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Resonance Records: Non-Profit Jazz Label with a Mission
by Samuel Chell
It's a story often heard before: musically, these are the best and worst of times. Only this time, in 2010, it seems different. Even as the pool of fresh talent expands, jazz continues to witness a dearth of venues along with the slump in CD sales. Uncounted numbers of talented musicians, young and otherwise, are reduced ...
Nuscope Recordings
by Marc Medwin
"At this point, I prefer space and beauty over noise and volume," says Nuscope Recordings producer and frontman Russell Summers. It's a bold statement, considering that much of what is called free improvisation is modeled on the “fire music" of the '60s. “Don't get me wrong," Russell is quick to add, “There was a time in ...
Sackville: 40 Plus Years of Great Jazz
by Ken Dryden
Although involved in jazz for decades, John Norris never envisioned a jazz career. During a recent interview, he recalled, “I discovered jazz in 1951, it was just a hobby." While working in London, he started a jazz club within Shell Oil. He relocated to Montreal in 1956 and moved to Toronto in 1957. “Every Wednesday night, ...
Innova Recordings
by Kurt Gottschalk
That the record industry is in trouble is hardly, as the 21st Century nears 10% completion, a revelation. Sales are down, labels are closing and industry-wide people are scrabbling for new business plans, new means of distribution and any way to stay afloat. Cost-sharing models, once considered as anathema to the making of art as “pay ...
FMP Records: A Snapshot of German Jazz History
by Clifford Allen
Much like in the United States, the jazz revolution in Europe was at the hands of not only a group of very forward thinking musicians, but also some incredibly vanguard record labels. One crucial difference, however, is that in Europe, some of the most important labels were collectives partly instituted by the musicians themselves, as well ...
Your Favourite Jazz Records: No Rules in Jazz
by Jakob Baekgaard
In the late 2000s, Danish jazz is experiencing something of a renaissance. The fertile milieu around Copenhagen's Rhythmic Music Conservatory has helped to create a network of connections that is making it possible for musicians to control their art and release their music on self-owned labels. A perfect example of this new movement is the small ...
Konnex Records
by Celeste Sunderland
One night in the early '70s, saxophonist Trevor Watts and drummer John Stevens were playing a concert in West Berlin. After the show, a tall, elegant, German man by the name of Manfred Schiek asked if he could buy one of their records. But they didn't have one. “There was an oil crisis at the time ...
Incus Records
by Kurt Gottschalk
Record labels are, in essence, an outlet, a means for production. They are not the paint or the painter but merely the paint factory. They aren't the music, just the medium of delivery. But the good ones are more than that. They engender emotional attachment. They come to represent their times. The orange and ...
New Artists Records
by Marc Medwin
"We prize individuality," states pianist Connie Crothers emphatically of New Artists Records. “It's an integral part of our label identity and we have always safeguarded the individuality of each musician." New Artists being a cooperative, such a statement may contain an element of contradiction, but it stands at the heart of a label that ...
Sunjump: Archaeology of the Present
by Jakob Baekgaard
In a time when the music business, as many other other branches of commerce, is in crisis, it has become increasingly relevant to ask what needs to be done in order to save record labels. While the major companies retreat to protective copyright thinking and unimaginative repacking of archive material, a new host of independent labels ...
