According to this article, 2012 music sales (revenues) were up 3.1%. However, individual track/album purchases (units) were down 1.8%. So people are buying slightly fewer items at slightly higher prices.
These numbers do not reflect royalties/licenses/whatever from digital music subscription services, such as Spotify, Pandora, and SiriusXM. Given the apparent shift from individual item sales/downloads to streaming subscriptions, this could be a big number. So things don't look so bad.
In specific detail, physical albums (CDs) remain the single largest format, even with a 12.8% decrease in unit sales. Digital album sales increased 14% and sales of individual digital tracks increased 5%. Those are smaller increases from past years, probably reflecting the shift to digital music streaming services.
Friday, January 4, 2013
Friday, December 7, 2012
My Brubeck Remembrances
Legendary jazz pianist and composer Dave Brubeck passed away on December 5th, one day shy of his 92nd birthday. It's gratifying to me how much Facebook and Twitter chatter has accompanied this event, virtually all praising Brubeck's music and many relaying personal remembrances associated with Mr. Brubeck and his tunes.
To that end, a few remembrances of my own.
My first encounter with Brubeck's music was back in 1972, when I was in 8th grade. I'd been taking drum lessons for three years or so, and my instructor, Jack Wagley, had just got me started on Joe Morello's New Directions in Rhythm book, which was all about playing in 3/4 and 5/4 time. I was doing fine with the 3/4 studies but not really swinging the 5/4 stuff. So Jack suggested (no, demanded) that I listen to some Dave Brubeck Quartet stuff, "Take Five" specifically. So I called up my dad and asked him to stop in at the local Lyric Records on his way home from work and pick up any Brubeck album with "Take Five" on it. He ended up bringing home a copy of Dave Brubeck's Greatest Hits, which I immediately put on the old GE hi-fi and played the heck out of. I was hooked.
Well, the very next day after I got that first Brubeck LP, I was leaving my morning choir class when my choir teacher, Mrs. Earnshaw (I know her now as Phyllis Fulford) asked if I'd be interested in getting together some afternoons after school to "play a little Brubeck" with her on piano, band teacher Gene Smith on alto sax, and my ninth-grade friend Brian Siemers on bass. THE VERY NEXT DAY it was. Fortuitous. Of course, I said yes. The four of us put together a fairly good facsimile of the Brubeck Quartet, Mr. