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John Snyder on Record Producing


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I really like how he "got" Creed Taylor & CTI, still, imo, some of the most misunderstood jazz records ever. I've met very few people on either side of the fence who got what Taylor was up to, they like or dislike it without getting the whole thing about artfully constructed settings and contexts. it wasn't just about selling records, it was about creating settings, making "vocal records" with "jazz instrumentalists" (I got this concept handed to me by reading Marc Myers lines to the Wes Verve box, it was one of those lightbulb moments for me). At it's worst, it was horrible, but at its best (or near best), it was brilliantly successful as music and as product alike, and I still maintain that something like Sunflower or Salt Song would still be works of art with or without mass sales success. It's like "concertos" for the soloists, as opposed to blowing sessions, or even working band or project band records.

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So in 1974, Discount Records store on Washington in downtown Boston - Freddie Hubbard browses for an hour or so and eventually asked for the person in charge. My office was in the back and I was summoned to the front counter for what was perceived as a disgruntled customer. When I appear, he hugs me and thanks me profusely. He said we had all the Blue Notes in stock and that was "the real shit and I know you don't make any money with all this inventory".

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