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Remembering Michael Jackson: RIP

Like the rest of the music world, I am in complete and utter shock regarding the sudden death of Michael Jackson.  Setting aside any negative commentary, controversies, or accusations in recent history, there is NO doubt the profound impact Michael Jackson had on the music world.

I may be a prog rock and metal junkie now, but Michael Jackson was my entrance into popular music at the young age of eight years old.  I remember vividly asking my mother to buy me a cassette copy of Thriller.  It was my first music recording.  I don’t think there was a kid at that moment in time who didn’t dream of dancing, singing or being like Michael Jackson.  And who could ever forget wanting “the glove.”

Michael Jackson was undoubtedly a musical genius with incredible business acumen.   I was never able to see Michael Jackson perform live, but from everything that I have seen and heard, he was an amazing entertainer and performer stretching back to a young age with the Jackson 5.

Jackson leaves behind a long lasting musical legacy that will continue to touch millions of people around the world.

I am truly lost for words.  So, what a better way than to share some of the songs I enjoyed.  I will however refrain from doing the whole Thriller thing… the newscasters are playing that one enough.

HEAL THE WORLD

The track always got stuck in my head when I heard it.

As well as this one.

RIP MJ.

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Twitter Is No Magic Pill For Record Industry

Yesterday, a information emerged from the NPD group that suggests Twitter users purchase more music.  Of the 4,000 Internet users surveyed, approximately one third of Twitter users had purchased a CD in the past three months with 34 percent saying they had purchased a digital download.  Goodie?

Until now, I have refrained from discussing anything about Twitter.  With so many conversations circulating about Twitter, the last thing I wanted to do was add to it.  Plus, it is part of my daily duties at work to  observe Twitter conversations for brands and whip up strategic initiatives. It is easy to get a little Twittered out.  So I have remained attentive to all the information circulating about the community, but really didn’t want to add anything to craziness. I hate jumping on bandwagons, and I am not about to start, but I feel it is worth addressing the finding from NPD Group.

Although the results are interesting , what is lacking is the fact that NPD group finding fails to address the question of “why?”  What would be more interesting is if a social anthropologist evaluated how a community like Twitter impacts our behavior and encourages music purchases.  If the Internet destroyed the recording industry model of distribution, then social network communities has amplified this by impacting our behavior in way that apparently lends itself to purchasing more music.  I would hypothesize there is a link between sharing music in social communities drives music discovery leading to more music sales.  I also think social communities amplify fandom.  The stidy hints this is the case.

NPD group also found that Twitter users have a higher engagement level to music sites like Pandora and MySpace Music.  Really, MySpace music?  While it is more likely Twitter users, at least the early adopters, are more engaged with music hubs, I would have guessed the Twitteratti  would be more engaged in places like Last.fm, Imeem, MOG, Grooveshark, and Blip.fm (the last two especially) more so than Pandora and MySpace Music.

Do these survey results further illustrate the importance of Twitter? Maybe.  There are several other communities to ask questions about and behavioral activities to better understand. Twitter maybe the most active microblog, but there are certainly others to consider in this study.  What would also be interesting to understand is if Twitter users are listening to traditional radio or ignoring the medium all together.  Radio used to be the way music aficionados learned about new music, but I don’t think this is the case any longer.  I think the sharing of music using various social network platforms is impacting how we learn about music thereby influecing our buying habits.

When I first started blogging, I wrote about how Plurk was my preferred microblog to share music.  Since then, Twitter has evolved and become the leading microblog to share music.  However, this is true only because of all the third party applications that sync into Twitter versus other services.   I still believe Plurk is the better platform, but that is my personal preference.

Bottom line, the NPD Group study reveals little and is far from adequate.  Much more analysis is needed before anyone can definitely say that Twitter is the magic pill the recording industry is searching for.  That said, there are other reason for musicians and bands to join the twittersphere and microblog frenzy.  That is for another discussion at another time.

