RESTEAMED RECORDS - The Recordings Of Stan Tracey
There is a great legacy of British Jazz recordings that have long since been deleted, and much of the very best has been synonymous with pianist, Stan Tracey. In an age where LPs and even CDs are being replaced by downloads and streaming services as the preferred method of listening for today's generation of consumer, is there still a market for physical products? Whie the debate continues to rage on regarding this contentious issue there are many independent labels that are still willing to invest time and money in restoring classic albums to the catalogues and making them available once again.
One such label is Resteamed Records formed in 2007 to exclusively release recordings by Stan Tracey. Recording new albums for release while Stan was able, and since his passing in 2013 restoring his back catalogue and some long-lost treasures along the way. It was therefore a pleasure to chat with Clark Tracey who as curator of Resteamed Records and Stan's recorded legacy is doing a fantastic job of keeping this wonderful music available.
Can you tell us a little about the Resteamed Records label?
Having started my own label, Tentoten Records, some years ago, during a conversation with my mother (who was leaning on me to release Stan's music), I compromised by suggesting I also start a separate label solely dedicated to Stan. Their own record label begun in 1974 was called Steam Records so I called this new label Resteamed. Over the years, my own label eventually ran out of money after investing in a few bands who I tried to support, which didn't sell. I should have kept it for my own music as I originally intended! However, Resteamed became more successful of course, dealing in new recordings when Stan was alive and now producing both reissues and previously unreleased recordings.
One such label is Resteamed Records formed in 2007 to exclusively release recordings by Stan Tracey. Recording new albums for release while Stan was able, and since his passing in 2013 restoring his back catalogue and some long-lost treasures along the way. It was therefore a pleasure to chat with Clark Tracey who as curator of Resteamed Records and Stan's recorded legacy is doing a fantastic job of keeping this wonderful music available.
Can you tell us a little about the Resteamed Records label?
Having started my own label, Tentoten Records, some years ago, during a conversation with my mother (who was leaning on me to release Stan's music), I compromised by suggesting I also start a separate label solely dedicated to Stan. Their own record label begun in 1974 was called Steam Records so I called this new label Resteamed. Over the years, my own label eventually ran out of money after investing in a few bands who I tried to support, which didn't sell. I should have kept it for my own music as I originally intended! However, Resteamed became more successful of course, dealing in new recordings when Stan was alive and now producing both reissues and previously unreleased recordings.
There have been three recent releases of Stan's encompassing five separate albums. Can you tell us about each of the recordings and why you have selected these titles for release?
Their release was partly selfish nostalgia as I had grown up with that music. The original label deleted them almost immediately but I always felt the music had been unjustly overlooked all these years. The most recent release, "The 1959 Sessions" was a real Godsend and literally arrived out of the blue six months ago, having been discovered in a studio clearout. The chap who found it very kindly immediately contacted me and, realising its musical and historical significance, I went straight to work to release it by Christmas 2021.
Are there any more hidden gems that you are planning to release in this fascinating series?
There is nothing quite like that rare recording as yet, but I have a lot of music that was never issued. I also have many early BBC recordings I'd like to release but the cost is phenomenal (if one follows the protocols) and just out of my financial scope for now.
Their release was partly selfish nostalgia as I had grown up with that music. The original label deleted them almost immediately but I always felt the music had been unjustly overlooked all these years. The most recent release, "The 1959 Sessions" was a real Godsend and literally arrived out of the blue six months ago, having been discovered in a studio clearout. The chap who found it very kindly immediately contacted me and, realising its musical and historical significance, I went straight to work to release it by Christmas 2021.
Are there any more hidden gems that you are planning to release in this fascinating series?
There is nothing quite like that rare recording as yet, but I have a lot of music that was never issued. I also have many early BBC recordings I'd like to release but the cost is phenomenal (if one follows the protocols) and just out of my financial scope for now.
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There is also a large back catalogue of Stan's recordings that have long since been deleted. Are there plans to reissue more of these?
