|
"Riffs" Written by: ExiledOne |
|
|
Information You Just Don't Hear Every Day...
|
|
|
|
|
This Vibrations
Issue:
Record Labels and Distribution- Some History
At the Soulful Expression music firm,
the matter of recording is of importance. Often, there are two reasons to
record. One is to document a concert. Another is for reasons of
production. Both are key, indeed, having the masters of what is a final CD
for sale is critical.
Gary Bartz, saxophone legend has made sure,
in US courts and wherever necessary, that he has legal and contractual
control of his recordings. These had to be taken back from large corporate
labels. He established OYO, his label in recent years. He
has this to say about the mentality of too many artists, and what can be
done:
"What we do is religious. It encompasses so many things, but we have yet to empower ourselves. We don’t know how great what we do is yet, a lot of us. So that’s why we seem to keep running back to the plantations, rushing to be a slave. This is the only instance I know of where slaves go voluntarily."
Gary wants to be able to play his
music from the soul, without corporations and their shareholders
interests only, dictating what is to be played and what is not. Based on
whether one is a "good boy or girl", huge labels will release,
distribute an artist's music. And it is not just those known longtime rebels-Nina
Simone, Charles Mingus, Aminata Moseka (Abbey Lincoln), Archie Shepp, James
Brown and Betty Carter who have had to deal with this situation.
Roy Ayers has recorded nearly 90 albums in his four
decades of music. In a 2004 interview he states:
"This will be my first worldwide release. Even when I was with the majors I never had a worldwide release simultaneously....Yeah. Then Germany, France, Holland, then Japan. Everybody's ready for the record. Never in my life has any record company put out a record and released it all over the world at the SAME TIME. Polydor used to release me at different times around the world."
Roy is on a small label, and has seen many
talented performers dropped by the music industry big boys. He speaks on
learning the dirty ropes of the big label distribution business:
"You grow and learn a lot about the industry and what happens behind closed doors over the years. Like what I said to you earlier about the majors having to control… like I won't name the store but I'll tell you what happened. I released an album in 1999 and a major store here in New York ordered 100 records and I took the records to them myself and the week after they ordered 100 more and this continued until I had sold 800 records in this one store in about two months. It was great. Then, the next year I came out with another album and I called up the buyer at that store and I said, "Hey, this is Roy, how ya doin'' and he says, "Fine Roy, how are you," blah blah blah and I said, "I have a new record out now," and he said, "Great, but we have a new policy now; you have to deal with our own distributor," and I said, "Oh but I have my own distributor (me)," well he said, "This is the policy now." Of course I didn't give him any records. I figured it. Youknow what, only a certain number of people are going to go to a store over the period of a year. So when a person goes to the store and they see my record on the shelf and of course the store can keep putting it on 'cause they have plenty of them right, it eliminates someone else's record from being sold. You see? Not only me but other artists were doing the same thing. And I'm sure these major labels said, "Hey look, we've got all these big artists on our labels." So they call the stores and influence what's on the shelves by forcing the independents to go through their distributors. So then, for instance, I send my records to that distributor, say 100 copies, then what happens is the distributor sends the store five copies, right, and therefore the store will sell the five copies whenever they sell them. Then when they call the distributor for some more records the distributor would take their time and send them five more. So what they do is cut down on the continuation of selling a lot of records: the sales volume."
Roy Ayers, interview, M. Rogers
Popmatters
know what, only a certain number of people are
going to go to a store over the period of a year. So when a person goes to
the store and they see my record on the shelf and of course the store can
keep putting it on 'cause they have plenty of them right, it eliminates
someone else's record from being sold. You see? Not only me but other
artists were doing the same thing. And I'm sure these major labels said,
"Hey look, we've got all these big artists on our labels." So
they call the stores and influence what's on the shelves by forcing the
independents to go through their distributors. So then, for instance, I
send my records to that distributor, say 100 copies, then what happens is
the distributor sends the store five copies, right, and therefore the
store will sell the five copies whenever they sell them. Then when they
call the distributor for some more records the distributor would take
their time and send them five more. So what they do is cut down on the
continuation of selling a lot of records: the sales volume."
The artist comes out short in the end. This is
obvious. Talent or no talent, the fix is on.
In the very strange world of corporate
music, you can have Roy Ayers at 63 still touring the globe to be paid,
while corrupt, extremely rich, Lyor Cohen, formerly of Island Def Jam,
has left Warner Music. Cohen is, among other things, named in a
landmark lawsuit filed by 80s stars Eric B. & Rakim, who have not been
paid one cent for their 1986 "Paid In Full" record.