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The Jazzy Side of Iggy Pop on “Préliminaires”

Iggy_Prelim_WTwallp1I will be the first to admit, I am not a big punk fan.  I enjoy listening to it once in a while, but it isn’t a musical style I actively look for.  That said, every true rock fan has at least heard of Iggy Pop, often considered “the Godfather of Punk.”  I truly believe that artists, real artists, step outside of their typical box and push themselves without regard to anyone.

So when I received a press release back in March notifying me of Iggy’s new album, Préliminaires, I was incredibly surprised and intrigued to read the following:

Produced by Hal Cragin, Préliminaires, which means “foreplay” in French, is score music inspired by Michel Houellebecq’s 2005 novel The Possibility of an Island.

The genesis of Préliminaires began with a few songs written for a film documentary about Houellebecq’s life and his attempt to direct a film of his own book.  Eventually, Préliminaires took on a life of its own.

Iggy sings the standard “Les Feuilles Mortes (Autumn Leaves),” originally covered by the likes of Yves Montand and Edith Piaf, while the New Orleans-influenced “King of the Dogs”—with a jazz arrangement featuring trumpet, trombone and clarinet—tells the story of a dog named Fox who explains “how cool it is to be a dog, and how much it beats human life.” There’s also a version of Antonio Carlos Jobim’s bossa nova standard “How Insensitive (Insensatez).” (Source: Press Release via Email)

I have waited to hear some tracks from the new album before blogging about it, and I finally did.  Prior to hearing anything, I wasn’t sure if I would be surprised or confused or both.  It was challenging to imagine Iggy Pop singing Autumn Leaves, especially with jazzified orchestration.  I would have expected something a little more rowdy, loud and electric sounding than what I heard.   After watching a live performance of Autumn Leaves, I was happily surprised by Iggy’s cabaretish sounding vocal work.  I was left curious to hear the rest of the album.  Here is the video:

Recently, Iggy Pop also had an interview on NPR, which is available for listening, where he talked about Préliminaires.

The album was released on June 2nd and is available on Amazon should choose to purchase it.  Normally, I wouldn’t actively seek something from Iggy, but if he stepped out of his typical musical box, so can I.

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Why Dwell on the Napster Past, Contemplate the Future of Music

Last week, ReadWriteWeb brought back Napster.  Rather, it summed up the state of the music industry with the original Napster as the focal point. At least, that was my interpretation.  I don’t need to pour salt on those old Napster wounds.  Many of us remember the moment fans felt betrayed by Lars, but a felt as if people continue to dwell too much on the past instead of figuring out how to press forward.

I have written several posts about the problems with the music industry.  As a musician, I have thought a lot about how musicians can make a living. Compensation is the main issue of this entire music business mess. I completely understand why musicians are irritated by file sharing, torrenting, music trading, and just plain ripping off the musician.  Copyright law was created to protect authorship and allow creators to profit from their creations.

As much as we all love the Net, it unfortunately destroyed the fundamentals of copyright and took away control of authorship.  In particular, P2P file sharing sites shifted control from the author to the consumer making it more difficult for authors to control how we are all compensated.

What if we had no format?

Just for a moment, let’s go back in time.  Let’s pretend that CDs, MP3s, Vinyl, and all other musical formats didn’t exist. What would musicians do to make money?  How did musicians make it in the “old” days?  It wasn’t from music sales because there was no format or distribution channel.  Performing was the only marketing vehicle available for musicians. There was no recording host toolkit to take advantage of.

Instead, musicians had to make a living traveling and performing.  It was the typical life of a musician.  It was either traveling, or working the local musical circuit.  In many cases, most musicians do the same thing today by gigging.  Musicians are recruited to perform at special events like weddings, parties, and other local events.

Bottom line, musicians have other options available to make money.  These other options may not be glamorous, but they do exist.

A Shift In Musical Living

What would happen if musicians stopped focusing on controlling recordings and instead focused more on the performance?  What would happen if musicians used the sound recording as a marketing vehicle instead of a form of compensation?

I throw these questions out because musicians can either continue to bitch and complain about the new reality, or we can start thinking about how to take advantage of what has transformed in the marketplace.  The internet has changed from a tool to find information to a hub of mass and micro communication.

