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On Sun, 1 Mar 2009 04:59:39 -0800 (PST), lukejazz <...@gmail.com
On Feb 28, 6:58 pm, RTFirefly <...@btinternet.com
Anyone interested in this should read "The Future of Music".
Here is the address of the related blog:
http://www.futureofmusicbook.com/
Live performance is definitely the future, along with selling in
markets we may all have overlooked in the past.
-Luke B
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Anonymous Wrote:
On Mar 1, 7:59 am, lukejazz <...@gmail.com
With a handful of rare exceptions (and there will always be rare
exceptions) live performance has been the past, is the present, and
will be the future for those who want to earn a living (or even just a
couple extra bucks) in music.
Recorded music is rapidly approaching the point of having a value of
zero. An entire generation has grown up thinking they have a right to
a free copy of anything that can be encoded digitally. This trend
will continue, and at some point people will likely snicker at the
notion that iTunes actually used to charge money for music downloads.
Tim
http://timberens.com
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Anonymous Wrote:
On Feb 28, 7:58 pm, RTFirefly <...@btinternet.com
You make excellent points and I share your optimism. For me, the magic
of the new media has been that anybody can now self-publish. Of
course, the downside is that anybody can self-publish and perhaps
occlude the truer artistry that's out there. In any case, I think were
all empowered and no longer at the mercy of the big labels.
Greg
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On Sun, 1 Mar 2009 16:31:39 -0800 (PST), Chip L <...@hotmail.com
I see recorded music in the future as primarily promoting the artist
and the live performance.
Chip L
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On Sun, 1 Mar 2009 17:28:38 -0800 (PST), rakmanenuff <...@hotmail.com
For Jazz guitar it would have to include lots of
gigging, wouldn't it?
Self-record? Yes, anybody can do that now to a high
standard, without having to rely on some record label
and a big budget. Self-publish? Yes. Self-promote? Yes.
Make Money? Well.. not too sure about that one.
When people are at a gig, enjoying themselves, they're
often quite happy to pull out a tenner and buy
the CD on the spot, but only in that particular situation.
Unless the authorities start policing the information
highway in a different way. It can be done. Prince
has people monitoring the internet non-stop, and
even though I own many of his albums on vinyl,
I still haven't managed to get any "free" mp3 versions
of the same albums..
...Then he gave away his album for free
in a British newspaper...
Maybe "artist mixtapes"/free albums can put
an artist on the map and act as a springboard,
but there's no guarantee of that at all.
Maybe there's a market for a computerized
internetwatchman that reacts to Google Alerts
immediately and gets stuff removed.
To me it looks like the segment of the recording industry
that used to be called "independent" is sinking into the
mass of amateurs and semi-pros, leaving only a thin
layer of pop stars with their own reality tv shows and
acting roles at the top, 360' rights etc. Bollywood style,
"the making of.. who wants to be a...pop idol... behind
the scenes.. show " blah blah
But there's no reason why live music should be
any less attractive or profitable than before is it?
Hope not.
Unfortunately I'm a guy who loves studio work and
"records", and is less excited about noisy, smelly
and mediocre-sounding live gigs with the soundcheck
being a joke and half of the audience too drunk to
know any different,
so for me this is a disaster, unless I manage to hook up
with Britney. Lol, sorry I like going to jazz gigs actually,
not to typical pub/rock/funk gigs or stadium ones however.
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On Mon, 2 Mar 2009 06:17:35 -0800 (PST), RickH <...@windcrestsoftware.com
On Feb 28, 6:58 pm, RTFirefly <...@btinternet.com
The recent surge in ballroom dance has increased interest in jazz and
swing music. Jazz interest is also helped by jazz education programs
in schools, albeit mostly intellectually. Also the occasional
romantic comedy movie revives an old standard and interest in jazz.
If men/women social networks start to take on more of the gentlemanly
sophistication seen in earlier decades of going to romantic
restaurants and dancing, and "wining and dining" your lady, then that
too will be a relative better help for jazz over pop music. Jazz has
some intellectual appeal to some (mostly other jazz musicians) so that
hope is limited. Overall people need to form an emotional connection
to music or they dont buy it, jazz needs to re-connect at an emotional
level by integrating with the aformentioned life experiences. If it
cant do that then the mere mechanical form of delivery for recorded
music is irrelevant.