Antonio 'LA'
Reid, who lost $100 million dollars at Arista promoting acts like Outkast,
Pink and Avril Lavigne is making steps to be the next Island Def Jam head.
Where is all the money going? What does
it take to be paid as an actual artist?
Didn't African American artists begin to gain
their rights, and huge pay years ago?
The Route To Independence:
Black Swan
There is a history of African people in the US
battling for economic and cultural autonomy, or at least a more independent
recording and distribution system.
Black Swan was one of the attempts by African
people in America to bring the dollars and some of the real music home.
It should be noted that African people in the US today have no Motown or the
equivalent. Herbie Hancock and others who have continued to play in public
and who have their own labels have been forced to this point. Blue
Note and its divisions have vaults that contain outtakes, partial
recordings and masters to which the artists don't have legal rights.
This will
just be that much more gold shining in capitalist eyes. Americans, Japanese
and other races are getting rich, and have been getting rich for decades, on the
backs of African "American" artists, dead and alive.
In the 1920s, Black Swan Records took the, then
emerging, system that reigns today to task.
Though the vision may have been one of carving a
capitalist piece of the pie for a select few African people, the thrust was
what made a crucial difference at the beginning of this nightmare that we are now
living through.
Before radio, or the
wireless of the 1914-1919
era, phonographs, record players were high tech but affordable ways for
African people to listen to music on the shellac records then out. But the
mass producers, the Fords of the product, like Victor and Columbia, resisted
pressure from Black people to have Black artists in their catalogues, and make the
music or speaking records available.
By 14 February 1920 composer Perry Bradford
had convinced Okeh Records to get Mamie Smith into the studio. They, then released
the, now famous, "Crazy Blues". Threats were made to Okeh about recording
'colored girls' and Perry was insulted and mocked. This record, though
not the first 'jazz' recording, sold 8,000 records a month for several
months. Six years later, Victoria Spivey's Black Snake Blues sold 150,000 in
one year.
Harry Pace, leading a partnership with WC
Handy, 'Father of the Blues', WEB Dubois and others studying Latin, Greek , "racial uplift", insurance and
banking - the upper
class militancy of the time, formed Black Swan Records. Harry had written,
as had WC, Blues and vaudeville and even European classical like tunes, and
were denied from publishing it by racists. When they brought forward soulful
African women of great ability, they were told that it would be a scandal to
record them. Bombs were found in the Black Swan building. No publisher
would work with Harry Pace.
Plans were made for Black Swan to record all
kinds of Black music, from Spirituals, Gospel, Blues (women at the
time), Jazz, choirs, dance music, comic songs and even Opera and
European classical artists. It would all be accomplished and a strong
race-first image and marketing scheme succeeded. Despite an early
decision not to record Bessie Smith, Black Swan was out of the blocks with a
blast. Soon, dozens of African people were employed in its offices in
Harlem, from technicians, secretaries, singers, musicians, hauling
companies, printers and janitors.
From 1921 to 1924, Black Swan engaged in a
fierce battle with the then cutting edge companies and technical innovations
in consumers receiving music. Though in the heart of New York City,
White rage at his moves meant sending record masters to Wisconsin to begin
pressing. Four hundred thousand (400,000) records, including those recorded
by star Blues singer Ethel Waters; from
Chester, Pennsylvania ("Oh Daddy, Down Home Blues") helped sales grow
rapidly. A Georgia native, like Pace, Fletcher Henderson came on board
as pianist and house arranger. William Grant Still, a Europe-wide famous
player of saxophone, banjo, violin and oboe, arranged and staffed a group of
notable musicians. During its fourth year, Harry Pace would be forced
to state that the Black Swan back catalogue was to become available through
Paramount Records. Black Swan started to be undercapitalized. A
$110,000 Pace Phonograph Company was established. The decision to purchase a
Long island, NY pressing plant with a White man named John Fletcher was
expensive also.
In the thick of it's success, in 1921, Black
Swan had Ethel Waters and her Black Swan Jazzmen touring 53 cities and towns
from the US from St. Louis eastward, playing to packed halls of new fans.
Although some musicians balked at traveling south into the segregated US
South, they were replaced. The tour moved on, selling out venues in
Arkansas, New Orleans, Wilmington, North Carolina and Savannah, Georgia.
