The ENI guys tend to look at the whole label and the bottom line credit/debit total, and, if the imprint is making money, leave it pretty much alone. They don't want to go to the trouble and expense of restrucuring a company unless that company is losing money but can be saved. The very worst that can happen is the label being told to cut back on signing instrumental artists and focus more on vocalists. But I'm pretty sure that the lost cost/decent profits/sheer amount of titles advantages that are Blue Note means that the label is run by Blue Note with relatively little intereference fr EMI, just cuz they can make money without having to spend a ton. sh http://www.skipheller.com (the new and improved website) on 2/25/03 1:14 PM, Ken Waxman at mingusaum@yahoo.ca wrote:
Yeah, Skip:
But Norah Jones success may do just the opposite of what you hope. More reissues, maybe -- they don't cost very much in 2003 dollars.
But can't you see some Capitol-EMI honchos sitting around with a blance sheet and saying:
"Who is this Lovano guy and that Moran. They didn't sell shit compared to that Norah broad. Get rid of those $%&^% instrumentalists and sign soem more divas fast."
Similiar things have happened on other labels.
Ken Waxman
--- skip Heller <velaires@earthlink.net> wrote: > Anybody trashing Norah Jones should probably be
reminded that her sales are funding Blue Note reissues and ad budgets. Her 6 million copies are bringing me closer my dream of owning every Blue Note Grant Green ever played on, just because of how much $ Blue Note can sink into reissuing old catalog. sh http://www.skipheller.com (the new and improved website)
===== Ken Waxman mingusaum@yahoo.ca www.jazzword.com - Jazz/improv news, CD reviews and photos
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