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On Sat, 28 Feb 2009 19:09:17 -0800 (PST), ken <...@gmail.com
On Feb 28, 7:58 pm, RTFirefly <...@btinternet.com
I've said this many times in other threads, but that's sort of always
been the case. Most jazz musicians make a bulk of their money on the
road. Very few make any money on record sales.
Exceptions are people like Diana Krall, of course, that sell a hell of
a lot of records.
The old records apparently still sell well too, like Miles Davis,
Coltrane etc...
Even back in the glory days of jazz, I think very few people made much
money on record sales. Again, people like Miles and the 'legends' we
talk about were the exceptions.
Everyone else made all their money on the road.
Some of the top players today we see on the cover of Down Beat said
the same thing; record sales don't amount to much in terms of their
income and it never really has...
Again, there are exceptions today, like Krall, probably people like
Metheny, Brecker and some other of the mega-stars... (but even
Metheny probably makes a lot of money on the road).
Ken
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On Sat, 28 Feb 2009 21:17:19 -0800 (PST), pmfan57 <...@aol.com
On Feb 28, 10:09 pm, ken <...@gmail.com
A good example is all those classic, say, Riverside albums. I seem to
recall Keepnews mentioning sales figures of like 100 LP's or something
in that order of magnitude in the original release, for relatively
famous albums. No wonder they went out of business. Of course many
Riverside albums have sold very very well as reissues.
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On Sun, 1 Mar 2009 07:05:33 -0800 (PST), ken <...@gmail.com
On Mar 1, 12:17 am, pmfan57 <...@aol.com
Exactly. This is an industry where if you sell 5000 CDs, that's a
huge hit (again, excluding vocalists and the mega-stars). (for some
labels, 100 sales is a hit)
From what I've heard over the years, people make money on the road,
period.
I don't know why people think they can just record a CD, put it out
and expect it to sell without going on the road extensively. Even
people here have said that positive reviews and radio play has done
nothing for sales. No surprise there, really...
Also, it's goes the other way too; Metheny sells all those CDs because
he's always on the road. If he stopped touring, I think his sales
would go down drastically (except he will prolly maintain some run-
rate on his catalog of amazing recordings).
Ken
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On Sun, 1 Mar 2009 14:00:01 -0800 (PST), southtexasguitarist <...@claymoore.com
On Feb 28, 9:09 pm, ken <...@gmail.com
Hi Ken,
Do you mean Randy Brecker? Mike died over two years ago.
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On Sun, 1 Mar 2009 16:09:39 -0800 (PST), ken <...@gmail.com
On Mar 1, 5:00 pm, southtexasguitarist <...@claymoore.com
No, I didn't mean necessarily right now. It was just a general
statement. I could have said Ella Fitzgerald and Sarah Vaugh, too,
who probably did sell a *lot* of records.
My point is that these are the exceptions. If you look at the record
sales of all the people we talk about on this group (again, excluding
those very few legends and singers), I think you would be surprised at
how few records they sell and how little their income depend on record
(or CD) sales.
That's really the point, and I don't think most people really
understand that (and I didn't either until I started hearing
otherwise).
Ken
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On Sun, 1 Mar 2009 19:11:37 -0800 (PST), southtexasguitarist <...@claymoore.com
On Mar 1, 6:09 pm, ken <...@gmail.com
I wouldn't be surprised at all, 'cause I have three CDs out. The only
thing marketing and distribution did was create more outstretched
hands, looking for their cut. Market it yourself? It's a question of
time vs ROI. I do notice many former champions of online promotion
have opened online guitar schools.
This isn't to say I don't appreciate the members of this NG who have
bought my discs - ya'll are the greatest. Dozens and dozens sold!
Clay
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On Mon, 2 Mar 2009 10:01:08 -0500, Michael L Kankiewicz <...@buffalo.edu
Reminds me of a joke I heard at a bluegrass concert. (Might be an oldy,
but it's the first time I heard it.)
"Buy our record, it's a million seller - we have a million in the cellar."
