ZenneZ Records
Zennez Records is based in Amersfoort. The questions below were answered by its founder, John Weijers, who is a creative entrepreneur with a background in journalism, marketing/communication and corporate branding. He has worked as an artist manager and audiovisual producer. He is also the founder of the JazzTribes and Moon River Music labels, a partner in StudioWest and the quartermaster of Muziekhuis Utrecht.
When did the label start releasing music?
The first release was in December 2011. At the end of next year, ZenneZ Records will celebrate its 15th anniversary – and everyone says that calls for a celebration.
How many releases are there on average per year?
On average, about 25 albums. Plus an equivalent number of digital singles.
How is the label organised?
I have declared myself to be the point of contact in many cases. This always leads to a balancing act between the ‘helicopter view’ and the ‘daily stuff’. In terms of distribution, both digital and physical worldwide, we enjoy working with Thijs Siebert and colleagues from Integral/PIAS. Albert Grootonk brings a wealth of (media) experience and an international network from his previous work for Sony/BMG and Universal. Claudia Colaianni, who has moved back to Bari from Amsterdam, handles our social media and PR in southern Europe. And I am in talks with someone who would join me on the front line. This is to ensure continuity and further development. Occasionally, we also do co-releases with foreign labels. Berthold Records in Germany is an example of this. We have also just set up a foundation called ZenneZ Playgroundz. Always more plans than time – story of my life, hahaha.
What selection criteria apply to the release of music?
First and foremost, the question remains: does it move us? We filter A&R with the team. Some albums are musically or artistically very interesting, but at the same time, you know that there may only be limited media attention for them and that there are three venues in the Netherlands that want to programme them. Can you then work with the artist to create a story and a plan to achieve that and be satisfied, or even happy, with it? That’s about managing expectations.
From a sales perspective, concerts are often better shops than record stores these days. That’s why we also put energy into ‘live’. For example, in collaboration with TivoliVredenburg and Ujazz, we have developed a series called ‘Nieuwe Jazz’ (New Jazz) in which we have a stage for new releases, an average of eight times a year. This is now entering its third season. With Miles, a club in Amersfoort, we have also been programming a series entitled #newrecordssunday for a number of years now.
Does the label itself invest in new releases or artist development?
Yes – and no. Jazz is a niche market, so money is by definition marginal. Physical products are ‘almost dead’. The market (venues, media, audience) is small, the supply is large, and the hypercompetition is overwhelming. As a label, we are increasingly fine-tuning our approach. Development means entering into a relationship, looking to the future, and exploring perspectives together. In that context, ideals and reality intersect. I increasingly see releasing an album as expectation management. In Europe, we are known as a label for emerging artists, and yes: low-hanging fruit, close to the humus layer, that appeals to me, because that’s where you often find fire and purity, far from perfect, but that’s exactly what life is. An investment is then mainly dedication. Meanwhile, everyone expects to be able to perform at the North Sea and get a – preferably large – article in the Volkskrant.
Does the label collaborate with the act/artist on more than just a release, career planning, repertoire development, marketing, for example?
This question follows on from the previous one. If you decide to enter into that relationship, or want to enter into it, that broader context is also part of it. But after fifteen years, I dare say that it really is a long-term endeavour – and even then. As the jazz sector, we are simply too dependent on subsidies and donations to make our art. I see very little self-earning capacity.
What is the label’s position on:
- Digital releases
The listening trend is undeniably digital. From our distribution partner, we also notice that everything is increasingly moving towards digital. We regularly consult with each other – about new rules, about playlists, about pitching in specific ‘territories’. Marketing is crucial. And complex at the same time. Integrating your social media, apps like Bandsintown, it all fits together and requires careful consideration. Especially in a time when everything and everyone is screaming for attention.
- CDs
We still release these, and you can buy them in record shops. But the primary sales channel is live performances, and that revenue goes to the artist. This year we had two releases on Record Store Day, both bands played two gigs in the country, they’re featured in national publicity, but at the end of the day, I’m disappointed with the actual sales. Our webshop is doing well, we get requests from all over the world, but that’s partly a matter of SEO and partly of aficionados who just want a particular record. And then they pay 20 euros for a CD and 25 euros for postage from the US. Our Bandcamp site is the same.
- Vinyl
Off the top of my head, I think we’ve released about 40 albums on vinyl by now. The average print run is 200 copies, which is a relatively favourable price/quantity combination. To be honest, I can’t really gauge sales. I don’t immediately see a 4-star review reflected in orders either. We live in an age of ‘consuming, convenience, commodity’, so most people quickly check Spotify instead of going to the record store.
- Single tracks?
Most jazz musicians don’t make singles as singles are intended. It’s not easy to get a six, seven, eight-minute piece into a relevant playlist. The algorithms are simply not geared towards that, and neither are the curators. Singles are therefore usually an announcement of an album or EP. As a jazz composer, I would find it an artistic challenge to create a coherent, intelligent piece of two or three minutes – and I don’t mean an ‘interlude’ – and then serve it up as a soundbite, purely for the sake of pitching.
In fact, a number of our artists – Lucas Santana, Federica Lorusso, Claudio Jr. de Rosa – have had streaming hits, a combination of luck and wisdom. But as a rule, we release singles mainly to fuel the marketing around the album on social media and to promote upcoming concerts.
How international or national is the label oriented?
The broader framework of ZenneZ Records is still to be a blueprint of what is happening in the Dutch jazz scene. That scene is already very international at its core. But we do see increasing interest and demand from artists and media from other European countries. Distribution is international anyway due to digitalisation, and promotion is also easier to manage.
What does ‘jazz’ mean to ZenneZ?
Jazz is the most beautiful word I know. What jazz is, is personal to everyone. It’s just like love: there’s a magical context and you shouldn’t overthink it.
Can you name a memorable moment or a special collaboration for ZenneZ?
Since 2019, our artists have won ten Edisons Jazz awards. The number of nominations over the years is many times that. This year, we are once again well represented with seven titles. That remains a nice recognition of the quality we release and our dedication to jazz.
On a personal level, people are also aware of my friendship and collaboration with Gino Vannelli, which indirectly led to the birth of ZenneZ. The bassist from his band, Damian Erskine, approached me in 2019 saying he would like to meet some Dutch musicians. I called Efraim Trujillo first, and he was immediately on board. We recorded an album in my studio, made plans for a release tour, and then corona hit… The funny thing is, with that album, titled EAST, we did reach #1 in the Philippines. And last year, that tour finally happened. So I am grateful for that, for the friendships and for embarking on this adventure together.
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