Q: Why start your own label, CornerStoreJazz, after all these years & relative success? A: Control over publishing, availability, production values, artistic vision, etc. Let's face it, internet publishing has changed the entire game and if you can own intellectual property you deem significant / important, why sell it to an intermediary? In the long run of this download generation, one might as
well minimize the strata between artist/creator/owner and one’s customer base -- IF -- you can achieve acceptable, critical mass in the marketplace without major label distribution and advertising muscle. Q: Why didn’t you sell most your self-produced masters to your record labels when you originally signed? A: I literally couldn’t afford it. I always felt like the majority of my self-produced music had a lasting value, and between the understandably low advances offered - which did not even cover my costs - and watching as other serious contemporary artists work was being swiftly removed from print, I generally chose to retain ownership. I can’t count how many times over the years a more experienced artist or music business professional would tell me (in good faith) that I’d never be able to lease my recordings --- and even if I could, it would be a mistake. Well, now, with the digital download reality and the shift to internet marketing, such “naive short sightedness” continues to seem like a sound approach and investment. Shortly, by 2015, nearly all of my back catalog will be once again available via CornerStoreJazz at philhaynes.com, Amazon, I-tunes, CD Baby, etc. After all, it wasn’t as if we -- my efforts + my various record companies -- ever approached market saturation with any of these titles. Time always tells. The perpetual problem is getting your product widely reviewed, advertised, heard, selected and of course then purchased. Certainly, with the right offer from a blue chip label, I would once again long-term lease or perhaps even sell off my self-produced masters. Mostly, that’s a non-issue, as both as artists and leading business owners nearly always choose to collaborate on fresh projects of common vision - and that's entirely a different question. When it comes to recording standards, arranging other composers works, performing with all-star ensembles, etc, it makes sense for both established labels and artists to work together from the outset to create new offerings jointly.