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On Mon, 02 Mar 2009 10:41:05 -0500, Kevin Van Sant <...@pobox.com
On Mon, 2 Mar 2009 10:01:08 -0500, Michael L Kankiewicz
<...@ubunix1.acsu.buffalo.edu
I always think of this Thoreau quote from after publishing his first
book: "I have now a library of nearly nine hundred volumes, over seven
hundred of which I wrote myself."
________________________________________
Kevin Van Sant
Check out my brand new CD "Play the Music of Horace Silver"
http://www.kevinvansant.com
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On Sun, 1 Mar 2009 13:03:36 -0500, "Joe Finn" <...@JoeFinn.net
"RTFirefly" <...@41g2000yqf.googlegroups.com...
The internet has all but destroyed the recording industry. People will
continue to fight for intellectual property rights but at this point the
ship has sailed and things will never be what they were.
A few people have figured out how to make the internet pay but it's still a
risky proposition. It's an emerging medium that will take more time to sort
itself out.
The nature of a performing art like music hasn't changed a bit, thank god.
Live performance is where music has always thrived. This will never change.
As great as recordings and videos are, they are not as great as live
performance. ......joe
--
Visit me on the web http://www.JoeFinn.net
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On Sun, 01 Mar 2009 18:02:15 -0600, Tim McNamara <...@bitstream.net
In article <...@news.datemas.dewrote:
Well, it's all but destroyed the business model of the recording
industry and it's henchmen, the RIAA. But in capitalism such
destruction is always a creative opportunity. While the RIAA fights to
maintain the old label-centric model- and have basically litigated
themselves close to bankruptcy by suing their potential customers- they
should have been looking for ways to thrive in the new world.
http://techdirt.com/articles/20090227/1203203925.shtml
Intellectual property = imaginary property. The notion itself is a sham.
http://www.lessig.org/content/articles/
Copyright, patents and trademarks are distinct entities; they are
commonly lumped together under the rubric of "intellectual property" as
a lobbying strategery.
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On Mon, 2 Mar 2009 12:10:32 -0500, "Joe Finn" <...@JoeFinn.net
"Tim McNamara" <...@news.iphouse.com...
The riaa is fighting a rear guard action which is no longer winnable. It
probably never was. I'm reluctant to refer to them as henchmen. The prospect
of an entire industry that included production, manufacturing,
transportation, and retailing going under is a bleak thing to contemplate. I
agree that the internet presents great opportunities but it doesn't seem
like anyone has figured out how to make it pay yet. When the "dot-com"
bubble of a few years ago popped, it changed a lot of the thinking on this.
Oh, I don't know about that. Authors and composers own what they create.
Laws that seek to protect this ownership are trying to do the right thing.
....joe
Visit me on the web http://www.JoeFinn.net
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On Sun, 1 Mar 2009 10:19:52 -0800 (PST), pmfan57 <...@aol.com
On Mar 1, 1:03 pm, "Joe Finn" <...@JoeFinn.net
I think another huge problem is that the popularity of jazz may
continue to decline to the point where there is almost no market for
the live performance. I hope I'm wrong.
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On Mon, 2 Mar 2009 11:45:22 -0500, "Joe Finn" <...@JoeFinn.net
"pmfan57" <...@aol.com
I've never believed that the popularity thing has been much of an issue.
I've been to a few shows since new years and they've been well attended.
They say jazz is an "acquired taste" and a "niche market"; and there may be
some truth to that, but within a certain segment of the audience jazz will
always enjoy popularity. I think that's especially true when it comes to
live performance. ....joe
--
Visit me on the web http://www.JoeFinn.net
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On Mon, 2 Mar 2009 09:44:51 -0800 (PST), pmfan57 <...@aol.com
On Mar 2, 11:45 am, "Joe Finn" <...@JoeFinn.net
But that niche seems to be getting somewhat smaller, while at the same
time the number of musicians that play jazz seems to be increasing
rapidly due to all the school programs. I'm not sure the economics
will work out.
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On Mon, 2 Mar 2009 14:05:20 -0500, "Joe Finn" <...@JoeFinn.net
"pmfan57" <...@q11g2000yqh.googlegroups.com...
