You gotta pay the band

I have produced a few CDs over the years that were solely funded by me, and had no chance of being big sellers. This situation makes budgeting the project difficult, especially when it comes to paying the musicians. In some instances, I have just built a modest (but hopefully respectful) amount of money for each musician into the budget, and paid them for the recording. This makes the gamble mine alone, and makes the bookkeeping much easier, in the unlikely event that the CD actually makes money. We did do the first Lucky 7s CD with the understanding that once the initial investment was made back, we would share equally in the proceeds. No one was paid for the recording on the front end. Happily that CD has made a little money, and every once in a while I get to send each of the guys a check (a small check, but a check none the less).

Recently Kickstarter, and similar sites, have become a popular way of trying to finance recording projects. It is not difficult to see how this could seem more appealing than the personal savings method of financing. There has been a good bit of reaction to this trend, both positive and negative, and some insight as well.

All of this brings me to a new Kickstarter project I was recently asked to support. It is Steve Swell’s Nation of We. Steve has taken the curious angle of running the campaign to pay his band. It is not uncommon for artists to make a recording on their own, and then have a label pick it up. It is also not uncommon for the label to pay the musicians in product, i.e. the musicians provide the master, the label pays for pressing and distribution, and the musicians get paid in product (CDs they can sell themselves to make their money). Unless the CD really sells a lot, there is often no exchange of cash between the label and the musicians. NB: I don’t know that this is Steve’s deal on this CD, I just know it is common practice.

Part of me wants to complain about what a shame it is that we have to resort to organized begging to pay musicians for their creative work. The other part of me thinks it is cool that Steve wants to do right by his band, and that using Kickstarter to offer what amounts to CD pre-orders is a great idea. I’ll save the long form rant for a time when my thoughts on the matter or better organized.

I supported this project, and recommend that you check it out and see if it is something you would like to support as well.

Tim Daisy/Ken Vandermark Duo at Open Ears 7/26

I don’t usually use this space to push upcoming Open Ears events, but tomorrow night’s show should be special. We are fortunate to be able to host the New Orleans stop on the Tim Daisy/Ken Vandermark Duo tour. The show is in the Blue Nile Balcony Room on Tuesday July 26, 2011, sometime after 10 PM CDT. The concert will be broadcast on WWOZ (90.7 FM in New Orleans and wwoz.org everywhere else), so if you aren’t in New Orleans, or can’t get to the club, please listen online, or the radio. There is a $10 suggested donation.

Read the Time-Picayune’s preview of the show.

Ken tim

Tim (on left) and Ken rock their excited look.

Ken Vandermark plays woodwind instruments, composes, and makes things happen. He’s had a number of groups, and is probably best known for his long running quintet The Vandermark 5. In 1999 he won a MacArthur Foundation “genius” grant.

Tim Daisy is a composer and percussionist. He has been a member of several of Ken’s bands and on top of that is a busy member of the Chicago scene. I have heard a rumor that Tim is a Slovenian free jazz rock star, and I know he knows where to find the best pho in Chicago.

These guys are special, don’t miss it.

Thoughts on an Astral Project show, or I feel like a teenager again

My step-son (Blake) asked me to take him and a friend (Taylor) to hear Astral Project at Snug Harbor tonight. One of the cool things about Snug (and there are many) is that young people are allowed to come in to the club and hear the music, when accompanied by an adult. There aren’t many places that 17 year old aspiring musicians can go to hear good live jazz.

I hadn’t heard Astral Project live in quite some time. I was nice to be reminded how great they are. When I was about the age of Blake and Taylor, I spent a lot of time listening to Astral Project. Many of my early musical inspirations and revelations happened at Astral Project shows. I hadn’t thought about that music much recently, but tonight I was reminded how much the sound of this band is a foundational aspect of my musical and aesthetic DNA. I realized that most jazz drummers leave me flat, because I want them to be Johnny Vidacovich. I remembered a night in Dixon Hall at Tulane, when I heard Tony Dagradi, and his sound made me want to find a voice on trombone that is that personal and vibrant. They are really a special band, and it was nice to be reminded of that tonight.

