We Jazz

By Ken Waxman

I love music in all formats, “ unequivocally states Matti Nives, founder and artistic director of the We Jazz records. That sentiment more than anything else was what prompted him to found the label in 2016. Today with nearly 200 titles in the catalogue in various formats and 25 releases planned for each year, the Helsinki-based label has become an outlet not only for Finnish musicians, but international players as well.

Nives, who is also a  DJ, producer, graphic designer and broadcaster says the label was an outgrowth of the city’s We Jazz festival, which began in 2013. A couple of years later, he recalls, “the label just seemed like a very interesting thing to do and I had some experience in working with labels earlier so I thought we could do it.”

“Each operation needs a strong focus of its own, so it was not a concern at all for me how many labels were in existence,” he adds. “I think there is always room for more labels that have a passion and their own vision about what they want to do. So in the end it was just about being passionate about finding new music and sharing it in a meaningful way – and still is.”

Initially the initial plan was to only release sessions on vinyl and digitally. “I love vinyl. CDs are ok too, but not with a similar passion,” he adds. Despite this, CD releases were soon added as many people requested them, and sometime the label sometimes even puts out tapes.

Besides producing, as a graphic designer, Nives is responsible for the look of We Jazz releases and creates most of the designs himself, with the occasionally help of other designer/illustrators. Besides that We Jazz employs two staffers full time and many freelancers, who also work for the festival and the label’s quarterly publication.

Initially We Jazz was financed by contributions by Nives himself and even today it’s sales of existing releases that pay for new ones. “We were looking to make stuff that is well done enough to interest people that would buy records,” he notes. Nowadays if a project calls for out of country expenses or the like, some funding is available, but “it’s still very sales driven and at my own risk”, he explains.

The label’s first release was by The Bowman Trio, which with repressing sold 500 copies as an LP and was later also available as a CD. Depending on demand other sessions have been repressed as well. “They all sell less than Taylor Swift does but we always try to match each pressing to the scope of the release, so usually if a record pretty much sells out or breaks even in a couple of years time, it’s nice for everybody,” Nives adds. “I don’t keep score of represses but whenever it makes sense we do them, often at the request of artists, for whom I’m happy to provide more copies if they need them on tour. Sometimes our fans are also giving the indication that we could do another run of something.”

“Matti has created a space for myself and other musicians to take our music really seriously but at the same time not compromise the fun and playfulness that is the starting point of it all,” states Swedish bassist Petter Eldh, who has so far been featured on 12 We Jazz releases, most by his Koma Saxo band. “We Jazz is the main home for my explorations as a producer and performer and I love how Matti and I have built up a relationship where we trust each other and evolve together.” His firth We Jazz leadership date to be recorded in early Fall will be with the project now called Post Koma – a name “coined by Matti himself” – acknowledges Eldh, which integrates vocalist Sofia Jernberg into group, as well as another with Peter Evans and Jim Black.

Although Noves’ initial idea was to limit releases to vinyl and digital, today other format such as tape and 7 inch singles have also been used. “It’s always a conversation with the artist and they’re usually happy to hear my input, especially as I’m the designer for our releases,” he notes. “Often stuff is also related to visual ideas such as vinyl color and details like that. The budgeting only come after the impulse to do something and the vision of how to do it.”

Although all We Jazz contracts are for a single release, a number of artists suggest doing more projects after each is done. “There’s no hard feelings if anybody wants to record for other labels and many of them do,” he reveals. Increasingly these artists attracted are from outside the Nordic countries and now include Germans, Swiss and even some North Americans.  Individually they’re attracted to the label’s policy without any overall plan. “I just want release good music and that comes from all over the place,” confirms Nives. “So instead of planning for international focus it’s more about not limiting our focus to local artists. I imagine it will continue in an open way in terms of geography.”

Brooklyn-based baritone saxophonist Jonah Parzen-Johnson is one of those non-Fins. He has already released two LPs and an EP with the label and in November a duo of him and Turkish drummer/sound designer Berke Can Özcan on We Jazz. “I was first approached by Matti when he invited me to play his festival in 2018 and I was so charmed by the way they were putting the festival together that I asked about putting out an album with the label. I told them I was looking for a relationship, not just a single release, but a place to build from and grow together. That is what We Jazz has always been for me, and I’m very grateful.

We Jazz’s worldwide distribution is handled by !K7 and its regional, except for Finland and Scandinavia where We Jazz does its own distribution.  Direct to customer sales is through the label’s bandcamp page. Releases are also available digitally and although Nives says “physical is more important. But “every little bit counts” as they say, and I don’t think that digital “detracts” from physical sales”. One way sales are done is through the label’s online record store digelius.com. The name comes from a famous and now defunct record outlet. “I love records stores,” affirms Nives. “We already ran a small record shop out of our office and Digelius was about to close so we just connected the dots. For now we’re doing online sales, event pop ups and keeping the name alive. My goal is to one day re-open the Digelius physical store in a meaningful way.”

He goes on: “With each release we’ve devoted time to discussing the music, the motivation behind it and my vision for how it should be shared.. Matti personally designed the artwork for each of the releases, using our discussions as inspiration, and the two of us have collaborated on every element down to the wording of the press release. I really care about how my music is released, so I’m very happy to work in this way.That type of long term connection to releases means a lot to me.”

With all of We Jazz’s projects does Nives sometimes feel overwhelmed? On the contrary, he says “I suppose it’s about the drive and how to manage it. I have the same hours in my day as everyone else but sometimes it wouldn’t hurt to add a couple of hours to the regular 24 or a day or two to the seven per week. I’m just trying to do interesting stuff that feels right and learn more each day.” For more info visit We Jazz.fi