Young ‘prefer illegal song swaps’

From a BBC story ,BBC NEWS | Entertainment | Young ‘prefer illegal song swaps’ :

Jupiter analyst Mark Mulligan said: “The digital youth of today are being brought up on a near limitless diet of free and disposable music from file-sharing networks.

“When these consumers age and increase spending power they should become key music buying consumers.

He added: “Unless the music industry can transition these consumers whilst they are young away from free consumption to paid music formats, be they digital or CDs, they may never develop music purchasing behaviour and the recording industry could suffer long-term harm.”

I think part of this is because the music industry is seen as a large cold faceless glob of evil, which much of it is. My friend, jazz artist David Gibson, has suggested that as we move to more independent production, that the artists will become the face of their music (instead of a many major labels that seem like they would prefer to sue you, or ruin your computer, as much as sell a CD to you), and people will be less likely to steal it. That seems to make sense.

Canadian artist Jane Siberry has a digital music store that seems to run on that theory. There is a nice description of the principle in this Boing Boing post.

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A composer to scare the bejesus out of the IPO

An interesting look at a seemingly grumpy composer.

Haaretz – Israel News – A composer to scare the bejesus out of the IPO

I like this quote:

“Enjoyment is a historical experience. People enjoy Mozart, Dvorak, Berlioz. If I want to enjoy a melody, I go to Schubert. This is a cultural experience. But of a work that was written the day before yesterday, I am critical. The enjoyment is only a part of my listening, a niche. Art is too serious a matter to limit it to the concept of enjoyment. That’s primitive. When a work appeals to taste, it is appealing to a low level: This is the same taste that chooses the color of a car, or upholstery, or a table. This is the same taste that chooses what ice cream to lick. Taste is base artistic judgment.”

Thanks to John W for sending the article my way.

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Grateful Dead widow burns down online show-library

I’ve never been a big Dead fan, but this article offers another look at the constantly evolving world of coyright and intellectual property.

Boing Boing: Greedy Grateful Dead widow burns down online show-library

Here is a band that was built upon a tape trader mentality. They and their fans were at the forefront of the type of thinking that has led to open source and creative common concepts. Now some survivors and family members apparently see too great a business opportunity to pass up.

Right now I have CC licensed tunes on my site. I just want people to hear my music, and hopefully talk about it. I wonder if I will feel the same way after the free jazz revolution has made it possible for me to get rich from my stuff.

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Deborah Weisz – Grace (for Will)

Grace (for Will) by Deborah Weisz is a rewarding CD of mostly original music. “Touch” by Jim McNeely, and the standard “Body and Soul” are the only compositions on the recording that aren’t by Weisz or one of her bandmates. The stylistic range is from the fairly free to the swinging straight ahead. “Pablo’s Crib” by saxophonist Andrew Sterman is particularly catchy.

Weisz’s trombone playing is superb. Her sound is rich and full, and her time feel is fluid and swinging. Andrew Sterman’s saxophone stands out in a positive way, especially when the band reaches to those farther out spaces. The presence of Olivier Ker Ourio’s chromatic harmonica on 5 tracks adds and interesting sonic color and a fresh new voice.

I bought this disc somewhat out of curiosity, because I was not very familiar with Weisz’s music. It has stayed in my personal rotation since it arrived. Grace (for Will) is available from Cadence and CD Baby.

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