I would like to continue releasing the early recordings as a continuation of where we are now. In addition, I plan to reissue all of Stan's Steam recordings. I note that there is also a selection of vinyl available on the original Steam Records. Is there much demand for vinyl and are there plans to reissue these on CD? Stan left me with many of the original vinyls from Steam Records so they are all for sale from the website. They sell very slowly but in general I believe new vinyls are making a comeback. I am planning to release them all on CD however. There currently seems to be something of a revival in interest in the British Jazz of the late fifties through to the seventies, with reissue labels such as Jazz In Britain releasing some wonderful material from this period. Has this had an impact on the interest for Stan's recordings as he was such an important force in the history of the music in this country? Sales are traditionally slow, so it's difficult to see an upward curve at this stage. I would say that the release of so many recordings from that period is increasing awareness, for sure. I've always believed that by growing the product, the market will grow accordingly. It only takes the initial capital! This is why I've started releasing three products a year, often double CDs. The question also needs to be asked, who is buying these albums? Is it jazz fans replacing their worn-out vinyl copies or is there a new generation discovering the history of the music? I believe it's mostly existing fans who are rediscovering the British jazz scene of their youth. I note, from the majority of students I'm in contact with, that the younger generation still believe British jazz consists of either John Taylor or Kenny Wheeler. When they extend their listening (hopefully they'll do that), they're in for a real treat. It's not their fault - I think most jazz colleges disregard most of our greatest musicians. The students are certainly oblivious to the giants of not so long ago. With Resteamed having plans to make available a selection of Stan's original charts, has this been instigated musicians wanting to play the music or the Colleges and Universities running jazz courses for their students to study? This is still a relatively new area for us and takes a lot of work to prepare, but I would like to make much of Stan's music available for colleges to study and perform, as well as any band wishing to delve into his wide library of music. I've had some small success in selling some of his music scores thus far, but I have a lot of work to do in order to transfer so many suites into print, so it's slow. I appreciate you asking the question because I need to advertise this aasp. |
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With the ever-increasing demand for digital music, I see that you will also be looking to make available download of some of the recordings. Again, will this stretch right across the whole catalogue or just for selected titles?
At the moment we are digitalising deleted products so the music is always available. Again, it's a generation issue. Most British jazz fans don't like to download. College students however don't usually possess CD players and will only download or even just listen on Spotify. The gap needs bridging. I'm happy to make everything available for download but, until the demand is there, it's a lot of work for practically no return.
Always a contentious issue: how do you feel about the streaming platforms that are now so prevalent and seemingly popular among many listeners, and the impact that this on the sales of recorded music?
It's no surprise that it's popular. I'm afraid my instant reaction is that it's killing the business. Every time I release a new recording, within days it's freely available for anyone to download. It would be very interesting to know how our sales would have improved without this loophole. God bless the CD fan club! They are the reason for any future releases. As few as they may be in the music business in 2022, without them we can't afford to release anything.
How do you see the future for Resteamed Records, and indeed the future for all independent labels?
I hope that, since major labels started ignoring us in the early 1970s, independent labels continue to provide a physical outlet for musicians' musical projects, documenting this music and the individuals who make up the business. So many musicians in the 1970s started their own labels and now we're reaping the reward of that movement as they get reissued. I try not to look too far down the road regarding our label or indeed the business. I am acutely aware that this artform is hugely ignored, often berated and in general excluded from whatever "British Culture" means today. It's really depressing if I dwell on the matter too long so I plan to just keep going until I reach the last platform on the jazz line.
At the moment we are digitalising deleted products so the music is always available. Again, it's a generation issue. Most British jazz fans don't like to download. College students however don't usually possess CD players and will only download or even just listen on Spotify. The gap needs bridging. I'm happy to make everything available for download but, until the demand is there, it's a lot of work for practically no return.
Always a contentious issue: how do you feel about the streaming platforms that are now so prevalent and seemingly popular among many listeners, and the impact that this on the sales of recorded music?
It's no surprise that it's popular. I'm afraid my instant reaction is that it's killing the business. Every time I release a new recording, within days it's freely available for anyone to download. It would be very interesting to know how our sales would have improved without this loophole. God bless the CD fan club! They are the reason for any future releases. As few as they may be in the music business in 2022, without them we can't afford to release anything.
How do you see the future for Resteamed Records, and indeed the future for all independent labels?
I hope that, since major labels started ignoring us in the early 1970s, independent labels continue to provide a physical outlet for musicians' musical projects, documenting this music and the individuals who make up the business. So many musicians in the 1970s started their own labels and now we're reaping the reward of that movement as they get reissued. I try not to look too far down the road regarding our label or indeed the business. I am acutely aware that this artform is hugely ignored, often berated and in general excluded from whatever "British Culture" means today. It's really depressing if I dwell on the matter too long so I plan to just keep going until I reach the last platform on the jazz line.
Fore more information & to purchase Stan's albums visit the Resteamed Records website
Selected recordings also available from the All That Jazz Online Shop
Selected recordings also available from the All That Jazz Online Shop
