The Dealįresh Sound got my record, an album I’d not only poured my heart and soul into, but also years of effort and more than $15,000 of my own money (thank you credit cards), and I got a check for $6k and the opportunity to…wait for it…buy my own CDs back from them at a cost of only $7 a unit. He was terrified that my music didn’t fit his brand and concerned his customer base would be turned off by it. Why? It was just so different from the type of jazz he normally released. The guy who ran the label, Jordi Pujol, told me he was having an “existential crisis” over whether or not to release my music. At the very least, being that the label was based in Spain and Europe was a big jazz hub, I presumed they’d help me organize and/or promote some concerts or tours.Lots of artists I admired released their early recordings on Fresh Sound New Talent several went on to major label recording careers: Brad Mehldau, Mark Turner, Kurt Rosenwinkel.I felt it was important to pass through at least one filter, one gatekeeper, someone in the record biz who would validate me to separate myself from the gillions of other folks releasing self-produced recordings.Marsalis Music, Sunnyside, Criss Cross, Concord, Nonesuch, Verve, Blue Note, Savoy, MaxJazz…none of them were interested in my music. They were the only ones who said yes! I’d reached out to at least a dozen labels and was turned down by all of them.In the end I practically gave the record to Fresh Sound New Talent Records, an indie jazz label based in Barcelona, Spain. That way, I would get press, and higher profile gigs, and reach more eyes and ears. I *needed* a proper label to distribute and promote the record. Mind you, this was pre twitter, facebook, bandcamp, etc., and I didn’t have any fans beyond my local supporters in NYC. I’d make a great record and I didn’t want to just put it out myself. The landscape was shifting back then (~2005) but record labels still meant something. Notice how after all that he still wants a free CD. With that said, please send me the finished album when you have it as I am curious to hear the finished piece.ġ. We all listened to the demos closely and found them compelling and fresh but have decided to pass given all on our plate at this time. A confluence of factors explain the delay. His eventual response was that it was “compelling and fresh” but they were going to pass.įirstly, let me apologize that I have not gotten back to you with a definitive answer up until this point. I remember chasing Blue Note’s head of A&R with emails prompting him to finally check out the record. Years ago, when I made Can’t Wait for Perfect, my friend and mentor Joshua Redman was so excited about it he personally called the head of A&R at Blue Note Records to encourage them to sign me. Now that I have a new one in the can, I find myself back at a place I don’t love: hunting for a record deal. It’s been 7 years since I recorded my last studio album.
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