On Mar 2, 11:45 am, "Joe Finn" <...@JoeFinn.net
The move of jazz into the academy has been a major trend over the past
decades. To me this is a reflection of the interest that serious scholars,
composers, etc. have in the topic. Anyway these days all jazz musicians are
doing at least some teaching. The numbers of interested students says a lot
about the popularity mentioned earlier. We can't measure popularity without
talking about the academic aspects. .......joe
--
Visit me on the web http://www.JoeFinn.net
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On Sun, 1 Mar 2009 16:18:30 -0800 (PST), ken <...@gmail.com
On Mar 1, 1:19 pm, pmfan57 <...@aol.com
That's another good point that I don't think people understand. Jazz
is something that was popular in the past, like swing, disco or
whatever (I don't know how popular bebop ever really was... Bird, I
don't think, so that many records back then).
Times change and so does the music. You know, people don't write
Baroque pieces anymore (well, actually, maybe they do...), but it
wouldn't necessarily become a mainstream, popular form of music
because it is something from the past.
I think most jazz is like that, with the exception of guys like
Metheny, Scofield (or pick your example) who does bring something of
today into the music to make it relevant and interesting; something
that actually speaks to the current generation.
It's funny, I was at a Jane Monheit concert a while back and there are
all these really old people sitting around crying listening to that
stuff, and to them, that's exactly what it was. It was total
nostalgia. They were talking about the good old days when they were
young. It brought back memories; that's why they were there! (I know
she probably has a much more diverse fan base than that, but still!)
Of course, there is nothing wrong with that and I think that's totally
a wonderful thing. But it's a bit much, to me, to think that that can
become popular again, with the exception of occasional booms and fads
(like the swing dancing boom that happened not too long ago around
here).
Ken
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On Mon, 2 Mar 2009 11:54:26 -0500, "Joe Finn" <...@JoeFinn.net
"ken" <...@z9g2000yqi.googlegroups.com...
On Mar 1, 1:19 pm, pmfan57 <...@aol.com
The popularity issue is a trap. This is because it forces you to measure the
jazz audience against the size of the pop music audience which is a false
comparison. Jazz is a style that serious composers, instrumentalists and
listeners are interested in because of the expressive possibilities among
other things. Pop music is another matter. Commercial music is something
that is brought forward into the marketplace in hopes of turning a profit.
...joe
--
Visit me on the web http://www.JoeFinn.net
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Anonymous Wrote:
There is far too much optimism here. There is significant pressure on
governments, especially now to find the means to derive tax revenue
from the Internet. The greatest danger is that at some point they
will charge for entry, and tax any transactions. Companies desperate
for revenue will continue to charge more and more for downloads, and
despite the you-tubes of the world a cost structure will evolve.
Advertisers will at some point fail to pay the costs of running the
net.
I suspect that live venues for music will become fewer and fewer and
players will play for free just to get exposure and play for the love
of the music. The only ones who will make money are the very few at
the top of the pile. Much like sports - only a few break through the
level of poor paying or non paying work.
Globalization brings additional competition at the top, and clouds the
mainstream with competing genres and hordes of wannabees. Playing is
becoming commoditized. There is no money in hockey except at the top
- ditto for jazz. That doesn't mean that there won't be a growing
audience for listening, and a growing gaggle of players. It just
means that the money flows may now be as you expect them to be based
on the current worldl - which as you know from the last 10 years can
change dramatically.
Stay tuned.
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On Sun, 1 Mar 2009 17:19:21 -0800 (PST), pmfan57 <...@aol.com
On Mar 1, 7:18 pm, ken <...@gmail.com
On the other hand, when Bireli played at Iridium a few years ago,
everyone was smiling, even the spouses, which is extremely rare for a
jazz show. The music was FUN, even for the non-musicians. I think
Metheny made some interesting points in his Downbeat interview as
well.
Also, I think that unlike Disco, it is an art music, and will have a
dedicated group of fans, like classical music. I suspect there will
always be jazz fans, just as there are probably always going to be
opera fans. But it is not a form of popular music any more really
(with exceptions like those you mentioned).
