Jazz at Lincoln Center takes a profound step in the evolution of their brand. Today marks the beginning of Blue Engine Records, the JALC record label. This will be an exclusive arrangement with Sony Music Entertainment. Jazz at Lincoln Center will release recordings as CDs and digital downloads and to streaming music services, with a few titles in vinyl format, through an agreement with RED Distribution, a division of Sony Music, for distribution in the United States and overseas. RED’s ’stache media, a marketing company, will offer publicity, branding and social media support.
The first release from Blue Engine Records is, “Live in Cuba,” featuring Mr. Marsalis and the Jazz at Lincoln Center Orchestra, to be released on Aug. 21 (available for pre-order online). Recorded over three nights at the Mella Theater in Havana in October 2010, “Live in Cuba” explores the connections between American jazz and Afro-Cuban music, from bebop to bolero.
I have focused more of late on folk music and New York City. I met with a lack of well researched Web information, which served as a frustration. As it turns out my resource needs were recently answered. The Museum of the City of New York has curated an exceptional show, Folk City: New York and the Folk Music Revival.
In the 1950s and 1960s, folk music blossomed in New York City, especially in Greenwich Village, where clubs and coffee houses showcased singers like Pete Seeger and Odetta and nurtured a generation of newcomers, including Bob Dylan, Judy Collins, Dave Van Ronk, Ramblin’ Jack Elliott, and Peter, Paul and Mary. The multi-media exhibition Folk City: New York and the Folk Music Revival, features original instruments, handwritten lyrics, and video film footage. The event traces the roots of the revival, its growth in New York City, the major players, and folk’s impact on American political and social culture during the tumultuous 1960s.
There is also a companion book, Folk City written by authors Stephen Petrus (curator of the Folk City: New York and the Folk Music Revival exhibit) and Ron Cohen. Their collaboration captures the exuberance of the times by introducing readers to a bevy of characters who brought a new style to one of the biggest audiences in the history of popular music. Among the savvy New York entrepreneurs committed to promoting folk music were Izzy Young of the Folklore Center, Mike Porco of Gerde’s Folk City, and John Hammond of Columbia Records. The authors portray Greenwich Village coffee houses not simply as lively venues but as incubators of a burgeoning counterculture, where artists from diverse backgrounds honed their performance techniques and challenged social conventions. Accessible and engaging, fresh and provocative, rich in anecdotes and primary sources, Folk City is lavishly illustrated with images collected for the accompanying major exhibition at the Museum of the City of New York in 2015.
Taylor Swift is the Joan of Arc for independent musicians and young songwriters who has helped to convince Apple Music to change their policy prior to the Apple Music launch on June 30th.
The original plan prior to Sunday’s social network back and forth between Taylor Swift and Eddie Cue, was that Apple would not pay any song royalty rights to artists, etc. during the 90 day trial period of Apple Music from June 30th through September 30th.
It was a bad business decision on Apple’s part. They had not budged on that decision since the Apple Music product announcement on June 8th. The blowback on the refusal of Apple Music to compensate artists has been significant and loud. There have been several independent music organizations writing petitions expressing their dismay with Apple about their unwillingness to pay artists royalties due during the 90 day trial period.
It took Taylor Swift who is a music artist with significant clout to sway the executive team at Apple. Personally I wondered when Apple Music would come to their senses about this ill executed decision on their part.
I mean after all Apple says it values music but not paying artists for the first 90 days of the trial devalues music and the artists who are entitled to compensation for their art. Spotify, TIDAL and other music streaming services pay music artists during the trial period. Apple chose to be rogue and exert its influence by not paying artists during a trial period. They were really coming across as we are Apple you are not.
Bravo Taylor Swift, once again you show sound judgment when it comes to streaming music and what its business model must become.
I’m glad Eddie Cue and Apple Music management changed their tune on this important matter. It’s a game changer for Apple Music for those of us who care about the artists and their future well-being.
Based upon Eddie Cue and the Apple Music executive team decision I will now trial Apple Music instead of letting it lie dormant for the first 90 days.
