AAJ: These days there are so many ways to promote world music artists and their releases, but back then it was different. The world music genre wasn't that widely popular. How did the label go about promoting in those early releases?
AJ: In a much more traditional approach. Everything was driven by the print media, and we always got great coverage in broadsheet, newspapers and music magazines etc. Radio was much more restrictive with limited channels, so it was hard to get the music heard. Obviously, then and now, a band touring and playing to the live audience is one of the best forms of promotion.
AAJ: Has the concept of what world music is and what it encompasses expanded since the label's inception?
AJ: From our point of view the invention of the term 'world music' back in 1987 was just a marketing tool and an attempt to find a way for record shops to rack our musicit was as simple as that. It was never meant to be a serious concept or musical genre. So it's kind of redundant. These days the term means even less as the world has been opened to a whole world of global sounds and culture via the internet, via a proliferation of record labels, festivals etc. and the explosion of people traveling to countries which were less well explored decades ago.
AAJ: What have been the greatest rewards you've experienced running Real World?
AJ: Being the home to such a wide range of great artists, enabling musicians to make the albums they choose and in some cases having the privilege of actually watching them make them at Real World Studios.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!