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On Sun, 1 Mar 2009 17:29:59 -0800 (PST), ken <...@gmail.com
On Mar 1, 8:19 pm, pmfan57 <...@aol.com
Yeah, that's it. I think jazz lost the public in general after the
swing era; when swing went to bop (except again, for the singers!
Darn those singers!).
In any case, Bornman talked about that a while ago (where did that guy
go anyway?), how art music gets more complex and sophisticated as it
evolves and loses it's audience; only the hardest core are left at
some point.
Mozart, I'm sure, still draws bigger crowds at Lincoln Center than the
20th century composers, probably (but neither of them will be
'popular' in the sense of huge record sales or whatever...).
Times change...
Ken
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On Sun, 1 Mar 2009 17:45:19 -0800 (PST), pmfan57 <...@aol.com
On Mar 1, 8:29 pm, ken <...@gmail.com
But Mozart is from a VERY long time ago and has maintained a
respectable amount of popularity. In fact, even people that don't buy
classical albums *like* Mozart if asked directly and played clips to
remind them which music is his. They say, "oh, yes. That's very
nice". And many many people have been exposed to the works of the
standard classical works through lessons, or their kids lessons, etc.
So it's well-liked (except maybe by those poor piano students) even by
those who don't really support it. The same cannot be said for Pli
selon Pli, or 17tet keyboard music, which will never even be widely
liked (with apologies to Dan S.).
Classical music will also always have a following, and it will go up
and down. The amazing thing to me is how long rock music has remained
relatively popular. My kids know all the classic rock songs, some of
which they first heard on their video games. They never complain when
the Beatles, Who or Steely Dan are on the CD player in the car and
even sing along. No one expected rock to remain popular for so long.
Maybe it's that guitar hero game.
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On Sun, 1 Mar 2009 18:23:18 -0800 (PST), ken <...@gmail.com
On Mar 1, 8:45 pm, pmfan57 <...@aol.com
Yeah, definitely. It's popular in that sense, of course, but that
doesn't translate into record sales at all. Lincoln Center and all
those places need to be funded to stay open. CD sales in classical
music has a similar profile to jazz (very low percentage of total!).
But you are right, even in jazz, other than Diana Krall (or whoever
happens to be popular now) the best selling jazz records are the old
classics, like Kind of Blue (just like I would bet best selling
classical CDs are prodigies playing Mozart, Bach or whatever more than
Elliot Carter or Babbit .
I have it in my notes somewhere, but I was kind of shocked to see that
Coltrane still sells a hell of a lot of records even now.
Ken
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On Mon, 2 Mar 2009 11:58:34 -0500, "Joe Finn" <...@JoeFinn.net
"pmfan57" <...@aol.com
The artistic quality is a key distinction. I've attended some classical
events at Tanglewood over the last few years. These concerts are attended by
thousands of listeners. Nobody is bemoaning the lack of popularity when it
comes to classical music.
The Tanglewood Jazz Festival is also very well attended. ...joe
--
Visit me on the web http://www.JoeFinn.net
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On Mon, 2 Mar 2009 11:54:19 -0800 (PST), southtexasguitarist <...@claymoore.com
On Mar 2, 10:58 am, "Joe Finn" <...@JoeFinn.net
Hi Joe,
What happened "over the last few years" isn't what's happening now.
Classical music and jazz festivals are heavily subsidized by
corporations, wealthy philanthropists (read tax write-offs), and
various government grants at all levels. With the spectacular
financial collapse which we're witnessing those monies have and are
drying up. On top of that the people who were paying to hear these
concerts will have less money to spend as well. This doesn't auger
well for "art" music. We already know about several opera and dance
companies which have ended their seasons early or folded. I admire
your optimism but this is a different era we're entering.
Clay
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On Mon, 2 Mar 2009 16:45:24 -0500, "Joe Finn" <...@JoeFinn.net
--
Visit me on the web http://www.JoeFinn.net
"southtexasguitarist" <...@o11g2000yql.googlegroups.com...
On Mar 2, 10:58 am, "Joe Finn" <...@JoeFinn.net
Hi Joe,
What happened "over the last few years" isn't what's happening now.
