Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!


Pete Mills: The Anatomy Of A Jazz Release

Mark Corroto By

Sign in to view read count
With the imminent death of the physical CD, two almost opposite phenomena have risen. Musicians either present their music in purely digital form or press limited edition LP vinyl. The digital route eliminates the need for a label, but the artist runs the risk that his or her music will be overlooked, becoming just another drop in the digital ocean. The vinyl option will of course, slow down (ain't no way to stop them) the digital pirates, but the expense of the pressing and mailing will guarantee that even a smaller number of fans will get a listen your music.

Digital maybe the future, but today's old school sticks with the physical copy.

The spring mixing and mastering moves onto a summer of photo shoots, graphic design, CD production, and the hiring of an expert to handle press relations, all tasks once handled by record company executives are now the artist's job. This new world is something many creative artists are not prepared for. The trade-off of doing these yourself allows for more control of the finished product, but it also requires Mills to negotiate with all the necessary suppliers. Fortunately, Cory Weeds of Cellar Jazz Club in Vancouver is a big Pete Mills fan. He agreed to release the disc on his Cellar Live Records label and provide distribution both digital and physical. In the old days, the label might have signed Pete and told him who his sidemen were going to be and which songs he was going to cover. They would dictate these things because they were taking the financial risks. Well, sort of. They might have owned the rights to the songs and the sidemen might also be in their stable of players. Today, the artist takes most of the risks, and the label well, much of the credit.

Holding a copy of the finished product, the question, was it worth it? A business school graduate would say no, but then again when was the last time a business school graduate played "Trinkle Tinkle"?


Related Video

comments powered by Disqus

More Articles

Read Ivo Perelman, Matthew Shipp, and the Buddha walk in to a bar... We Travel the Spaceways Ivo Perelman, Matthew Shipp, and the Buddha walk in to a...
by Mark Corroto
Published: June 8, 2017
Read Pete Mills: The Anatomy Of A Jazz Release We Travel the Spaceways Pete Mills: The Anatomy Of A Jazz Release
by Mark Corroto
Published: January 28, 2014
Read The Dude Abides We Travel the Spaceways The Dude Abides
by Mark Corroto
Published: October 4, 2013
Read Taking stock, a year half over We Travel the Spaceways Taking stock, a year half over
by Mark Corroto
Published: July 20, 2013
Read Art Strike! We Travel the Spaceways Art Strike!
by Mark Corroto
Published: May 22, 2013
Read Jazz: A Blessed Obsession We Travel the Spaceways Jazz: A Blessed Obsession
by Mark Corroto
Published: April 2, 2013

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!