We had the good fortune of connecting with Bob Baldwin and we’ve shared our conversation below.

Hi Bob, we’d love to hear more about how you thought about starting your own business?
It was necessary to do so in order to maintain control of my masters. I’ve seen both sides of the equation and thought this was best. Controlling where they go, how they pay and how I can leverage those opportunities in other business circles. Control is key. Just ask our ancestors; Michael Jackson, Sam Cooke, Jackie Wilson, Prince, Ray Charles, Prince, James Brown…all sought for independence from label owners. You won’t hear them on 3:00am compilation videos, getting 0% of the proceeds. Like Linda Creed said “Big Man smokin’ in their easy chair, with a fat cigar without a care” (“People Make The World Go Round) – that lyric spoke to the publishing president, sitting back, clocking dollars in their sleep.

You have to look upon this game as ‘the business of music’, not ‘the music business’…it takes on a different meaning.

Alright, so let’s move onto what keeps you busy professionally?
My journey is long and winding and the story has not yet been fully written. Here we are to date.

i learned jazz, music and piano from my late father (Robert Baldwin, Sr.) when I was six and later began my recording career in 1983.

In 1982, I was introduced to the digital recording process called MIDI, which I used on a PC desktop. It was given to me from longtime friend and engineer Wayne Warnecke The software program was created by Roger Powell called Texture, which Warnecke obtained from pianist Bob James in a studio in White Plains at Minot Sound Studios. Bob was a strong influence, especially in the area of business.

In 1986, I opened up for Tom Browne in NYC at the Bottom Line. Tom and I became friends and co-produced one of the first gospel jazz records in the game ‘No Longer I’ on Malaco (1987).

In that journey, I met Danny Weiss who was running that label (Malaco Jazz) and worked on a ‘concept record’ to showcase my arrangement skills. The record was submitted to the Sony Innovator Award, selected out of over 300 albums. I came out on top, which was really exciting!!

That album was my debut project called ‘I’ve got a Long Way to Go’. Released 1989. The year before, my fellow Mt. Vernonite, Al B Sure, who won the award, courtesy of Quincy Jones. My award was selected by Roberta Flack.

That album was the beginning of my recording career in 1988. It led to my Atlantic Jazz contract. I dropped discs in 1990 and 1992 with ‘Rejoice’ and ‘Reflections of Love’, respectively.

It was soon after I looked at the statements, was a little miffed because I knew what was generated. What was hitting my statement was a different story. This is where I got hip to ‘different sets of books’ concept. The accounting scheme in the artist contract game is nothing but a shell game. I was hip to the accounting scam and that’s when I chose the route of independence. I was also inspired by Ray Charles, Michael Jackson, Sam Cooke, Prince and Bob James (in no particular order).

I knew that route was not easy because you have to fund your own projects, both on production and promotion. But the returns were more attainable if I could figure it out.

In hindsight, when Napster popped off in 2000, I knew I was on the right path while the rest of the music biz cringed at 90% net losses across the sales board and publishing checks diminishing to mere pennies on the dollar.

Now today, I can say that in my genre, artist independence is up higher than ever in the history of the business, and I was in the front end of that movement.

My brand stands on quality, integrity and class. When I come across an artist that doesn’t honor those credos, it stains the brand.

As a distributor and label and as a production entity, most artists I’ve worked with, we try to educate that artist and hopefully, they are more knowledgeable than when they walked in the door. And in some cases, we’ve expanded their reach, which increases royalties and even gigs at times.

We’ve had some nice success stories with a lot of independent and national artists.

My album “The Stay At Home Series, Vol. 1” was selected in 2022 as the best contemporary jazz album by the inaugural Jazz Music Awards program. From 2018-current, I have charted on 8 Billboard Smooth Jazz Top-10 hit records as either producer/arranger or composer for Flutist Ragan Whiteside (Randis Records).

In 2024, I’m going to drop two cds, which I hope is historic in some type of way. Disc one is my tribute to my dad, where I cover tunes by Coltrane, Miles, Herbie and my late cousin Larry Willis. Kind of an ‘unplugged’ vibe with the jazz quartet.

If you had a friend visiting you, what are some of the local spots you’d want to take them around to?
If you like Jazz, check out St. James Live, and Velvet Note in Atlanta and alpharetta, respectively.

If you’re into cool clothes, Phipps Plaza is the spot. Check out the Avalon area in Alpharetta.

On the history front, MLK center on Auburn Ave. is iconic for black history.

Shoutout is all about shouting out others who you feel deserve additional recognition and exposure. Who would you like to shoutout?
This interview is in salute to my mother, and late father, who helped to cultivate my upbringing. Have to honor the parents. Shout out to the ancestors, my late Aunt Lettie from New Rochelle, NY, and my late cousin Larry Willis.

They are mentioned in my book I wrote called “You Better Ask Somebody” Staying on Top of your Career in the ‘Friggin’ Music business…on amazon, apple and all other digital platforms.

Website: Www.bobBaldwin.com

Instagram: Www.instagram.com/baldwin77

Linkedin: https://www.linkedin.com/in/bob-baldwin-0007575.

Twitter: Www.twitter.com/baldwin77

Facebook: Www.facebook.com/bobbaldwinofficial

Youtube: Www.youtube.com/baldwin77777

Other: Www.newurbanjazz.com Is my radio page – 500,000 listeners weekly across 50 stations. www.citysketches.com – corporate site.

Image Credits
Kasia Idzkowska

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