Classical music and jazz festivals are heavily subsidized by
corporations, wealthy philanthropists (read tax write-offs), and
various government grants at all levels. With the spectacular
financial collapse which we're witnessing those monies have and are
drying up. On top of that the people who were paying to hear these
concerts will have less money to spend as well. This doesn't auger
well for "art" music. We already know about several opera and dance
companies which have ended their seasons early or folded. I admire
your optimism but this is a different era we're entering.
Clay
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On Mon, 2 Mar 2009 16:47:15 -0500, "Joe Finn" <...@JoeFinn.net
"southtexasguitarist" <...@o11g2000yql.googlegroups.com...
On Mar 2, 10:58 am, "Joe Finn" <...@JoeFinn.net
Be that as it may, I'm not going to get all apocalyptic about this.
Life is short, Art is eternal. ............joe
--
Visit me on the web http://www.JoeFinn.net
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On Mon, 2 Mar 2009 12:24:37 -0800 (PST), ken <...@gmail.com
On Mar 2, 2:54 pm, southtexasguitarist <...@claymoore.com
I agree with that from a cyclical point of view, but I think the
secular trend is something different.
My nightmare suspicion over the years is that maybe the sort of forms
of jazz that I like just isn't 'current' and that what is 'current'
now is something that I just don't consider 'valid' and it happens to
be "smooth jazz" or acid jazz or whatever.
Maybe Chris Botti is the valid extension of jazz and it is very
popular (relatively speaking), as much as some may despise it.
For example, maybe we are the dixieland/New Orleans guys playing dixie
and watching the swing bands...
Or maybe we are the swing bands sneering at the new bebop guys.
Or maybe we are the bebop guys shaking our heads at the post-Trane
type players.
You have guys that still play bebop, don't sell records and then go
"culture is dead in this country"...
While I may agree with the conclusion (that culture is dead; what do
you expect in a free, democratic country?!), I have trouble equating
lack of interest in bebop or post-bop as having anything to do with
cultural atrophy; I would say that's just more of an indication that
times have changed and the era has changed.
Of course, we can argue that smooth jazz and all that has no artistic
elements that the swing bands, bebop or any other older jazz style
had, but that has nothing really to do with popularity, of course.
I'm sure the 'conservative' musical 'establishment' (whatever it was)
didn't view jazz favorably early on.
Anyway, it's just a thought...
Ken
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On Mon, 2 Mar 2009 13:41:40 -0800 (PST), RTFirefly <...@btinternet.com
On Mar 2, 8:24 pm, ken <...@gmail.com
Going back to my original post, my unformed views are certainly better
informed. Thanks to everyone who has responded so far. I find it
interesting that we all (I include myself) fall back into the
'marketing' labels that help us to sift the musical riches that we are
able to access.
I suppose that what I was chewing at was that our whole mindset may
change (or may have already). OK perhaps not us as individuals, we are
just hip. Obviously! But the categories (or concepts that guide or
thinking things through) about Music with a capital M might mean, seem
to be changing.
It is a very old cannard by now that the younger generations expect
instant gratification and cannot sustain the concentration needed for
artistic expression, of whatever form, that requires thinking and
engaging for more that a few minutes.
Personally I think there is a lot of garbage here. There will still be
symphony orchestras and jazz quintets. Because we lose our humanity if
having discovered them we let them die. Perhaps the same can be said
for those non-human creatures that share this planet?
But in any case it is beside the point. The vast majority of people
are not the young. Why bother to adapt a music that needs time and
effort and experience to love? I managed by pure accident to bump into
it and have loved it ever since.
My take on the future is that rather than marketing companies
segmenting potential purchasers and feeding the 'youth' market, the
'market' will segment the providers and send genuine and timely
'market signals' of what they want to the people that really matter,
the artists and those who produce the product.
Smaller scale, more co-operative, less capital generated etc. Sorry if
for some this sounds a little, well socialist. However if you actually
read Adam Smith, I think he would approve!
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On Mon, 2 Mar 2009 16:04:31 -0800 (PST), ken <...@gmail.com
On Mar 2, 4:41 pm, RTFirefly <...@btinternet.com
Yeah, but that's been happening for a long time, since the 80s at
least, with the indies music scene. That is nothing new.
