Since Matt Pierson took the time to defend himself I'd like to take the time to encourage cats to produce, market and promote their own CD's and not wait for the acceptance of others, especially the decision makers at major record labels.  The guys who make these decisions are not jazz greats or working musicians, just executives. 

For the most part, from my perspective, an image requirement is of major importance to them.  Apart from that, I wonder if they ever look into the history of some of the cats out here who don't seem to get any consideration.  It amazes me that many major players who have been on the scene for decades and have a rich history, can't get a deal.

Then of course there are the middle age cats like me who have a very strong history, having been hired by and recorded with cats who are a major part of jazz history.  If I were a label executive, a VP, an A&R man, etc., I'd take a strong look at these people. 

Very few of us are going to be the next Bird, Trane or Monk but we have something to say.  History will be the judge of what we do and not anyone else.  Just look at the musicians we've played with; they respect what we play and write and thought enough of our musicianship to hire us. 

Time and time again, I've seen great players getting passed up because of gender, race, age and other reasons all of which have nothing to do with the music. 

Then of course there are the players who get a deal and don't get any promotion.  They are misled to believe that once they sign a deal, they've got it made.  Wrong!  I've spoken to many musicians who had a major label deal and never got any promotion because they were not the "Priority."  Then they get the phone call; they're dropped because they didn't sell enough records.  What a mess!

Columbia dropped the Heath Bros. for a lesser player--names need not be mentioned--and Verve never gave Jimmy any promotion on his big band project several years later; he was told the budget ran out. 

Many great players have started their own labels for the above reasons.  I've decided that I'll continue to produce high quality music and not look to the majors for their acceptance. 

This year I had a #1 radio record that stayed there for 4 weeks.  The radio people and press, as the late Duke Dubois would tell me, know what they'll listening to. I've released 4 CDs on my own and all of them have received significant airplay.  I have national and some international distribution.  I've had 3 or 4 offers from small labels to sign me or at least do a record for them.  I may do this but I'm going to continue to produce my own CD's for my company because there is one thing for sure, I can't get dropped, and I can keep my publishing.  I own my masters and have control over my product and destiny.  I'll never have to say "I'm shopping for a label".

I encourage all musicians who are sincere and passionate about what they do to stop looking to others for acceptance. With hard work and a little capital it's possible to make a career for yourself and get your music out to the jazz world. 

One other thought. Pat Martino has been playing great for years and recording for small labels and only recently after undergoing brain surgery and learning to play all over again did he get signed to a major label, Blue Note.  It took them 25 years to wake up to him and I truly wonder if it was the remarkable story that got him the deal or the music?  It seems he had to almost lose it all to get the deal.  That's unbelievable. 

He's only one example. There's a long list.