![]() Every aspect of the date was carefully thought through, from the palindromic sequencing of compositions and improvisations and video by filmmaker Mimi Chakarova to the stylish packaging. She developed the concept in collaboration with a longtime ally, producer David Breskin, whose involvement has been crucial. That’s how I’ve been able to create these large-scale projects and have such nice video, nice packaging for Duopoly and also Diatom Ribbons.ĭavis elaborates: “He also runs The Shifting Foundation, which has supported probably my last four or five CDs. He’s been part of that as well.”Īs a result of such support Davis has been able to enlist further assistance. I’ve hired a couple of people to help, a young saxophonist David Leon and also Rob Martino who’s a drummer. Then I have a web person up in Toronto and Stephanie Jones is writing all the liner notes and Ann Braithwaite is doing all the press. Part of that is we have an Artistic Board with Terri Lyne Carrington, Rio Sakairi from The Jazz Gallery and also David Breskin. We’re trying to aim for five to six recordings now per year, that’s the goal for 20.” So between the four of us we decide who we will put out on the label each year. When initiating Pyroclastic, Davis benefitted from John Zorn’s experience with Tzadik and was able to discern a potentially workable model based on setting up the label as a non-profit. As well as the Artistic Board there is also a Board of Directors, which brings together individuals with an interest in the music. ![]() “Through their donations we are able to support artists with the infrastructure of hiring a publicist, printing CDs and getting them a bit of money to record and do the artwork and everything.
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