Performance is the ONLY activity/marketing vehicle musicians can control today.  SO… can we move on from Napster?  Can we press forward and begin thinking outside of the typical music box?  If music labels are a thing of the past, then what is the future?  I would guess that musicians will be in charge of their own brand instead of a label. There are thousands of tools that are now available for musicians to utilize.  There are so many, this post won’t give them justice.

If fans want to share my music with friends and family, then why not let them.  Allowing fans to market/advertise for me just made my life a little easier.  After all, a musician is nothing without fans.  Fans can help bring new fans.  Instead of fighting fans, let’s empower them to advocate on your behalf.

Dave Kusek recapped a great essay by Kevin Kelly about adding value to content: When Copies are Free – Add What Can’t Be Copied.

There is definitely more to come about this, but in the meantime let me know what you think.

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A Priceless Tweetpic: To Trent, From #Eric

note_to_trent

A picture can say a thousand words, but this one says so much more. The image was posted by Veronica de la Cruz.  It is a thank you note to Trent Reznor from Veronica’s incredibly sick brother, Eric.

What do you do when the government bureaucracy interferes with saving the life of your brother and the doctors say, “You are two years too late?” What do you do when the healthcare system isn’t willing to lend a hand? You use the channels available to you and turn to the community to see if anyone is willing to listen and help.  That is precisely what Veronica did. In response, the community, including Trent Reznor and the members of Nine Inch Nails and Jane’s Addiction, has been swept by this moving, tearjerker of a story.

A love for sibling is a special one.  As I have come to know more about the struggles of Eric de la Cruz, I have been incredibly touched by this story.  But I am not going to try to retell it here.  I wouldn’t give it the justice it deserves. After learning about Eric, his illness, and the struggle to survive, this image might make you shed a tear or two.

If you are interested in learning more about #Eric (the hashtag used on Twitter), then I implore you to click on the following links: Lifegiverproject.org, WeLoveEric.com, and Tweet4eric.com.

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CSO goes Jazzical and Gets Scorched: Part II

Previously, I began discussing the Chicago Symphony Orchestra concert featuring jazz-inspired works.  You can review Part I of this article to read about Three Black Kings by Duke Ellington, the first work on the program.

Considering these kinds of works are rarely performed by symphony orchestras, I thought it warranted breaking this story into two parts.  As I pointed out before, how often do you get see an orchestra performing with John Scofield and John Patitucci at the same time?  While Three Black Kings was more traditional sounding, in the sense of integrating the big band into the orchestration, SCORCHED, Mark-Anthony Turnage, had a completely different musical character.

A Bit About Turnage

“If had to do that desert island thing, it would be half split between jazz and classical music” ~ Mark-Anthony Turnage

Prior to the performance of SCORCHED, I hadn’t heard any music composed by Turnage. But now that I have, I am eager to hear more.  The program notes describe Turnage as an “anomaly” within the classical music world, neither writing serious classical music, nor being a true jazz composer.  Instead, Turnage loves both sides equally.

Turnage, now serving as the Mead Composer-in-Residence with the CSO, first became fascinated with Jazz while attending the Royal College of Music in England.  When Turnage was first introduced to Jazz, he led a fragmented life composing atonal music, but absorbed as much jazz as he could until both musical styles merged into a single musical vocabulary.

Turnage was obsessed with Miles Davis, which is where Scofield enters the picture.  Scofield had a stint with Davis composing songs and played on three of Davis’s recordings: Star People, You’re Under Arrest, and Decoy.  Turnage and Scofield met in the mid-nineties when Turnage was searching for performers for Blood on the Floor, a work for jazz trio and large ensemble.  It was this turn of events that inspired Turnage to hit upon the idea of arranging one of Scofield’s compositions to be played as an encore at the 1996 premiere.

