James Farber is a Grammy Award winning recording and mixing engineer. He started his career in the mid 1970s working at the legendary Power Station studio in New York (now the site of Avatar Studios). After a stint working with Nile Rogers, he went out on his own as a freelance engineer in the 1980s. Since then, he's been one of the most highly respected and in demand engineers in New York, specializing in jazz and improvised music. Although he's made hundreds of records for notable jazz artists, some of longest standing relationships have been with Joe Lovano, Brad Mehldau, John Scofield, Dave Holland, Joshua Redman, and the late Michael Brecker.
Here he talks about getting started in the record business, the aesthetic and professional choices he makes, the evolution of recording technology, and much more.
Jazz trumpeter Tatum Greenblatt knew what he wanted to do from the first moment he heard the sound of Freddie Hubbard playing on the “Ugetsu” album by Art Blakey’s Jazz Messengers, when he was just a boy. Here he talks about growing up in a jazz house, his early musical mentors, and his general philosophy about professionalism in music.
I’ve said it before and I’ll probably say it a few more times: Tatum is one sharp dressed cat. www.tatumgreenblatt.com
Stream above or download it from iTunes.
Matt Pierson is a record producer, and for many years he was a record executive. He started at Blue Note records, and then was in charge of jazz at Warner Bros for over a decade. That tenure ended in the early 2000s, and subsequently he has emerged as one of the few successful independent jazz record producers around.
As the record business changed in the early 2000s, Matt left his job at a label and ultimately became an independent producer. I was particularly interested to talk with him about how he sees the roll of the producer in the new DIY universe of crowd funding and direct-to-fan marketing. Not surprisingly, he has a lot of ideas about the business today. His personal experience (starting out as a musician, working in record stores, moving to New York and working at Blue Note Records, eventually running Warner Bros jazz, leaving and starting over in a new way) also tells a larger story of what happened to the business of jazz, and in telling it, he delivered some real gems. www.mattpierson.net
