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Probably because in traditional jazz the role of Producer doesn't really apply like it does in more modern genres (R&B, Rock, etc). Producers typically focus n
by maroonblazer 10y ago
Probably because in traditional jazz the role of Producer doesn't really apply like it does in more modern genres (R&B, Rock, etc).
Producers typically focus not on the mechanics and apparatus of the recording process/audio fidelity (that's what the engineer does) but rather are involved in selecting the musicians who play together, what songs they record, how they're arranged, mixed, sometimes even contributing to the writing, etc.
Given that most of those responsibilities don't apply in traditional jazz - Coltrane is going to play with whoever Coltrane wants to play with - and the "mix" is intended to match as closely as possible how it sounds in a real life setting, the role of "producer" (outside of the artist themselves) in most traditional jazz was never really a thing.
- Finnucane 10y agoProducers definitely had a role in the history of jazz--in the early days, Guys like Eddie Condon and Norman Granz did everything you describe--arrange recording dates, including hiring musicians to play, and so on. Nesuhi Ertegun had this role at Atlantic Records for many years and shaped the label's jazz program.
- biggieshellz 10y agoDefinitely not true. There were plenty of producers who were "involved in selecting the musicians who play together, what songs they record, how they're arranged, mixed, sometimes even contributing to the writing, etc." -- Orrin Keepnews, Teo Macero, Alfred Lion, Creed Taylor, Ozzie Cadena, Don Schlitten, and the list goes on and on. A good producer often made the difference between an OK session and a great one (case in point, Sonny Stitt).
- maroonblazer 10y agoFair enough, but then the question becomes did RVG play that same role? My understanding is he didn't, that he focused solely on the recording process and was a 'hired gun' so to speak. Is that not the case?