Record sales were booming. As many as 6000 records were being produced for
sale each day. The peerless Louis Armstrong stepped out of one 
concert
hall's shadows and on to the stage, to give his trumpet's worth of
encouragement. Even in the Philippine Islands there were people pushing
Black Swan records. The White press censored Black Swan, but Harry Pace was
ahead on that too-printing and posting the why and wherefore of African
people buying African people's products and services. "The key New York Age"
and "The Chicago Defender" as well as other newspapers owned by Africans promoted
Black Swan. Another Harlem based mind, Marcus Garvey, was not a
friend, but doubtless an influence. Others, like A. Philip
Randolph and Chandler Owen, socialists, were supportive.
concert
hall's shadows and on to the stage, to give his trumpet's worth of
encouragement. Even in the Philippine Islands there were people pushing
Black Swan records. The White press censored Black Swan, but Harry Pace was
ahead on that too-printing and posting the why and wherefore of African
people buying African people's products and services. "The key New York Age"
and "The Chicago Defender" as well as other newspapers owned by Africans promoted
Black Swan. Another Harlem based mind, Marcus Garvey, was not a
friend, but doubtless an influence. Others, like A. Philip
Randolph and Chandler Owen, socialists, were supportive.
Cracks were found in the base of Black Swan when
Harry Pace began to secretly use White musicians on recordings. The
Original Memphis Five were one group.
Why? What happened?
The White musicians were actually getting to
have their records sold by a winner in this economic fight! Harry Pace
didn't resist the chance to make more money. There were other reasons.
The larger, more financially sound
labels in the industry were solemnly digging in their heels to smash Black
Swan. Any capitalist knows that a cheaper paid employee brings a
higher payday for the boss. The North was just beginning to receive its wave
of African refugees from the US South. For a time Victor and the giants of
the new medium had gotten away with using Whites slurring and faking the
dialogue and singing of African people on Blues and vaudeville numbers. It
should be noted that throughout the US Whites were a century into wearing
black paint on their faces to mimic African people in theaters and halls
where they could not even perform, much less enter as customers.
The pool of authentic African American women, such as Ethel Waters, to
sing their own Blues, for instance, was quickly drying up.
Victor and the goliaths fought back-by hiring
African artists at a lower fee than Black Swan. People could see who
was financially solvent for the long run. They could get more work, but had
to be less creative. Some were ready to leave Harry Pace and 
Black Swan for the deception of hiring White musicians and recording them. Adelaide
Hall, and eventually, Ethel Waters, Duke Ellington, Jimmy Lunceford, Louis
Armstrong and many others then had to play for Mafia clubs like Al
Capone's. Many people left the US, and increased the cafes and clubs being
established, such as Montmarte in Paris. Europe was an option, but
the women, especially had to perform as 'jungle sexpots' in France, where
many people could get work. They were exploited by industry
racists like American Lew Leslie, producer of Blackbirds of 1928, and all
kinds of parodies of plantations, river boats and happy, near naked women slaves
and laughing men servants.
Black Swan for the deception of hiring White musicians and recording them. Adelaide
Hall, and eventually, Ethel Waters, Duke Ellington, Jimmy Lunceford, Louis
Armstrong and many others then had to play for Mafia clubs like Al
Capone's. Many people left the US, and increased the cafes and clubs being
established, such as Montmarte in Paris. Europe was an option, but
the women, especially had to perform as 'jungle sexpots' in France, where
many people could get work. They were exploited by industry
racists like American Lew Leslie, producer of Blackbirds of 1928, and all
kinds of parodies of plantations, river boats and happy, near naked women slaves
and laughing men servants.
In the early twenties, Victor, Gennett,
Brunswick and others set into motion a crushing wave of advertisement,
much of it more racist and demeaning. They had another reason to halt
Black Swan and it's aims. Radio was beginning to bloom, and the numerous
stations playing records meant royalties would flow like honey. Getting
Black Swan out of the way, and discouraging other little Black Swans from
gaining a foothold was a mission. This upstrat had even had the nerve to
begin factory production of the Swanola, a version of the famed Victrola. There
were models named after lionized Paul Laurence Dunbar and the hero of
Haitian liberation, Toussaint L'Overture
Unfortunately, Harry Pace, by 1924, was out of
his league and caught between his political ideals to aid Africans and an
understanding of the pernicious racism inherent in capitalism. His Long
island base was in the process of upgrading to 7000 records produced daily when
this avalanche of misfortune hit. Paramount Records was waiting, and
took the Black Swan catalogue after Black Swan declared bankruptcy in
December, 1923.
