Jazz pianist Eric Lewis’s story is the biggest scandal I’ve heard of in the record business. It may be the reason why young artists think record labels are irrelevant.
At 36, this incredible talent cannot get a decent contract from a record label. So he’s decided to go it alone.
It’s not like Lewis is unknown. For one thing, I met him last night at the premiere of “The Messenger” because co-stars Woody Harrelson and Ben Foster are big fans. Lewis counts among his followers seemingly dozens of celebrities. It’s not like he’s lacking for famous endorsements. He’s a favorite at private parties, playing for the likes of Patricia Arquette and husband Thomas Jane in Hollywood for their friends.
This past spring, he played at the White House for the Obamas. Last summer he was the featured guest in Italy at the Ischia Music and Film Festival where he got to play the Police song, “Murder By Numbers,” with Sting.
You’d think with these events on his resume, Eric Lewis would be signed, sealed and delivered to a major record label. A graduate of the Manhattan School of Music, he’s also paid his dues, touring with Wynton Marsalis, Clark Terry, Betty Carter, Donald Byrd, Ornette Coleman, Elvin Jones and Cassandra Wilson. In 1996, at age 23, he won the Thelonious Monk Piano competition. He’s been a member of the Lincoln Center Orchestra.
It just doesn’t seem to be enough.
Tonight at 11pm Lewis is doing a show on the Lower East Side at Pianos on Ludlow Street. He should be playing the Blue Note, and maybe recording for Blue Note, or Verve or Nonsuch. Instead, he’s getting ready to put out his own record on his own label, covering pop standards like Coldplay’s “Clocks” and the Killers‘ “Mr. Brightside.”
Somehow, the fact that Lewis plays “covers” makes record companies uneasy. This is strange: Coltrane made his reputation doing just that. For example his version of Rodgers and Hammerstein’s “My Favorite Things” remains his most popular recording.
And cover songs are what make music publishers’ cash registers hum. Most of rap and hop hop is “cover” stuff and not original. You’d think one of the labels would get that. Until they do, though, we’ll have to keep up with Eric Lewis on facebook and elsewhere on the web, and at his Pianos gig tonight.
Oh yes, what about “The Messenger”: this extraordinary little film arrives on Friday from the very small Oscilloscope Films, owned by Beastie Boy Adam Yauch. It could very well be the “Frozen River” of 2009. There are award worthy performances in there from the two leads as well as Steve Buscemi and Samantha Morton. “The Messenger” delivers! (Sorry — I couldn’t help it!) Ben Foster, who’s now 29 years old believe it or not, has been in movies for fifteen years. He said of his role as a U.S. Army Casualty Notification Officer who brings bad news to a war widow: “It’s my first man role.” His days as a boy actor are over. Look out.
November 9th, 2009 at 11:24 am
Who was the last jazz pianist you know of who sold a significant number of CDs? Or should I say wax cylinders?
There are legendary acts that have sold millions of albums who don’t have record labels any longer. The money isn’t there for them, and it’s surely not there for a studio musician who specializes in a very niche (some would say passe) and low-selling genre of music.
November 9th, 2009 at 11:45 am
Roger have you thought about starting a record company and contracting these overlooked artists? I’m with Paul — more and more artists are starting their own labels and going indie. Nothing new.
November 9th, 2009 at 12:48 pm
Hi Roger, you should contact Bob Karcy at Arkadia Jazz. He’s right there in Manhattan. I worked for him a few years ago, I don’t know how active he is but it may be interesting.
http://www.view.com/arkadia.aspx
November 9th, 2009 at 1:16 pm
Saw Eric Lewis in concert last Friday at HR-57. PLEASE DO NOT compare his covers to the likes of Coltrane’s.
Lewis’s interpretations were very loud, but devoid of any element of jazz, improv, or adlib. It was no better than music you’d hear in the background of a cheap dueling piano bar. Only at a dueling piano bar, I wouldn’t have to pay 20 bucks and I’d be able to talk.
November 9th, 2009 at 2:43 pm
To be honest I am confused by the article and the author’s indignation and shock. I can easily name 20 musicians off the top of my head who are world class acknowledged artists and players, who a lot of well known people,(musicians, artists, celebrities), love, and who know one knows, and have never been signed. It seem somewhat disingenuous to rail against a system that is notoriously conservative and economically driven, (in an article for the Hollywood reporter!!! lol),especially now. We are drowning in a sea of mediocrity, the sea of digital vomit is thick and ubiquitous, and the “Labels” are a dying corporate system. Artistry and commercial success do not go hand in hand. In fact, historically, quite the opposite. This is known. As a career musician, with a lot of talented friends in this exact position, I find Mr. Friedman’s language that this is somehow a “scandal” is actually offensive and disrespectful to all the other career musicians of epic talent that the system has ignored. Yes it is a shame that Mr. lewis is not being respected in a manner that befits his skill level and artistry, but call it what it is, and don’t rant about scandals that happen every day, in every genre, because the problem is not the Labels, it is an issue about what has value in our culture and how we as a society support that. The corporate engines have always missed the boat. Move on and seek solutions.
November 9th, 2009 at 6:09 pm
Herbie Hancock . Multiple grammies. Gold records . Jazz legend. He would be the last jazz pianist to sell significant numbers of cds . He also was the lead judge of the Thelonious Monk Competition Eric won. Normally the competition winners get deals. Thats the point of the article. That everyone from Hollywood to the White House enthusiastically digs Eric’s playing and the jazz industry insiders who should be supportive and claim to be “all about the music” are so outside the spirit of that music with regards to this player.
November 10th, 2009 at 11:24 am
Yea I’m just happy to hear that even mainstream artists are finally understanding they don’t need the machine anymore, as it is obsolete to the internet networking.
Nice article nonetheless with an even better typo “Rap and hop hop”
November 12th, 2009 at 8:15 am
To be honest I am confused by the article and the author’s indignation and shock. I can easily name 20 musicians off the top of my head who are world class acknowledged artists and players, who a lot of well known people,(musicians, artists, celebrities), love, and who know one knows, and have never been signed. It seem somewhat disingenuous to rail against a system that is notoriously conservative and economically driven, (in an article for the Hollywood reporter!!! lol),especially now. We are drowning in a sea of mediocrity, the sea of digital vomit is thick and ubiquitous, and the “Labels” are a dying corporate system. Artistry and commercial success do not go hand in hand. In fact, historically, quite the opposite. This is known. As a career musician, with a lot of talented friends in this exact position, I find Mr. Friedman’s language that this is somehow a “scandal” is actually offensive and disrespectful to all the other career musicians of epic talent that the system has ignored. Yes it is a shame that Mr. lewis is not being respected in a manner that befits his skill level and artistry, but call it what it is, and don’t rant about scandals that happen every day, in every genre, because the problem is not the Labels, it is an issue about what has value in our culture and how we as a society support that. The corporate engines have always missed the boat. Move on and seek solutions.
February 2nd, 2010 at 5:07 pm
Sorry I have no idea. Brian