Wide listening

One of my go to recordings recently has been Return the Tides by Rob Mazurek and Black Cube SP. I have also recently been on a kick to try to expand my listening to and appreciation of music that is more mainstream or popular than what I usually listen to. This has led me to spend some time with the new D’Angelo record and even check out some Iggy Azalea, in efforts to better understand some of the recent discussions on these topics. I have found that there is more musical commonality across those spaces than I might care to admit.

Growing up musically in a space that was largely influenced by jazz culture, I have some completist tendencies. I like to dig deeply into the music of my favorites. I guess that could be more of a me thing than a jazz thing, because I did that as a kid with my favorite rock bands too. Once I decided I really liked a band, I had to get all of their albums. This habit has made it hard for me to “skim” the music of someone who is new to me, but my recent decision to broaden my horizons has forced me to do just that.

What I have discovered is that even cursory exposure to new music is rewarding and offers insight into old favorites as well. Maybe that has always been obvious to most of you. It just hit me in a new way today.

A Shocking Exchange on Facebook about Music and Hard Work | The Art of Freedom

How we frame what we do matters.

A Shocking Exchange on Facebook about Music and Hard Work | The Art of Freedom:

“Where is the love of the everyday music-making that we give to ourselves? Yes, music-making can be rewarding, but not just when the performance goes well and as planned! Where is the joy of learning, of experimentation? The spark of curiosity? The excitement of discovery? Where is the delight in making sound for the sake of making sound? Why take the fun out of what we do 90% of the time, which is in the practice room, not onstage? Why make such a harsh division between play and the studied attention we pay to detail in the practice room or in a lesson?”

A beautiful sound…

In 1999 I was fortunate to fall in with some musicians who were doing things that I wanted to do, but wasn’t sure that I could. These were people who I had been hearing play for some time, and I was getting to play with them. I didn’t know if I belonged there.

After my first gig with the Naked Orchestra (which was only the band’s second gig), Tim Green walked up to me and said something nice about what I had played. I don’t remember his exact words, I just remember that the guy who made the most music in this group of (close to 20) great musicians went out of his way to say something encouraging to me. He made me think that maybe I could make some music that mattered. Those few words from him really did change my life.


Tim Green passed away this week. He was a beautiful person who made beautiful, deep, soulful sounds. To hear him play was to peer into his soul, and it was beautiful. Tim went out of his way to help create peace for those around him, I hope he has found the peace that sometimes eluded him in life. Rest well brother.


We’re (part of) #41!

For Downbeat Magazine’s 80th Anniversary (July 2014), they published a list of the 80 coolest things in jazz. #41 is New Orleans, and the Open Ears Music Series got a brief mention in the article:

At…events like Jeff Albert’s Open Ears Music Series, improvising players innovate new sonic concepts on the fly, giving listeners direct and immediate access to their creative process.

WWOZ got their own (well deserved) solo shout out, as did friends Jason Adasiewicz and Mike Reed. These sorts of lists always make for good arguments, but this one is pretty well rounded.

Dark Forces Swing Blind Punches: I want to stay: Celebrating Ornette in Prospect Park

A great recap of the Celebrating Ornette concert for those of us who missed it.

Dark Forces Swing Blind Punches: I want to stay: Celebrating Ornette in Prospect Park: “Of course you would want to listen to this music. It’s for everybody. It’s not that its once-controversial radical-ness has been tempered; it’s more that the music has been given ample time to disseminate to its true audience, the public, flowing past the gatekeepers/naysayers and eventually submerging and silencing them.”

eMotion gestural control system

A few years ago I met a Chet Udell at a SEAMUS conference. He is a composer/technologist, a nice guy, and he wrote a great piece for trombone, piano and computer stuff. We have kept in touch, mostly via running into each other at conferences and whatnot.

Last fall, I saw him do a demo of a new gesture control system that he has been developing, and the possibilities were pretty exciting.

He is nearing the end of the Kickstarter for it. If you are curious about that sort of thing, check it out.

Visit the page here: http://kck.st/1gTwSCF

$139.00 eBook. Really?

I am on a number of email lists focused on subjects related to music technology. Today a member of one of those lists sent an announcement of her newly published book. The title sounded interesting, so I followed the link to her website, with the idea that I would likely purchase the book, until I saw the prices. The hardcover version is $170 US. The eBook, yes, eBook is $139 US. “How is this rationalized?” was my next thought. Who would pay that?

Then it hit me. Regular people don’t buy these books. Libraries or institutions may buy them. Sometimes students are forced to buy them under the duress of it being a required text for a class. In all of these instances, there is a layer of financial bureaucracy between the user and the book publisher. Even in the case of students, it is often student loan money or some other financial aid that buys their text books, so it doesn’t feel like “real” money.

This is similar in principle to the way healthcare costs have risen because there is a layer of “insurance” companies between the providers and the patients. There are financial transactions between doctors and insurance companies, and between insurance companies and patients, so the cost of each individual transaction gets obfuscated by the layers of financial (insert expletive here) between the doctors and patients. The patients don’t pay directly for the services, so they don’t get outraged at how much it costs.

Similarly, if my university library is paying some outrageous sum of money every year for access to online journal databases, but my colleagues and I are the ones using the databases, no one is in a position to get mad about the cost. The users don’t see the cost, and for the folks who pay the bills, it is just another bill to pay. It’s like financial three card monty. Just keep things confusing enough so that no one notices or thinks about it.

It seems like a very inefficient system for the outsides of the system, and very lucrative one for those who create the layers of obfuscation in the middle.

Why do we let this happen? Is it because we need a super expensive publisher to legitimize our writings to the tenure committee? There has to be a better way.

If that book had been $40, this post wouldn’t have happened, that publisher would have 40 of my dollars, and I would be waiting for what seems to be an interesting book to arrive in my mailbox.