The two met for the first time in the mid-nineties when Turnage was picking jazz players to participate in performances of Blood on the Floor, a nine-movement suite for jazz trio and large ensemble. As a way of thanking Scofield for taking part in Blood on the Floor, Turnage hit upon the idea of arranging one of Scofield’s compositions to be played as an encore at the 1996 premiere.  Turnage would continue to select Scofield works and arrange them…which eventually led to SCORCHED.

About SCORCHED

The title, suggested by Scofield’s drummer, makes short work of a subtle and complex process: SCofieldORCHestratED. SCORCHED is comprised of 16 movements, each with mixed orchestration. No movement is similar, but blends contemporary orchestral writing with jazz sonorities creating some interesting effects throughout the musical journey.

The program notes say the following:

The opening number, Make Me 1, and Kubrick are written for orchestra alone. Fat Lip 1 is just for pizzicato strings. The Nag is for jazz trio by itself. The rest are for various combinations-Away with Words cushions Scofield’s guitar with the full orchestra; Polo Towers is for jazz trio and thirteen players; Nocturnal Mission, which follows, is for guitar with nine players. The final Protocol pits jazz trio and alto saxophone against the full orchestra.

The effect is a seamless and fluid blending of the sounds of jazz trio, big band, and orchestra. Scofield’s tunes-which remain the main protagonist throughout-have been reinvented by Turnage, so that they are often several times longer than the originals. Scofield gave Turnage license to play around with tempo, to add long introductions and substantial codas-in effect, to improvise as a composer.

I wasn’t sure what to expect from a work like this, but a came away from the concert wanting more.  Considering that concert was longer than the typical orchestral concert of two hours, I will take that as good thing. SCORCHED is a piece worth experiencing in live performance. Since this work is rarely performed, a good substitute might be the sound recording available for purchase.

All in all, this is a concert I will remember for some time.

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The Metal World Is All A Twitter Over Anvil Story

Never heard of Anvil?  Well, now is your chance to learn more about a Heavy Metal icon of sorts.  The buzz is percolating over a new document about the Canadian Heavy Metal which inspires such popular acts like Guns N’ Roses and Metallica. You wouldn’t expect a heavy metal act with a documentary, of all things, to get some much attention, but it has. In fact, Anvil really hit mainstream conversations by receiving attention on NPR earlier today. You can hear the segment below:

After doing a search on Twitter, here is a sampling of some recent Twitter search results using terms “Anvil” and “story”:

anvil_twitter

And to think that all VH1 did was send a few copies to some popular musicians on Twitter.  Pretty cool how this is evolving.  Stay tuned, I am sure the story about Anvil and Twitter is far from over.  Of course, now I have to go see the movie.  Some videos are available on the NPR site so check them out.

Initially, I was planning on finishing my CSO post I started yesterday, but this was just too good to pass up.

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CSO Goes Jazzical And Gets Scorched: Part I

Jazz is only a word and has no meaning . . . I don’t know how such great extremes as now exist can be contained under the one heading ~ Duke Ellington

Ok, well the Chicago Symphony Orchestra didn’t get scorched in the literal sense, but it was an evening filled with Jazz inspired classical music. Over the weekend, the CSO performed Three Black Kings by Duke Ellington and SCORCHED by Mead Composer-in-Residence, Mark-Anthony Turnage.  The CSO was joined by Jazz greats John Scofield, John Patitucci, Peter Erskine, Willie Pickens, and Donald Harrison, Jr. It was a rare and amazing experience.

Symphony orchestras rarely perform compositions that are jazz inspired. In fact, these works were the very first performance for the CSO, and SCORCHED made its US premiere. So, in the fall when I saw these works listed as one of the programs, I just knew I had to go to this particular concert.  These are the concerts I most enjoy at the CSO. Not that there is a problem with listening to more traditional works, but these performances of rarely performed works are the ones I enjoy the most.  I mean, come on… when was the last time you saw an orchestra performing with John Scofield and John Patitucci?

Ellington’s Three Black Kings

The concert began with Three Black Kings, which happened to be Duke Ellington’s final composition.  In fact, Ellington didn’t complete the work, his son, Mercer, completed the work.  The work is orchestrated for Jazz trio – piano, drums, and alto sax – and orchestra.  Each movement was inspired by a different “black king”: 1) King of the Magi, 2) King Solomon 3) Martin Luther King.

