I remember the time Clive Davis was fired. I had a large financial report going to him that day (with my name on it .. from me to him). We quickly just reissued the report to Irwin Segelstein. I then went on to work in CBS Record Market Research and had a wonderful 7 years under Jerry Shulman, Joan Griewank, Jack Craig and Paul Smith. My big mistake was moving to CBS Records International. Worse job of my career .. but I traveled to Europe a lot ... for no good reason.
Thanks for reading this, Harvey. Depending on one's situation at the time, traveling to "Europe a lot, for no good reason" could have been great, because that CBS Records Amex card opened all kinds of doors!
The consensus of jazzbos was that it was the art hating ogre Clive Davis who spearheaded the purge so thanks for setting that record straight. But while it may not have been a day, and may not have been the worst day (since it wasn’t even a day). it still was a pretty shitty maneuver both for Columbia’s reputation and future revenue. As Gioia points out, the artists cut from the roster went off to thrive under more nurturing homes. And while Ornette Coleman never hit the sales numbers of, say, Molly Hatchet, whose back catalog is referenced more?
It was also a symbolic middle finger from the American record industry to jazz in general. A stance that is in effect more than ever. On the plus side it did open the flood gates to small independent, mostly European, labels to record and distribute gems that the majors wouldn’t touch back in 1973 and independent labels on both sides of the pond are too numerous to keep up with these days.
And so I don't understand your point. Record companies don't have symbolic middle fingers. The artists were liberated to pursue their muses, to do great work. And I knew Clive Davis quite well in his Arista years. He is not an "art-hating ogre." He is a businessman who also sought prestige. He needed Barry Manilow to sell millions so he could afford to sign Patti Smith, who would not; he had Kenny G selling tons so he could afford to sign Anthony Braxton. Signing Anthony Braxton to a major label was an almost irrational decision when you think about it, if your only interest is making money. And Columbia was making a fortune off Herbie Hancock, Weather Report, and other fusioneers. Miles Davis was free to continue his experiments at Columbia. And so long underpaid jazz musicians made excellent money for the first time in long careers. It wasn't my preferred music, but that's what these guys wanted to play. CBS Records (now Sony Music) should not be confused with the Smithsonian.
I am enjoying. Easy on the defense, my friend. My points were:
-Jazzbos have a one dimensional view of Clive Davis. Yes he signed Braxton and he also distributed the great Freedom record ,specifically their more avant- offerings from Art Ensemble, Julius Hemphill, etc
-The jazz purge, such as it was, was a crummy maneuver in the long run and it marked the beginning of the end for prestige acts-acts a label was proud to have on their label that sold poorly.
-Of course record companies have symbolic middle fingers. They are not equal opportunity employers. Who they sign and who they drop define a label’s attitude to forms of music.
I remember the time Clive Davis was fired. I had a large financial report going to him that day (with my name on it .. from me to him). We quickly just reissued the report to Irwin Segelstein. I then went on to work in CBS Record Market Research and had a wonderful 7 years under Jerry Shulman, Joan Griewank, Jack Craig and Paul Smith. My big mistake was moving to CBS Records International. Worse job of my career .. but I traveled to Europe a lot ... for no good reason.
Thanks for reading this, Harvey. Depending on one's situation at the time, traveling to "Europe a lot, for no good reason" could have been great, because that CBS Records Amex card opened all kinds of doors!
The consensus of jazzbos was that it was the art hating ogre Clive Davis who spearheaded the purge so thanks for setting that record straight. But while it may not have been a day, and may not have been the worst day (since it wasn’t even a day). it still was a pretty shitty maneuver both for Columbia’s reputation and future revenue. As Gioia points out, the artists cut from the roster went off to thrive under more nurturing homes. And while Ornette Coleman never hit the sales numbers of, say, Molly Hatchet, whose back catalog is referenced more?
It was also a symbolic middle finger from the American record industry to jazz in general. A stance that is in effect more than ever. On the plus side it did open the flood gates to small independent, mostly European, labels to record and distribute gems that the majors wouldn’t touch back in 1973 and independent labels on both sides of the pond are too numerous to keep up with these days.
And so I don't understand your point. Record companies don't have symbolic middle fingers. The artists were liberated to pursue their muses, to do great work. And I knew Clive Davis quite well in his Arista years. He is not an "art-hating ogre." He is a businessman who also sought prestige. He needed Barry Manilow to sell millions so he could afford to sign Patti Smith, who would not; he had Kenny G selling tons so he could afford to sign Anthony Braxton. Signing Anthony Braxton to a major label was an almost irrational decision when you think about it, if your only interest is making money. And Columbia was making a fortune off Herbie Hancock, Weather Report, and other fusioneers. Miles Davis was free to continue his experiments at Columbia. And so long underpaid jazz musicians made excellent money for the first time in long careers. It wasn't my preferred music, but that's what these guys wanted to play. CBS Records (now Sony Music) should not be confused with the Smithsonian.
I am enjoying. Easy on the defense, my friend. My points were:
-Jazzbos have a one dimensional view of Clive Davis. Yes he signed Braxton and he also distributed the great Freedom record ,specifically their more avant- offerings from Art Ensemble, Julius Hemphill, etc
-The jazz purge, such as it was, was a crummy maneuver in the long run and it marked the beginning of the end for prestige acts-acts a label was proud to have on their label that sold poorly.
-Of course record companies have symbolic middle fingers. They are not equal opportunity employers. Who they sign and who they drop define a label’s attitude to forms of music.
Much love to you, as ever.
Aside from that, how you doing, Bill? Hope you're enjoying Critical Conditions!