Somewhere in the mists of recording history, a couple of generations ago (and either Professor Frith or Professor Wall – or someone else ?- will probably know precisely when) we all started to, expect, be in awe of, the album.
These days, when we read one of those tiny seventy-five word accounts of a new release in the mainstream media, we assume that this measly wordcount will be describing, and probably short-changing, betweeen 50 and 75 minutes of music, and at least ten tracks.
Hey Presto. Change those expectations. The new EP by Peter Edwards which Adam Sieff and Tony Platt of JazzLotion subverts all this. It may not be Rock & Roll….but I like it.
Yes, the first thing one notices about the promo EP which I’ve been sent, is, to misquote Magritte :
“This is not an album.”
It’s four pieces. Blues- fast- slow- calypso. It has the kind of musical integrity which, say, Papa Haydn would have approved of. There’s internal cohesion, some sort of completeness here.
The second thing you notice it is that the trio has been VERY well recorded. Great piano, great balance, thoroughly and completely professional.
That’s not just my li’l ears: “I remember mastering a Miles Davis album from analogue tapes to vinyl that was recorded straight to stereo in New York. The sound of the Peter Edwards Trio E.P. is the closest to that I have heard since” – Ray Staff , AIR Mastering.
But this is only part of the story. The JazzLotion team definitely have appetite for more projects like this. From musicians prepared to record as live to stereo tape. There’s some small print which needs inspection if anyone wants to get involved.
Everyone will contribute to make this happen – the artists, studio, engineer and backroom will all contribute their skills and facilities to make and market the recordings, then share in the net income. The artists will own their recordings and rights while agreements are for three years and non-exclusive, allowing the artists to sign and record with whomever they like.
Some people won’t like it. But it looks completely fair, considering that every penny of revenue on a recording is post-dated. In many circumstances this should work for everybody concerned: musicians and studio create the value jointly. And then share in it. Maybe Guy Barker and Stan Tracey will find there way there one day as a duo.The studio is close to Manor House on the Piccadilly Line…
UPDATE: Mark from Snap Studios wrote in :
Snap Studios is the first professional build in London for very many years to combine the best of classic technology with the best of new.
Sure, we have a unique selection of classic analogue recording equipment but this is combined with the latest technology to provide a home for the best new music.
I particularly wanted to make a home for jazz, based around our spendid Bosendorfer piano, great sounding live rooms, splendiferous collection of mics, Hammond, Rhodes, Pearl vibes, vintage guitar and bass amps etc, and the results thus far have justified the investment.