The college rock scene, for example, has abandoned mass-produced, mass-
marketed pop more than 20 years ago, I think...
I think there has been and is some great music even in rock...
But of course, you won't hear about these bands on MTV or whatever...
Ken
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On Tue, 03 Mar 2009 01:41:58 GMT, "Vince" <...@verizon.net
It's too early to measure the full impact of mp3 downloads on the
distribution chain, but I will hazard a guess that the game has been changed
forever.
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On Tue, 3 Mar 2009 02:41:46 -0800 (PST), southtexasguitarist <...@claymoore.com
On Mar 2, 7:41 pm, "Vince" <...@verizon.net
I don't think it's too early to assess that the game has changed
forever. Just a few years ago I was buying several dozen CDs per year,
but I doubt I've bought even a couple in the last year; I have more
than enough to keep up with on my emusic plan. My students at college
aren't buying CDs AFAIK - they pirate and swap, maybe buy some things
on iTunes or something. I know I don't sell CDs either, so that's
three examples of the change.
I had some money sent to me on PayPal recently and was looking for
places to redeem it from their site. Wal-Mart is one. Did ya'll know
they sell MP3 downloads? Jazz even?
Clay
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On Tue, 3 Mar 2009 07:47:35 -0800, Gerry <...@sunny.calif
On 2009-03-03 02:41:46 -0800, southtexasguitarist <...@claymoore.com
So many factors are involved here. Records use to be something you
"did" rather than something you purchased or didn't in your dark little
cubby-hole. You'd hang out at the record stores listening to, talking
about, skimming through all kinds of music. Just not the same.
--
Dogmatism kills jazz. Iconoclasm kills rock. Rock dulls scissors.
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On Tue, 3 Mar 2009 12:07:28 -0800 (PST), southtexasguitarist <...@claymoore.com
On Mar 3, 9:47 am, Gerry <...@sunny.calif
Absolutely. The record store owner in Tampa, which is where I was
living when I began studying in earnest, was a jazz fan and would hip
me to new records, people I didn't know, etc. Going to a bigger city
such as Miami meant bigger record stores. It was like a gold mine.
Here's another factor that is having a huge impact. Albums had album
jackets, which often contained excellent artwork, liner notes with
useful information about the recording, at the very least you knew who
played on it. CDs still had this though the smaller size of the
package made the images and print more difficult to see. Now it's
becoming more difficult to figure out all these things from iTunes,
emusic, and certainly from anything that's being pirated. This is a
huge loss. I taught myself a tremendous amount about music from album
jackets. A Coltrane album meant you knew who Elvin Jones, Jimmy
Garrison, and McCoy Tyner were, and an Elvin Jones album hipped you to
Steve Grossman, Dave Liebman, and so on.
Clay
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On Tue, 03 Mar 2009 23:03:06 GMT, "Vince" <...@verizon.net
Here, here about album covers. As an ex-Deejay, I learned so much from the
covers of the albums, written by Orrin Keepnews, and Nat Hentoff. Loved it
when the cover was written by them! I used to spend hours in the record
library listening to records by someone that I just "discovered."
"southtexasguitarist" <...@m36g2000vbp.googlegroups.com...
On Mar 3, 9:47 am, Gerry <...@sunny.calif
Absolutely. The record store owner in Tampa, which is where I was
living when I began studying in earnest, was a jazz fan and would hip
me to new records, people I didn't know, etc. Going to a bigger city
such as Miami meant bigger record stores. It was like a gold mine.
Here's another factor that is having a huge impact. Albums had album
jackets, which often contained excellent artwork, liner notes with
useful information about the recording, at the very least you knew who
played on it. CDs still had this though the smaller size of the
package made the images and print more difficult to see. Now it's
becoming more difficult to figure out all these things from iTunes,
emusic, and certainly from anything that's being pirated. This is a
huge loss. I taught myself a tremendous amount about music from album
jackets. A Coltrane album meant you knew who Elvin Jones, Jimmy
Garrison, and McCoy Tyner were, and an Elvin Jones album hipped you to
Steve Grossman, Dave Liebman, and so on.
Clay
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