Author Archives: Mike

Paying for what you like

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“I pay for the things I like.” – Jen Kirkman

The above quote comes from comedian Jen Kirkman‘s appearance on the most recent episode of The Long Shot Podcast.  She said this while the regular panel of comedians were discussing their podcast’s nascent donation-based monetization model.

As discussed in prior posts, I’m a big fan of stand-up comedy.  (It’s my other art/performance/entertainment interest aside from music – there are many parallels between a music and stand-up.)  As a result I listen to a LOT of comedy podcasts.  I suppose one could say I’m a somewhat early adopter – I’ve been listening to podcasts steadily/daily for almost two years.  I mention this because (comedy) podcasting has really exploded the last few months, and as a result different comedians/shows have pursued different monetization avenues: subscription (Kevin Pollak’s Chat Show, Never Not Funny with Jimmy Pardo), donation (Marc Maron’s WTF), commercial (all ACE Broadcasting series’), premium content (WTF), live shows (The Adam Carolla Show, WTF, Nerdist), etc.  It’s very interesting seeing the varying successes of each.

Why this is so compelling to me is that comedy podcasts are largely free, done so intentionally to attract a large audience.  However podcasting ain’t free.  Not only does the comedian him/herself take the time to produce/record/edit the material, but, depending on the scale of the operation (and it varies WIDELY – compare The Adam Carolla Show with Bill Burr’s Monday Morning Podcast), there is likely a staff assisting in the process.  Then there is the bandwidth used to distribute each episode, one of the costliest elements.  (For instance, in the first months of Adam Carolla’s podcast he paid it out of his own pocket, upwards of ~$15,000/month!)  This is all done so that the listener may be entertained a couple hours each week or day FOR FREE!!!

At every turn towards monetization there have been vocal detractors for pretty much all series’.  This is what I’ve found fascinating: so many hundreds of thousands of people listening to this FREE content regularly, then complaining when asked to pitch in what often amounts to only a few dollars each month.  (Not too different from the generic starving children in Africa.)  I actually do donate to such things; just as I do to NPR (something else most skimp out on).  Then I remember that I’ve seen this all before, only in reverse:

The music industry.

As everyone knows, the music industry has all but imploded over the last 15 years or so.  Now we have what’s euphemistically called “the economy of the free.”  What that translates to me as is: “Why the hell should I pay to be entertained/moved?”  Which, for me, goes back to what Jen Kirkman so eloquently said: “I pay for the things I like.”

Those who know me personally know me to be a loud, staunch advocate of paying for music.  (And, as described in my New Listen series, I like to pay for physical copies – CDs – whenever possible.)  Yes, Lars Ulrich & Co. can be annoying when yelling about Napster from their mansions and jacuzzis.  But what about those of us trying to “make it” (whatever that really means)?  Should musicians not be compensated for their art?  It was made with time and physical/mental labor, afforded often by years of study/practice, and then made available for public consumption.  Sure, it can’t be physically felt, but, assuming it’s effective, is it not felt emotionally/intellectually/viscerally?  (Sorry Google, I know you want everything to be free so you can keep making money on ads.  Not gonna happen.  Hopefully…)  Keep in mind I’m not here necessarily defending Kanye West’s bank account – ick! – but rather those of the smaller, more independent acts.

We’re all familiar with the torrent sites, P2P sharing, etc.  Another common practice, oddly enough by music majors (who theoretically will seek careers making money via music), is to excessively “borrow” music from music libraries, stuffing their hard drives to the gills.  (Yes, I’ve researched music from university collections many times, but if I end up finding I like something enough for personal enjoyment, I’ll then buy it.)  Again, I just don’t understand the theft element.  I would think that of all people, musicians would largely set the example that paying for music is respectable.  I’m happy to report I’ve bought, or received as gifts, all ~1000 albums (and growing!) in my collection.

(Granted, I often unintentionally take this to extremes.  I generally don’t even listen to copies of CDs people randomly make for me.  If I put it in and like it, I’ll go ahead and buy it.  If not, I’ll discard it and not use it again.  Sometimes I don’t even listen to it because I don’t have the time and have no opinion to lead me to purchase it.)

Now what do these two topics – comedy podcasts and the music industry – have in common, other than the obvious?  For podcasting, this young and evolving medium has yet to really find solid financial ground, but the wheels are in motion for it to establish its legitimacy (in the eyes/ears of the listeners).  (One major example is the recent rumor that Apple was in talks to have Howard Stern move his market-moving show from satellite radio to podcasting for a $600 million contract.  However he later announced he’ll continue on Sirius for another 5 years.)  Then on the other hand there’s the music industry, a once commercially-dominant industry that has completely unraveled, now struggling to make a profit.  (Again, I’m concerned about the musician, not necessarily the corporation.)  At the heart of both “industries” is the consumer’s ill-informed belief that they deserve everything for free.

