Saturday, December 30, 2017
The New York City Jazz Record (Best of 2017)
It was terrific seeing both Sopranoville and Magic Circle included in The New York City Jazz Record (Best of 2017) list.
The folks at NYCJR have always been very supportive of what I do; I've always been very appreciative, too. I remember the days when I could not get writers to even recognize that I no longer played the tenor and was now self-identifying as a soprano player. I still remember doing a gig as a soprano player in the late 90s and the title of the review in The New York Times was "Tenor Saxophonist Probing in the Shadows." At the time I took it as the writer saying, "You might now call yourself a soprano saxophonist, but you will ALWAYS be a tenor saxophonist to ME! But I was patient and they eventually came around.
Also, big congrats to the many great musicians also included. As you know, today's music scene is very saturated, so getting noticed is even more of a feat. When I first came on the scene back in the 90s, recognition did not necessarily go to those making the most exciting music. Often times, it was about the artists whose CDs record companies were throwing the most money at. During the era of the Record Company Industrial Complex, it was all about outspending your competitors. There was no way a DIY artist could compete with Columbia/Sony, Warner Brothers, and RCA, and Blue Note. These were the head honchos during my youth. Fortunately, they don't yield the same power these days. Thank god for Shawn Fanning and Sean Parker, the Napster guys who first threw the grenades of opportunity into their monopoly.
But I'm glad we're living in this more democratic society, where the power belongs not just to those with the deepest pockets, but those with the ability to create excitement about their music, often through vision, courage, and persistence.
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