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SV: I have to admit, it's been a bit of a scramble, and we're still scrambling. Because of the 60th anniversary campaign we're more busy. My background is, I'm very pro marketing, so I really want to make sure that the message and the story of whatever I'm working with gets out there. We've been fortunate enough to come to an agreement with our friends at Bulova, who have the watches and fine timepieces. Well it just so happens they have a Savoy line. We had the presence of mind to call our new mid-price line timeless. The 60th anniversary campaign will have us giving away Bulova watches, on our website, on partner websites, and through a partnership with a retailer, we'll be able to announce in about a week. It's going to be probably one of the largest, if not the largest, jazz marketing campaigns that folks have seen, perhaps ever.
We like to do the kinds of things where we draw in other people. Bulova will be using our music in their radio and TV spots. We'll be creating a custom sampler that their retailers will be giving away when watches are purchased for the fourth quarter. Then we'll have their watches to give away in sweepstakes on the more traditional music side. So, I think it's going to be a fabulous campaign. It's going to help get the word out and create excitement for Savoy this fall.
AAJ: You're a jazz fan, beyond just the business side?
SV: Oh, yeah. You really have to be. Given how difficult the music business is right now, you have to have a genuine love for it to deal with the challenges we're all facing.
AAJ: The reissues are actually doing better than new music that comes out. Do you see that to be true and are your sales going OK?
SV: Yeah, the sales are doing fine. We're right on track to where I thought I would be. I spent a lot of time looking at the charts and doing the math. Last year on the traditional jazz chart, even with Dianna Krall there, 50 percent of the units that were sold were from legacy artists. The reissue business is still very vibrant. Those great artists that have left us classic recordings continue to sell. So I think there is some element of selling these recordings over to the same people because of new packages and new technology that has been used in the transfers. I think, though, a lot of people were influenced by the Ken Burns special [Jazz, the PBS miniseries] and we have new jazz collectors out there in the last year or so that we didn't have before. That's extremely healthy and that's very good.
AAJ: The technology sounds really good.
SV: We always go back to the original acetates, or the original masters, and we're using the best that we feel is available today to get those transfers done. It's amazing that those acetates are still in as good a condition as they are. Eventually, they are going to wear out, even though we play them maybe once or twice a year to do a new transfer for a product. So it's really important to use the best digital technology that we can use. We want to put as little stress on those original parts, those acetates and masters, as we possibly can.
AAJ: You've got even more in the vaults to reissue?
SV: Oh yeah. [laughter]. We've got ideas. It's kind of fun when you dig into this stuff. I thought I knew a fair amount about Savoy, but as you peel back and you look at some of the combinations on certain dates where guys it's happenstance where somebody would show up in the studio the night they were making a record. You have Mingus on some sessions. Charlie Parker wanted Miles Davis on some of his early sessions because Dizzy wasn't available. He had the presence of mind to see this young 19-year-old Miles Davis and want this kid on his sessions. It's just amazing.
So I think our challenge is to try and put collections together that will pique people's interests and give them a new viewpoint on a certain aspect of the recording of the big catalog of Savoy. Where you take a slice of it and say, "These people working together there was some magic here. Something really interesting." And we've collected together on a single disc so you can experience the work of these artists together in a freeze frame. It's a lot of fun to go in and look at what the permutations are of those kind of combinations.
AAJ: Do you think jazz in general not just Savoy can get more of the market?
SV: I think it has. People like Dianna Krall help. People like Jane Monheit help. What Sony has done with Miles to keep that catalog fairly active in retail and really in people's minds. Working on all those levels, I think jazz is really holding its own right now, given what's been going on in the industry. In fact, jazz was one of the few categories on Soundscan last year that had an increase in sales. In a year when the overall industry was down 10 to 12 percent, with jazz being up 6 percent, that's a helluva statement. Part of it is our demographic: these are adults, they're less fad driven, they have disposable income, they're not burning and copying CDs at home.
That's all fine. That's allowed to help us. I feel pretty positive about jazz and some of the other adult music formats being able to not only hold on to the market share, but increase. Then every so often you'll have that artist that's a lightning strike where millions of records are sold. Or there's a movie where jazz music is used as a background and it becomes a phenomenon, and people refocus on it. Those are the kinds of things you hope for, because as more people purchase their first jazz record through that kind of a situation, you're hoping you can lead them to sample and experience other things.
Dianna Krall buyers I'm hoping are experimenting with Ella Fitzgerald and Sarah Vaughan. And I hope they buy a Miles Davis record and a Coltrane record. The Coltrane stuff with Johnny Hartman, those great sides with all those ballads. That's a record that if you like Dianna Krall and you've gotten next to what she's doing, that's a record you've got to hear. From there, you can get led into Hartman's other work, Coltrane's other work. The paths lead everywhere once you break through the forest and get to a point where you've had one good listening experience and you start asking, "Is there anything else out there like this?" Once that process starts' We have demographics working for us where we have a large adult audience that will continue to grow over the next 10 years.
That's good news, because as people mature, they're less interested in hard rock or rap, but they still love music, music is still a part of their lives. They're a candidate for us to go get them.
I love jazz because I hear musicians being in the now, creating on the spot.
I was first exposed to jazz by my father. He doesn't play (though he has dabbled with piano in the past), but apparently jazz runs in the family blood
I love jazz because I hear musicians being in the now, creating on the spot.
I was first exposed to jazz by my father. He doesn't play (though he has dabbled with piano in the past), but apparently jazz runs in the family blood. My grandfather, a professional jazz pianist, once accompanied Judy Garland when she strolled into the Chicago hotel where he played; one of the songs they performed was, of course, Somewhere Over the Rainbow. I never got to hear my grandfather play, because he gave up the life when he moved to California, when my dad was still in high school. However, my grandpa remains an inspiration, so I wrote an arrangement of Somewhere in Latin Jazz style, and dedicated to my father and to the memory of my grandfather.
The first jazz record I bought was McCoy Tyner, Dimensions. McCoy is a great influence on my piano playing to this day.
My advice to new listeners is, have an open mind; let the music develop, let the artists take you on a journey. Jazz is human, personal, and carries great immediacy. In an age where technology replaces the human element in much art, jazz in general is all about the performance. Even in recording, it is a moment of spontaneity frozen in time. So support live music, support live jazz! Keep us human in the modern world.