I have been trying to do a good job of exposing Blake to good music, and giving him a chance to find the things that he likes. He returned the favor tonight by asking me to take him to a show that left me feeling just as inspired as it left him. I love the nights that remind us that music is fun.

Hanging with composers, or electroacoustic name dropping

Meeting people who are well known in one’s field is always a great learning experience. Sometimes all you learn is that a person you thought you respected is just a jerk. More often (at least in my experience), you learn that this person is not only a great artist, but a great person as well.

I have always had trouble separating my perceptions of an individual human, from my perceptions of the art he or she makes. I am predisposed to like the work of people who I have met and like on a personal level, just as I have trouble enjoying the work of people who I have met and determined to be jerks.

A couple of weeks ago, I had the pleasure of meeting Jon Appleton. He spent a week at Loyola University as guest composer. The New Orleans electroacoustic scene is littered with Appleton students…well, ok, Paul Botelho at Loyola, and Tae Hong Park at Tulane, were both Appleton students. Paul brought Jon to town for a week of teaching and a concert. I had several chances to spend some time with him, and it just confirmed that the famous guys are famous for a reason. He premiered a new piece, and his mastery was obvious. His thoughts on music and life as a musician were both clear and inspiring. And, he is equally fun to talk with about pizza, bourbon, and removing chili stains from pink shirts.

Last weekend I had the pleasure of hearing Lukas Ligeti. Lukas is a composer and percussionist, and he performed a solo concert of his works at Zeitgeist in New Orleans. The stuff he did that night was all electronic, and was a cool mix of sampled and synthesized sounds. He spent an extra day in New Orleans after his show, and ended up back at Zeitgeist the next night, when I played a duo show with Dave Cappello. Dave, Lukas, René (from Zeitgeist) and I ended up having a nice post gig meal/hang. Lukas has done a lot of travelling and has some interesting political ideas, so it made for a great night of conversation. It was so interesting, that we didn’t even talk about his famous father, although I did learn the correct way to pronounce the name.

Meeting cool people is far and away one of my favorite things about the life I am blessed to lead. I now have an even greater enjoyment of the works of Jon and Lukas.

We learn from our students

Students can turn you on the the oddest stuff. We talked about musique concrète in my Intro to Music Tech class the other day, and after class a student (Spencer) said it reminded him of this:

Dig the lederhosen wearing, serpent playing horn section. Spencer’s favorite part was the record scratching parrot voice. It’s like a modern day Officer Krupke…sort of.

LOLs video

Maybe the only way to break my unfortunate “one post per month” recent pace is to make multiple posts on one day a month…

Anyway, last Tuesday the Laptop Orchestra of Louisiana (LOLs) played a concert in Free Speech Alley at LSU. It was fun. There was sunburn. Someone shot video.

We did a number of pieces that day. The piece in this footage is something we called “own instrument improv.” It is an improvisation, in which we each play an instrument of our own design. I was playing a joystick instrument that I designed for a piece called Forbidden Butch and another instrument that I call R2D2 because it sounds a little bit like the droid. They were both made in Max/MSP. The forbidden butch instrument uses a Logitech Joystick, and the R2D2 instrument uses an AKAI LPD8 as a controller, although it can be played without the LPD8. If you want to check out the patches, send me an email, and I’ll send them to you.

In Bb 2.0 or internet art

My friend John Worthington tweeted this link earlier today. It is a fun instance of internet art.

http://www.inbflat.net/

As described on the site:

In Bb 2.0 is a collaborative music and spoken word project conceived by Darren Solomon from Science for Girls, and developed with contributions from users.

The videos can be played simultaneously — the soundtracks will work together, and the mix can be adjusted with the individual volume sliders.