Production Junction

  A few years ago I had the idea to take a look at the issue of jazz record producers. I made some calls, attended sessions, and wrote several drafts of a big-picture piece. It sat a while, because it was an inside story written for an outside perspective. I just couldn’t make it compelling for a general-interest readership. 

Good thing we still have jazz magazines. This month an updated version of the piece appears in Down Beat; here’s the digital edition, for all you non-subscribers. I was happy DB decided to run it, as my byline hasn’t been in those pages since early in the last decade. 

I’d be curious to hear thoughts on the piece. My inbox this morning included a note from Marco Valente at the Italian jazz label Auand Records; I won’t quote from it here, because it may be going into the next DB. But the basic point was a philosophical alignment with the Pujol school of producing (or non-producing), rather than the Eicher school. (If those names make no sense to you, read the piece, Jack.)  

So what do you think, jazz internets? Is there still a role for the conventional jazz producer? Or have the artists themselves -- like Christian Scott, above -- more than picked up the slack? 

Comments

[Nate Chinen]

Hi Matt,

Pardon the long delay; I was swallowed by deadlines and couldn't fathom a response until now. I'm glad you weighed in here, and I agree wholeheartedly with your assertion that a producer can ideally sharpen the artist's vision, and help translate it into the language of a recording. (I'm paraphrasing, obvs.)

I hope the DB article made it clear that I value the work of the few dedicated producers who have made an impact in recent years. What interested me, though, and in some ways motivated the piece, was the general notion that jazz musicians of today are far more studio- and production-literate than their predecessors were. I spoke on the phone just today with Rudy Van Gelder, who recorded Christian Scott's new one; I'd say that in that case, the mix of old and new recording philosophies worked beautifully.

There'll be more on this subject here soon. Next Sunday brings a piece on Brad Mehldau's new record, produced by Jon Brion. Some of the key points in your comment -- about the "different art form" of recording, for instance -- appear in my interview notes, via Brion. Of course, given your deep history with Brad, I'd love to hear what you have to say about that new disc.

Nate

[Matt Pierson]

Hey Nate,

I really enjoyed your article.

Considering that I am a record producer, I'm running the risk of sounding self-serving or defensive by writing. But here goes:

The basic role of the producer is to assist the artist in realizing his/her vision, on a prescribed budget and within a reasonable time frame. Depending on the project, this role's responsibilities can differ greatly - or at least they should.

You state that the fact that many albums "work without such intervention bodes well for the future of the music." Sure, many recent self-produced jazz projects stand as fine recordings, but it's difficult not to think that the involvement of another creative person, in initial conception and pre-production, during the sessions, and for the mixing/mastering process, could assist in better documenting the artist's vision.

In addition, just because an artist can take on many of the production duties doesn't mean that he/she should. Sure, some jazz artists are fine producers, but many would be better off spending their time and efforts focusing on honing their craft as players and composers, creating music that will be singular and lasting.

The issue at hand is which potential producer (if any) would be the right match for the artist and is there a practical way for them to work together on a business level.

When a producer works for or owns a label, it's usually an easier call. Hopefully, the artist signed with the label because a creative connection was made, and the record making process is an opportunity to take advantage of that connection. Of course, the in-house producer generally doesn't get paid an advance, so it doesn't directly affect the artist's recording budget (keeping in mind that the producer almost always earns a royalty that reduces the artist's potential future earnings).

Although an outside producer costs some money up front (usually an advance against royalties), the right producer can not only effectively maximize a limited budget but can assist in creating a recording that communicates the artist's vision in a way that is more, dare I say, accessible. (Sorry to bring this up, but in an ideal world, these things generate revenue and earn that budget back, working towards building an ongoing audience for the artist’s music.)

Finally, implying that jazz is "live music" that doesn't necessarily require the input of a producer gives a wrong impression. Too many jazz artists lose sight of the fact that recording is a completely different art form than live performance, and should be treated that way.

Best,

Matt Pierson

[Skip Norris]

Nate,

Good piece, however I'm surprised you didn't solicit the opinions of these veteran record producers:
Al Pryor, Mack Avenue Records
Billy Banks, Jazz at Lincoln Center
Matt Pierson, formerly at Warner Bros
Brian Bacchus, formerly Verve Records
Eulis Cathay, formerly Verve Records.

all of these men are 20 year industry veterans....

Just a thought.....