, will return to The Music Hall in Portsmouth on Friday, June 26, for an evening of inspired music. If you haven’t experienced the SHO before, you’re missing out on one of the most exciting and energetic music acts in the country.

The Orchestra members are proponents of an older style known as “salsa dura” (heavy salsa), drawing on the influences of salsa pioneers like Machito and Mario Bauza. Formed in 2000, the 13-person ensemble is led by pianist, composer and arranger Oscar Hernandez and boasts a powerful five-piece horn section, a sizzling rhythm section and three dynamic vocalists who combine to create shows that have a definite party atmosphere.

The band’s recent CD “United We Swing” on the Six Degrees label is a remarkable recording that exemplifies what this band does so well, presenting one fiery musical highlight from beginning to end. The dance is as important as the music with this crew, so, much like the last time the band played at The Music Hall, guests should expect to find it difficult to remain in their seats once this remarkable band unleashes its powerful sound. For more on the Spanish Harlem Orchestra, visit www.spanishharlemorchestra.com. For more info on the show, visit themusichall.org.

Mr. Satan returns

On Saturday, June 20, The Press Room in Portsmouth will host a show by the legendary blues duo Satan and Adam at 9 p.m. Comprised of guitarist-percussionist Sterling “Mr. Satan” Magee and harmonica player Adam Gussow, this remarkable duo was a fixture on the sidewalks of Harlem in the late 1980s and early ’90s. They moved on to appearances in clubs and in music festivals before dissolving in 1998 for personal reasons. In 2007, the duo reemerged and began touring on a limited basis. The upcoming show will mark their first appearance at The Press Room in quite some time, providing listeners with a unique opportunity.

June also features a strong lineup for The Press Room’s Sunday Jazz series. On June 7, Maine-based drummer Steve Grover will appear with his sextet. On June 14, trumpeter Clay Jenkins and saxophonist Bill Pierce join the Press Room Trio of Ryan Parker, Keala Kaumeheiwa and Les Harris Jr., while saxophonist Harry Allen joins the trio on June 21. On June 28, bassist Bruce Gertz leads a quartet featuring saxophonist Jerry Bergonzi. All Sunday shows begin at 6 p.m.

two new releases to check out

Just a couple of new recordings have caught my ear in recent months. First is “Lobster Leaps In,” by the Microscopic Septet on Cuneiform Records, an inspired collection of original music from this superb and long-running ensemble. The group includes Auburn resident Don Davis (also a member of the Larry Simon Ensemble) on alto sax, as well as saxophonists Phillip Johnston, Mike Hashim and Dave Sewelson. Joel Forrester, David Hofstra and Richard Dworkin make up the rhythm section. 

The Micros, as they are sometimes called, work within the jazz tradition but are not bound by it. Some tunes on this recording swing while others rock out. There are also traces of humor and even a little absurdism in the overall sound, but it’s all rendered with good taste and respect for the idiom. All of the solo work is refreshing and imaginative, and the ensemble sound is rich and full. This fine CD unites the old and new in refreshing and provocative ways. Visit www.cuneiformrecords.com.

New York quartet Rudder demonstrates a truly distinctive sound on its newest release “Matorning” on Nineteen Eight records. The band’s style blends rock ’n’ roll energy with a strong jazz mentality. Think The Bad Plus meets Weather Report at the junction of Frank Zappa and you’ll understand the approach this fine group takes. Saxophonist Chris Cheek, keyboard player Henry Hey, drummer Keith Carlock and bassist Tim Lefebvre take listeners on a sonic journey that emphasizes group interplay as much as individual solo statements. The music is the centerpiece, with all four members contributing tunes, plus four collaborative efforts from all the members. And, as with the Micros, humor is a subtle element that enhances things here. It’s not often that I find myself inspired by a new ensemble in jazz these days, but this band is an exception. The music speaks well for itself. Visit www.ruddermusic.com.