We recorded everything from experimental jazz projects, to mainstream rock and pop music, to live-to-2-track jazz recordings, commercial albums of “covers,” and whatever else popped into our minds… We were being given money to record pretty much the music we wanted to and in the manner we wanted … All we had to deliver was a credible finished album on time and on budget. The album would have a minimal number of pressings issued and an accountant would value the recording at 10’s of thousands of dollars above the costs based on what the investor would have realized had the record been a commercial success… It was really quite simple an investor would put up a few thousand dollars to cover the production and manufacturing costs. tax laws that allowed wealthy investors to realize a tax credit far in excess of their investment.
In the fall of 1977 when production began on the Terea Album, Baby Grand Records was in full swing releasing scores of eclectic recordings, all designed primarily for one purpose…not to turn a profit! The premise … had at its foundation a curious loophole in the U.S. The following excerpts cover the most pertinent points but the entire piece is a worthwhile, informative read: The Making Of Terea by Dennis Dreith is a well-written, thorough account of, well, the making of Terea. 1Īs ongoing Cohencentric readers might anticipate, there’s a story behind this album’s production and Sharon Robinson’s participation in the project.
Yes, this is the same Sharon Robinson who sang background for Leonard Cohen since the 1979 Field Commander Cohen tour and has been his songwriting collaborator since 1980. In 2011, Jazzman Records re-released Sharon Robinson’s 1977 Terea album.
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