The corporations moved in swiftly and trained
African musicians to accept many indignities and limit their scope of
creative artistry. The Black newspapers that had appeared to be Black
Swan's friends then began to accept the sizable corporate payouts for
advertising White labels pushing African or White musicians. The papers,
addicted to the ad money, never looked back. Through radio and the huge
White press power, any thought of African people in America taking their own
destiny in their hands culturally and economically, was dealt a powerful blow. African
people in the United States attempting to control the business and capacity
to define their own music would not be a serious issue for
35-50 years in the future.
A Picture of Harlem Today
In Harlem, New York City, there is the core of
modern culture and politics for African people in America. It is a place
that no one born of the generations can deny changed their perspective of
themselves and of the country called America.
The Apollo theater, the Schomburg
Museum and the countless corners upon which legends stood are part of
the history. From here, self educated women and men spoke and sought
out the common peoples' respect and dignified approval. As in
traditional Africa, the idea had survived that the individual was less
important than the collective.
But Harlem today is not what it once was. Former
US president Bill Clinton's office, Starbucks, Old Navy and HMV are on
the scene. History is fading, though the street signs say Malcolm X,
Frederick Douglass and buildings are named after music's
pantheon-Ellington, Armstrong, Anderson....
In Harlem, separated by Central Park from Fifth
Avenue and the corporate hub of the US, is where 'classic jazz artists and
rap stars' can be showcased at HMV ("His
Master's Voice" - related to the old RCA logo: dog
listening to the Victrola) and 
wipes out the chance of traditional Black
music stores to compete. These 'stars' are corporate owned, controlled and
told what to say, sing and how, and of course, when. Customer loyalty,
customer service means nothing in HMV. Any of these large global chains
are the same. In Paris, it mattered little that this writer spoke
no French at Virgin Records. No one on staff said a word to me as I
made the purchase, and an hour search and selection of a gift was
uninterrupted by employees who stocked the racks and spoke only to each
other and never any of us customers. Harlem, once the heart of Soul Blues
and Jazz, the proving ground, has been made into just another franchise base
for the sameness of whatever the corporations are pumping out that week.
wipes out the chance of traditional Black
music stores to compete. These 'stars' are corporate owned, controlled and
told what to say, sing and how, and of course, when. Customer loyalty,
customer service means nothing in HMV. Any of these large global chains
are the same. In Paris, it mattered little that this writer spoke
no French at Virgin Records. No one on staff said a word to me as I
made the purchase, and an hour search and selection of a gift was
uninterrupted by employees who stocked the racks and spoke only to each
other and never any of us customers. Harlem, once the heart of Soul Blues
and Jazz, the proving ground, has been made into just another franchise base
for the sameness of whatever the corporations are pumping out that week.
The old Black owned stores stocked Black
music, (until the 1980s in America) the records African people wanted and
could not get in the large White owned, usually all White staffed and White
selection music stores. You knew your store owner-she worked there. She or
he might order something especially for you. A musical background was
likely the reason that they were in business. They sold concert
tickets, and might even be a sponsor or MC for a show.
The person running the store might even be
a musician!
Looking Ahead
It is apparent that there is no way forward for
African people from America and their music without a lesson from the past,
blended with innovative strategy. Billions of dollars are spent and
reaped by the big six recording conglomerates. Marketing and
controlling the computerized diluted stuff that corporations call music has
to end.
For all the talk of fair trade with the non-Western
world, there is a need to support and put into place cultural workers at the
center of African so called American art forms.
While downloading music has opened people's eyes
to the richness of these deep treasures, too many have the idea that it is
there for their theft. Or since it is exploited, the musicians are and have
been, they can continue this trend. What does that say about young people in
the West?
What has kept the music alive the greatest,
most influential music of the last century and a half has been created
by Africans in America has been the genius of improvisation - of a nation.
Not the American empire.
Soul, Blues and Jazz are not American.
African people in America developed and continue
to develop unique gifts to the world-but these gifts must be respected.
As WEB Dubois said:
"...until the art of the black folk compels recognition, they will not be rated as human."
An educator, professional musician and
visionary, Aisha and her Soulful
Expression make this clear.
The music and the musicians have become Americanized.
The public, knowing better, or not, have got to make a stand and become
informed. In the end, they are otherwise being shortchanged. And dragged
into a corporate trap.
All the lessons are before us for a new millennium
of reclaiming and celebrating the real culture!
ExiledOne
for Vibrations Magazine Magazine of The Soulful Expression
13 March 2004
for Vibrations Magazine Magazine of The Soulful Expression
13 March 2004
Glasgow, Scotland