So the next time you decide to “rip” something off the internet (or library), please remember Mrs. Kirkman’s simple words of wisdom: “I pay for the things I like.”

And you should too.

New Listen: Dave Liebman’s ‘Ornette Plus’

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Artist: The Dave Liebman Group
Album: Ornette Plus (2010)

As expected, Dave Liebman has continued to expand his mammoth catalogue in 2010.  A number of releases have dropped in the last few months, but this particular record – I still use the word even though this is an iTunes-only release! – has flown somewhat under the radar.  While I still need to catch up on a number of the other releases, I can assure you that this one simply isn’t an afterthought (when compared to its more publicized counterparts).

The Dave Liebman Group is:
Vic Juris – Guitar
Dave Liebman – Saxophone
Marko Marcinko – Drums
Tony Marino – Bass

Ornette Plus serves as a live b-side of sorts to DLG’s recently-released studio album Turnaround: The Music of Ornette Coleman (2010).  It features performances of three Coleman tunes – “Turnaround,” “Lonely Woman,” and “Cross Beeding” – as well as an adventurous 30-minute interpretation of Vic Juris’s “Victim.”  DLG is, hands down, arguably the best live ensemble I’ve seen.  Musicality and virtuosity aside, they have an unparalleled telepathy and empathy that allow them to convey a dynamic, unified message.  (If you ever have the chance to see them, take advantage of it; you won’t regret it.)

“Turnaround” kicks off the album nicely.  While maintaining a number of the “free” aspects, it’s full of two things: groove and the blues.  Even though the pulse tends to fluctuate, there’s always a deep, dirty groove.  The melody here features a wonderful heterophony between Liebman (tenor) and Juris (guitar) – one of the group’s hallmarks.  Those two have a truly impressive ability to move together melodically without 1) requiring the dreaded unison and 2) stepping on each others’ toes.  Before reprising the final melody, there’s some great call-and-response between these two lead players.  Bluesy and gritty, this is a great opener; a nice way to “ease” the listener into the more exploratory performances.

If you’re looking for something similar to the original “Lonely Woman,” then listen elsewhere.  The ensemble displays its collective abilities here, creating an ambient, quasi-electronic soundscape that sends the listener to another world.  Liebman trades in the sax for a wooden flute, soaring over a pulse-less backdrop of harmonic texture, drones, cymbals, and tribal percussion.  It’s almost difficult to believe it’s the same group, let alone the same album; a nice contrast to the opener.

“Cross Beeding” is pure Ornette.  After a brief solo introduction on soprano saxophone, Lieb and Juris once again lead the group heterophonically in a more “traditional” frenetic and stilted Coleman manner.  Abruptly changing pace, Marino shines on the bass, soloing over a spooky, ambient backdrop similar to “Lonely Woman.”  Gradually the entire ensemble joins, and Marcinko drives the rhythmic activity, escalating until the whole group is drunkenly dancing about at the end.

The album “closes” (it’s the entire second half) with “Victim,” a Juris original.  Not only does the quartet explore collectively here, but each member also gets a chance to shine in the spotlight.  The Coleman compositions were bent more towards featuring the ensemble as a whole, not unlike a classical concerto for orchestra.  “Victim,” however, allows each soloist to speak freely, with only two brief, burning statements of the melody.  (A live performance was also released on 2008’s online release Further Conversations, but this one stretches much farther.)  Even though all of the tunes on this album aren’t from a single performance, this rendition of “Victim” ties the album together by both hinting at a number of styles explored earlier – free, ambient, and rhythmic – and via Lieb’s brief (un/intentional?) quoting of “Turnaround.”  (The latter’s quite impressive if from a separate performance.)  It also forges new paths, featuring more extended techniques, solo play, and fast, hard-driving swing.  Vintage DLG.

This was unintentionally a longer review than usual, but that’s because this album is worth it! It may not be the best place to start with Dave Liebman if you’ve not listened to him before – or much “progressive” jazz in general – but this should serve as a real treat to those familiar and/or those with adventurous taste.  Do give this hidden gem a listen (or five or ten!) – you’ll be glad you did!