Open the Music of Your Heart to Make Music Day! Join the worldwide celebration of music on June 21!
Make Music is a free celebration of music around the world on June 21st. Launched in 1982 in France as the Fête de la Musique, it is now held on the same day in more than 700 cities in 120 countries.
Completely different from a typical music festival, Make Music is open to anyone who wants to take part. Every kind of musician — young and old, amateur and professional, of every musical persuasion — pours onto streets, parks, plazas, and porches to share their music with friends, neighbors, and strangers. All of it is free and open to the public.
Let the music set you free!
This is a story I have been wanting to read and dissect for the longest time. He was a powerful force in music business management.
Allen Klein was like no one the music industry had seen before. The hard-nosed business manager became infamous for allegedly catalyzing the Beatles’ breakup and robbing the Rolling Stones, but the truth is both more complex and more fascinating. As the manager of the Stones and then the Beatles, not to mention Sam Cooke, Donovan, the Kinks, and numerous other performers. He taught young soon-to-be legends how to be businessmen as well as rock stars. In so doing, Klein made millions for his clients and changed music forever. But Klein was as merciless with his clients as he was with anyone else, earning himself an outsize reputation for villainy that has gone unchallenged until now. Through unique, unprecedented access to Klein’s archives, veteran music journalist Fred Goodman tells the full story of how the Beatles broke up, how the Stones achieved the greatest commercial success in rock history, and how the music business became what it is today. http://www.hmhco.com/shop/books/Allen-Klein/9780547896861#sthash.CLm3STCs.dpuf
Fred Goodman is a former Rolling Stone editor and the author of the books Fortune’s Fool, The Secret City, and The Mansion on the Hill, which was a New York Times Notable Book and received the Ralph J. Gleason Award for Best Music Book.
This book becomes available on Wednesday June 23rd from Houghton Mifflin Publishing.
Grace Potter’s debut solo album will be available on Friday August 14th.
Pre-order U.S. http://tinyurl.com/pze799s
FULL TRACK LISTING
- Pure And Easy (from Who Came First)
- Sheraton Gibson (from Who Came First)
- Let’s See Action (Nothing Is Everything) (from Who Came First)
- My Baby Gives It Away (from Rough Mix)
- A Heart To Hang On To (from Rough Mix)
- Keep Me Turning (from Rough Mix)
- Let My Love Open The Door (from Empty Glass)
- Rough Boys (from Empty Glass)
- The Sea Refuses No River (from All The Best Cowboys Have Chinese Eyes)
- Face Dances (Pt. 2) (from All The Best Cowboys Have Chinese Eyes)
- White City Fighting (from White City)
- Face The Face (from White City)
- I Won’t Run Anymore (from The Iron Man)
- English Boy (from Psychoderelict)
- You Came Back (from Scoop)
- Guantanamo (New song)*
- How Can I Help You (New song)*
Pete Townshend on “Guantanamo”: “I thought this song might never see the light of day, but now President Obama has relaxed sanctions in Cuba, it is a happy sign he might go further. Technically this was created in rather a laborious way. I recorded a long organ drone using my vintage Yamaha E70 organ (used many times by me on Who and solo recordings in the past), and then cut it into something that sounded like a song using a feature unique to Digital Performer called ‘chunks.’ This creates blocks of groups of tracks that can be assembled and disassembled easily, like cutting multitrack analogue tape with a razor blade, but with less blood. The lyric grew out of the implicit angry frustration in the organ tracks.”
Townshend again, “‘How Can I Help You’ was inspired partly by the frustrating emotional difficulties experienced by a valued colleague. He was in great physical pain and it drove him into depression. I performed an acoustic version of the song on my partnerRachel Fuller’s webcast show ‘In the Attic.’ I began this recording with an acoustic guitar, added drum loops and breaks then Gretsch and Rickenbacker 12-string guitars and John Entwistle’s hybrid Thunderbird-Fender Precision bass.”
