Being a musician is great for doing that job

because you know the feeling being behind the mic.

Saxophonist and composer Jason Seizer had already built an impressive reputation in the jazz world before taking on the job at Pirouet. Producer and artistic director from the record firm’s inception in 2003 on, he has stood at the label’s creative center. As sound engineer, he was responsible for the recordings and the mixes for a company that has become one of jazz’s premier independent labels. Now working as an independent producer/sound engineer, his philosophy has remained the same: “…to stay out of the picture as much as possible. When questions come up, then sometimes I will give some input. I do this very carefully, because even small suggestions can have an enormous impact.

 

My strategy is to figure out how I can make the best out of the music and the situation. What can I do to influence the music as much as is needed, but as little as possible, so that the music’s energy is captured? I’m not there to force my own aesthetic on the music. in the end that aesthetic is created by the artist and the way in which the music is recorded.” Seizer has produced and engineered seven recordings with master pianist Bill Carrothers and ten classic Marc Copland CDs.

The list of internationally renowned players that have participated on recordings that Seizer has overseen as producer and engineer include Kenny Werner, Joey Baron, Larry Goldings, Tim Hagans, Billy Hart, Kevin Hays, Dave Liebman, Paul Motian, Greg Osby, Tom Rainey, Chris Speed, Craig Taborn, John Taylor, Mark Turner, Jürgen Friedrich, Pablo Held, Achim Kaufmann, Hayden Chisholm, Johannes Enders, Domenic Landolf, Ben van Gelder, Nils Wogram, Robert Landfermann, Matthias Pichler, Henning Sieverts, Jonas Burgwinkel, Christian Lillinger, Dré Pallemaerts, and Jochen Rueckert. “The years that I have worked as a producer and sound engineer, every single recording has influenced me—the music, the great musicians—every aspect, every production. I have learned that my job is to make people feel good in the studio; sound, environment, the whole complex process—it’s all important. Seizer has recorded and mixed more than 140 albums, listening to the tapes again and again in order to bring out every nuance in order to produce the best master possible. And one of the most important advantages of working with Jason Seizer: “Being a musician is great for doing that job because you know the feeling being behind the mic”.

 

jason seizer · biography

› musician

Being a musician is great for doing that job

because you know the feeling being behind the mic.

Being a musician is great for doing that job

because you know the feeling being behind the mic.

Saxophonist and composer Jason Seizer had already built an impressive reputation in the jazz world before taking on the job at Pirouet. Producer and artistic director from the record firm’s inception in 2003 on, he has stood at the label’s creative center. As sound engineer, he was responsible for the recordings and the mixes for a company that has become one of jazz’s premier independent labels. Now working as an independent producer/sound engineer, his philosophy has remained the same: “…to stay out of the picture as much as possible. When questions come up, then sometimes I will give some input. I do this very carefully, because even small suggestions can have an enormous impact.

 

My strategy is to figure out how I can make the best out of the music and the situation. What can I do to influence the music as much as is needed, but as little as possible, so that the music’s energy is captured? I’m not there to force my own aesthetic on the music. in the end that aesthetic is created by the artist and the way in which the music is recorded.” Seizer has produced and engineered seven recordings with master pianist Bill Carrothers and ten classic Marc Copland CDs.

Being a musician is great for doing that job

because you know the feeling being behind the mic.

Saxophonist and composer Jason Seizer had already built an impressive reputation in the jazz world before taking on the job at Pirouet. Producer and artistic director from the record firm’s inception in 2003 on, he has stood at the label’s creative center. As sound engineer, he was responsible for the recordings and the mixes for a company that has become one of jazz’s premier independent labels. Now working as an independent producer/sound engineer, his philosophy has remained the same: “…to stay out of the picture as much as possible. When questions come up, then sometimes I will give some input. I do this very carefully, because even small suggestions can have an enormous impact.

 

My strategy is to figure out how I can make the best out of the music and the situation. What can I do to influence the music as much as is needed, but as little as possible, so that the music’s energy is captured? I’m not there to force my own aesthetic on the music. in the end that aesthetic is created by the artist and the way in which the music is recorded.” Seizer has produced and engineered seven recordings with master pianist Bill Carrothers and ten classic Marc Copland CDs.

 

The list of internationally renowned players that have participated on recordings that Seizer has overseen as producer and engineer include Kenny Werner, Joey Baron, Larry Goldings, Tim Hagans, Billy Hart, Kevin Hays, Dave Liebman, Paul Motian, Greg Osby, Tom Rainey, Chris Speed, Craig Taborn, John Taylor, Mark Turner, Jürgen Friedrich, Pablo Held, Achim Kaufmann, Hayden Chisholm, Johannes Enders, Domenic Landolf, Ben van Gelder, Nils Wogram, Robert Landfermann, Matthias Pichler, Henning Sieverts, Jonas Burgwinkel, Christian Lillinger, Dré Pallemaerts, and Jochen Rueckert. “The years that I have worked as a producer and sound engineer, every single recording has influenced me—the music, the great musicians—every aspect, every production. I have learned that my job is to make people feel good in the studio; sound, environment, the whole complex process—it’s all important. Seizer has recorded and mixed more than 140 albums, listening to the tapes again and again in order to bring out every nuance in order to produce the best master possible. And one of the most important advantages of working with Jason Seizer: “Being a musician is great for doing that job because you know the feeling being behind the mic”.

 

jason seizer

biography

Being a musician is great for doing that job

because you know the feeling being behind the mic.

jason seizer

biography