The program notes include the following description about the work:

Three Black Kings, a commission from the Dance Theatre of Harlem, was inspired by a stained-glass window Ellington saw in the Basilica of Santa Maria del Mar, the great Catalan Gothic cathedral in the Ribera district of Barcelona, when one of his Sacred Concerts was performed there. Reflecting the window’s depiction of three biblical kings, Ellington eventually conceived his own triptych. The opening movement, in the words of Mercer, “represents Balthazar, the black king of the Magi. King Solomon is next, with the song of jazz and perfume and dancing girls and all that; then the dirge for Dr. King.” Three Black Kings was first performed on April 29, 1976-the date that would have been Duke Ellington’s seventy-seventh birthday.

I really wasn’t familiar with Ellington’s orchestral works.  Three Black Kings had really great moments, and those that probably would have been revised and expanded on had Ellington lived longer.  What is clear is that Ellington had a distinct musical language clearly able to combine elements of jazz within a traditional classical framework. All in all, Three Black Kings is a great introduction to a master’s orchestral repertoire. I wish I could get my hands on an orchestral score to take a closer look. I look forward to listening to others.

More to come about Scorched and my final take of the concert…

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NY Times Recaps Recession Impact On The Arts

In April, the New York Times asked for feedback from artists about how the recession was impacting their work and lifestyles. It appears that hundreds replied.  Tonight, the Times ArtsBeat Blog recapped what people said and how the artistic community is managing through these tough economic times. After reviewing some of the comments from the original story, I thought this was worth sharing with others.

Check out the recap here: http://artsbeat.blogs.nytimes.com/2009/05/19/artists-and-the-recession/

If you have your own stories, I’d love to hear them as well.

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Using Musical Training In The Business World

Ever since the Chicago Tribune wrote an article discussing how enrollment to music programs is on the rise, I have been thinking about the skills I developed as a musician and how they translate into the business world.  One of my Twitter friends, Amber Naslund (@AmberCadabra), discussed a while back some of the musical skills that apply the in social media marketing world.  Her post hit the mark, but the fact is musicians develop skills that can be applied within the business world, not only social media.

Since graduation season has arrived, it seemed appropriate to revisit this idea as graduates prepare to enter a grim job market.  There are certain skills that can and should be highlighted on resumes and talked about in interviews.  I don’t have the stats to prove this, but I am certain that musicians are hurting just like any other business entity.  If people don’t have money for food or to pay for mortgages, then there is certainly little cash flow for things like music lessons, attending concerts, buying music, etc.

John Holmquist, my former professor at the Cleveland Institute of Music, once told me that “playing a musical instrument is the hardest thing anybody can learn to do.”  Or, at least it was something like that. Bare with me, it is going on ten years since… (Yikes!)

The following is a list of some of the skills I have found that translate in one degree or another into the business world.

Detail Oriented

Musicians are some of the most detail-oriented people out there. We have to plan everything out.  From the finer details of writing down what fingers play what notes with what hands to understanding the historical context of the work. There is nothing more involved than learning to play a musical instrument and interpret a musical composition.

Time Management

Musicians have to manage time and plan activities accordingly.  A typical practice session could include time to warm-up, studies and exercises, review learned music, rehearse problematic sections in a work, learn new music, etc.

Outside of the practice room, there is scheduling normal everyday activities around practicing.  Everything like cooking dinner, doing laundry, running errands, teaching lessons and a whole lot more is planned out to ensure it all gets done.  If it takes 100 hours to learn a new musical work, those 100 hours are split over the course of time across weeks of preparation.

In addition, many musicians teach and have to manage practice time against teaching time.

Analytical

The ability to breakdown data is an ability musicians learn very early. By data, I of course mean music.  Musicians analyze music ALL the time.  A musical score is kind of like data in the sense that information needs to be dissected and made sense of. While this type of analysis usually guides interpretation, there are a number of businesses the require the ability to evaluate information/data. The ability to evaluate, synthesize and develop a finding (musical interpretation) is the process that can be applied in daily business activities.

