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.”