Otherwise known as watching a career crash and burn. No, not my own. While it's not what I would consider healthy, at the moment, I'm still doing my best to keep people informed as to what's going on and more importantly, I'm continuing to create new work and trying like hell to get it out there and those of you who read this blog are well aware of it, because as far as I'm concerned, I have nothing to hide.

Maybe that's too my detriment, I don't know. I just don't know any other way to be. And right now, I'm watching the downside of what can happen when an artist doesn't communicate with his fans. Since his debut, I've been an ardent follower of Peter Cincotti's music. He burst onto the scene in 2003 as a 19 year-old jazz phenom, his debut released on the venerable jazz label, Concord, where he took the Great American Songbook and turned it on its ear. The new Harry Connick, Jr., all the reviewers decrees, praising his piano chops while saying he still needed to work on vocals, but no one denied that this guy, man, he had all sorts of talent.

A year later, his sophomore effort was released, some more of the Great American Songbook, but you could sense his growing impatience with the "next Harry" label and the comparisons to other young jazzsters Michael Bublé and Jamie Cullum. There were some originals on this release, some funkier takes on traditional charts, the boy was growing up and taking some risks. And most importantly, he was building a small but devoted fan base by doing what all great musicians have done throughout the ages. He was touring. He was playing clubs, small theatres, jazz fests, pretty much everywhere. And he made himself accessible, which endeared him further to his fans. Let's face it, we all love the idea of knowing someone from early on in their career-- from being able to follow their evolution and cheer them on.

Here's where we run into trouble. No doubt wanting his next release to really signal a change in his career and elevating it to the next level, Peter switched record labels, signing with Warner Brothers/Reprise 143 (David Foster's label). His next release was going to be one hundred percent new material. It was going to be very fusion-oriented in nature. It was different.

It has yet to be released in this country even though the material was more or less complete by December of 2005 with tentative release dates having it as a fall 2006 release, then finally a firm release date of March 07. I've already ranted about the delay. But as disturbing as delay after delay is, especially considering it was released in Europe nearly a year ago, what really frosts my cookies is the utter lack of concern for the fan base in this country. Yes, they were small-- but they were vocal and they were dedicated, traveling hundreds and in some cases, thousands of miles for a concert. And for a while, it was good-- as I said, Peter was always friendly and accessible.

But not long after he signed with WB/Reprise 143 and switched management as well, some changes began happening. He started playing more charity events-- which in theory, is great, because it exposes him to a new audience while at the same time performing good deeds-- but at the same time, these charity events tend to be exclusive, big ticket affairs that the average fan on the street can't afford. We're talking $250.00 or more a pop. Worse still, the club/small theatre gigs were seemingly being sacrificed. Not only were there fewer scheduled, the ones that were already scheduled, for which tickets had gone on sale and been purchased, were being canceled, no warning, no explanation, nothing to show any sense of remorse to the fans.

Yet... he's toured in Europe. Quite a bit. Understandable since the CD's been out there for a year. Presumably, he'll tour in the U.S. once the CD is released in January 09. Nearly two years after the first officially announced date.

Now, finally, a concert was scheduled for Palm Desert, CA. Tickets were bought. Plans were made.

Concert was canceled. Again.

Now, to be fair, you can hold the label and his management accountable for a lot. I know, probably better than the vast majority, just how much is out of the artist's control. Which means I have a longer rope than many.

HOWEVER

Dude, that doesn't mean you shouldn't say something-- anything to the people who have followed your career since its early days. Who talked you up, who got their parents and friends listening to the music and going to the gigs. Maybe you don't know what you should say, so you say nothing at all and let me tell, from experience, from one artist to another, what a huge, freakin' mistake that is. I certainly don't imagine that I had even a fraction of the following you did, yet I still felt obligated to the people who read my books and who have supported me throughout my career, some sort of explanation as to why they wouldn't be seeing anything new from me when expected.

Maybe you're not even aware of how unhappy people are-- after all, you've been touring in Europe, you've got people who are more than happy to see you, you're continuing to make a living as a working musician and maybe that's all you want, but somehow, I don't think so. I think your ambitions are larger, given the label you signed with and the producer you wanted to work with.

Who knows, maybe you're also restricted contractually from saying much of anything.

But Peter, seriously-- people aren't even pissed anymore. They're indifferent. Which is worse. They simply can't be arsed to care. And the few that can, I suspect are at the end of their ropes by now. Maybe you feel you don't owe people any sorts of explanations. But it works both ways my friend. They certainly don't owe you their loyalty, their support, and most important to the nickel and dimers who live in the accounting offices, they sure as hell don't owe you their hard-earned money. Not when there are plenty of other artists out there.

You may be a rare talent, but honey, you ain't the only one.