I can speak from personal experience the daily analysis I have to do.  Musicians are also very thorough.  I even have a mug to prove it. And, my account managers have criticized that I can get too analytical.

Creativity

Every musician is a creator.  Musicians constantly have to think “outside of the box” to often interpret a musical composition that has been performed HUNDREDS of times by others and make it sound unique.  Composers search for something that makes them unique.  Instead of designing using something like Adobe Photoshop, our instrument or a blank music sheet is the program that allows musicians to shape musical compositions.  Designers may end up with something more tangible like a colorful box; musicians end up with a creative output in the form of music. Musicians are the artists of sound.

Marketers always talk about ownable positioning for a brand.  Developing artistry is much like creating an ownable position, but instead it is an ownable sound.  All great and memorable musicians have qualities that stick out from all the others.  I could spend a whole post on this idea. Suffice it to say, businesses look for creative people, and musicians are naturally creative.

Ability To Meet Deadlines

The concert is the deadline.  As Fred Mercury from Queen once sang, “The Show Must Go On.”   Musicians deadlines aren’t that different from any other project deadline.  Every composition we learn or write is usually associated with a goal – the concert. The concert is our moment to shine or to fail.  Either way, they show must go on.

I think most musicians have endured late night practice session before a performance.  Well, the same happens in the business world.  Like it or not, when a project is due, extra hours of preparation are required to meet the deadline aka performance.

Persistence/Patience

Completing a music degree has many challenges and trials that require a combination of persistence and patience.  I combine these two characteristics because they play off each other. When a musician sets out to learn or write a composition, a plan is established that usually requires weeks of practicing; everything from analyzing the work to learning the notes to deciding on an interpretation.

There is a usually a deadline for learning a work, but it takes time and patience to learn/compose it. Especially for a work that pushes technical boundaries for the performer and stretches the creative mind of the composer.  At the same time, it requires persistence, which translates to MANY hours over SEVERAL weeks, to learn new techniques in order to perform the work well.  Just as it patience is needed, it takes persistence to go back and review musical sections, play scales and practice new techniques daily for hours, weeks, or months.

The process required for achieving the desired result can often test patience and demands persistence to push mental, physical and emotional limits.  I think every musician can attest to that.  It takes persistence to succeed in today’s marketplace, just as it requires patience to manage and work through difficult job functions.

Event Planning

Most concerts don’t happen on there own.  There is usually a planning process, and most universities require students to plan their own recitals.  Preparing a recital is the same as preparing for any other event.   Granted, some musicians have an easier time planning a recital, but the motions are still the same for everyone.  Here are some of the questions that go into planning as I recall: What is the date and time of the concert?  Where will the concert take place?  What will I perform in the recital?  Are there events that conflict with the times I have in mind?  Who should I invite to attend?  Who is preparing the program?  Who will work as my stage manager?  Will my recital be recorded?  Etc., etc.

These very same questions are pretty much the same questions that go into preparing a non-musical event.

Public Speaking/Getting in Front of Crowds

Ok, so this might be a bit of a stretch, but I think Public Speaking is something musicians can easily develop the skills for.  After all, most musicians, especially performers, have to get up in front of a crowd and …well… perform.  It really isn’t much different from public speaking.  The major difference is instead of speaking, most performers are playing an instrument.  Vocalists might have an advantage.

Regardless, musicians understand the mechanics of getting up in front of crowd.  Musicians work to control their nerves, prepare their mindset, maintain their composure, have prepared the “presentation,” rehearsed it a few times, etc.  I am no public speaker, but these seem like skills that transfer to public speaking.   If not, then please let me know.

Congrats to New Grads

I hope I have highlighted a few skills that we learn while becoming a musician which could translate into helping you find the next sad paying job. (I had to check if you paying attention.)  I congratulate all the grads of 2009.  In particular, my cousin who just graduated from St. Mary’s this year.

Cheers, good luck, and comments are always welcome.

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