I was driving home from work this afternoon, stopped in the third lane on I-95 due to traffic problems. I happened to look across the jersey barrier to the northbound side and glimpse this 53′ tractor trailer truck with a way cool multi-color design stating that it was Les Paul‘s 100 Birthday.
When I got home I looked it up on the Internet. I discovered that Les Paul’s Big Sound Tour was bound for the Hard Rock Cafe Foxwoods in Ledyard Connecticut. It will be on exhibit there June 17th and 18th.
Les Paul the father of modern music and the solid body electric guitar would have been 100 years old June 9, 2015. A special 100th Anniversary Celebration was held on June 9th at the Times Square Hard Rock Cafe in New York City. Rolling Stone Magazine covered this historic event.
(L to R) Journey’s Neal Schon, Joe Bonamassa, Johnny A, Warren Haynes, Steve Miller, musical director GE Smith, Joe Satriani and Steve Vai
The Les Paul Foundation is sharing his creativity, innovative spirit and love of sound in an intriguing mobile exhibit.
• Step into 1,000 square feet of entertaining and inspiring interactive experiences.
• Explore sound, music and technology innovations.
• Mix and share music.
• Discover Les Paul’s personal story.
• Experience Les Paul’s never-ending search for a unique musical sound.
• Learn from generations of musicians who call Les Paul their mentor.
• Witness how Les pushed the limits of audio technology.
• Marvel at the performing techniques that made Les Paul a legendary pop music icon.
• Enjoy live musical performances by local artists.
Take a look at the Les Paul Tour Calendar to see if this mobile tour is coming to a city near you this summer.
March 27, 2015 – December 31, 2016
Dylan, Cash, and the Nashville Cats: A New Music City, presented by Citi highlights Dylan’s relationship with Cash. The two cemented their friendship at the 1964 Newport Folk Festival and were reunited in Nashville, in February 1969. Dylan had recorded most of Nashville Skyline when he went into the studio with Cash. They cut more than a dozen duets in two days. One, “Girl from the North Country,” appeared on Nashville Skyline, and Cash wrote Grammy-winning liner notes for the album.
A companion book to the exhibit Dylan, Cash, and the Nashville Cats: A New Music City looks at the Nashville music scene in the late 1960s and early 1970s, a time of great cultural vitality for Music City. This publication matches the Dylan, Cash and the Nashville Cats: A New Music City exhibit at the Country Music Hall of Fame.
One of my regrets even with all the live music shows I have attended in the tri-state area (425 concerts in 46 years) was never getting to a live show at the Bottom Line. This famous club was located at 15 West 4th Street in Greenwich Village. It was owned by Allan Pepper and Stanley Snadowsky, the Bottom Line opened February 12, 1974 and enjoyed a 30-year run.
The Bottom Line would broadcast live shows in conjunction with top NYC progressive rock radio station, WNEW-FM 102.7. A historic milestone in the club’s history was The Bruce Springsteen and the E Street Bands 10 night “Born To Run” engagement in August, 1975. I recall listening to the raw excitement of those sold out shows on the radio that evening.
Thankfully to Allan Peppers credit and ingenuity I can cancel that regret because we have the Bottom Line Archive. The treasure trove of live recordings that Alan Pepper is housing is mountainous, over 1,000 live recordings.
Allan Pepper is working with Greg Bendian, formerly of The Mahavishnu Project a jazz-rock fusion cover band that we saw perform at Toad’s Place, Lily Pad room in 2011.
I am very interested in the Harry Chapin recording, HARRY CHAPIN: LIVE AT THE BOTTOM LINE (JANUARY 8-10, 1981) 35th Anniversary Expanded Re-master. The release includes the original set, as released in 1998, PLUS an extra offer a previously unreleased 88-minute show.
I preordered this recording on Amazon which is due to drop on June 30th.
We spent several magic moments in concert and discussion with Harry Chapin in the day. Looking forward to hearing Harry live in concert once again.
Marking his 2000thperformance (January 8-10, 1981) this release provides a unique snapshot of an artist at the peak of his career – intimate and intense.
I think I will be buying more Bottom Line Archive recordings in the future.