*And for those interested in improvisatory performance styles of any kind, this album (along with any other by DLG) is one of the best masterclasses you could have.*

iTunes Link

Update: In Transit

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I didn’t originally intend to take the blog on hiatus these last couple weeks, but work and travel got the best of me.  I had to trek to Michigan State University for meetings and recruiting for next summer’s study abroad course.  Also, with Thanksgiving approaching, I’ve also been trying to squeeze many things in while working on the road.  At any rate, I have number of new albums I’d love to review soon, as well as quite a few ideas to extrapolate.  Everything should be “back to normal” after getting back to TX at the end of the week.

Social Media: Stifle Yourself

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As you know, this is the “Social Media Age.”  In fact, I’m sure that’s how most of you got to this entry.  It’s obviously a very useful and arguably necessary component of our personal and professional lives.  However, even in social media there’s such a thing as too much.

I’m a compartmentalizer; always have been.  I like to be organized and keep things in their separate places.  The same goes for all things digital.  Where I’m going with this is that most of my colleagues – past and present – and interests tend to mix the personal and professional.  Consequently, when I’m wanting to learn about new music, tour dates, album releases (yes, LPs do still exist!), or any piece of useful information, I tend to also read about their last meal, how they feel about athletes and politicians, and various emotional assessments.  I can empathize, as about 10 times each day I think hey, that’d be funny/insightful/thought-provoking/[you fill in the blank].  Then after about 1.5 seconds I consider the reader.  Will they care?  80% of the time the answer is no.  Hence this blog’s musical focus.  I could write endlessly about comedy, politics, social commentary, and the infamous “vexatious minutiae” (to quote a past professor), but it’s best that I be consistent and maintain some sort of constant thread throughout.

While I don’t expect everyone to be completely black-and-white mechanical, everyone should realize that everything has its place.  Even in a digital environment.

New Listen: Rolf Lislevand’s ‘Diminuito’

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Artist: Rolf Lislevand
Album: Diminuito (2009)

Reinforcing the aforementioned eclectic nature of this series, this week’s selection comes from the Italian Renaissance.  Actually, it’s a quite modern taken on music written during the Renaissance.  Here, Rolf Lislevand, a leading Baroque and Renaissance lutenist, leads an ensemble of early music performance specialists through stirring renditions on centuries-old music.  (I emphasize “performance specialists,” as there’s often a distinct difference between performers and researchers in academia – a topic I’ll likely return to in the near future.)  As with Manu Katché’s Third Round, this was a completely blind purchase, having known neither the main performer nor any of the pieces – only the style.  While many early music recordings can be hit or miss, I considered this worth the chance for two reasons:

1. It’s part of ECM New Series, the classical branch of ECM.
2. It includes vocalists Linn Andrea Fuglseth and Anna Maria Friman, two-thirds of Trio Mediaeval. I blindly purchased their Folk Songs – a collection of Medieval Scandinavian songs – this past spring and thoroughly enjoy it.

The instrumentation varies throughout, with particular feature on plucked strings.  It includes lutes (many, many lutes), nyckelharpa, clavichord, organ, percussion, voice, vihuela de mano, triple harp, and more.  Not every instrument is used for every number; this helps keep the ensemble sounding fresh for the album’s entirety.  As mentioned above, much of the music comes from the Italian Renaissance, specifically the Veneto region (north).  In listening to the recording and reading the liner notes (written by Lislevand himself, and directed toward a more musicologically-informed reader, perhaps unintentionally), it’s quickly evident that all involved are very historically informed.  They interpret the music not only as well-rehearsed performers but they also offer a musicological rigor.  (This goes beyond simply using an urtext edition!)

Furthermore, what maintain the listener’s interest are not only the technical or the intellectual aspects, but the visceral.  This album is FUN!  For those familiar with Renaissance music, you likely know that many texts discuss the music’s – often fun – role in court life.  However it’s often hard to sense much fun when listening to it.  (Rigid interpretations of transcriptions and/or arrangements are often the weapon of choice.)  Diminuito, on the other hand, helps Renaissance music live up to the hype.  The ensemble, under Lislevand’s leadership, take liberties and focus heavily on improvisation, something often discussed academically but forgotten in “practice” (i.e., historical reconstruction).  Much like jazz standards, the pieces are often given some variation of the “head-solo-head” treatment.  Also, Lislevand takes liberties with the compositions, often combining multiple pieces to create new arrangements.  My personal favorites, and those that perhaps best exemplify Lislevand’s approach, are “Petit Jacquet/Quinta Pars” and the whirlwind “La Perra Mora.”  Simply close your eyes and you’ll feel like you’re at a soirée with the local nobility!  (500 years ago, that is.)

Breathing fresh air into centuries-old music, Lislevand & Co. prove that Renaissance music was lively and full of spirit.  Most of all, they prove it is still relevant!

Amazon Link
iTunes Link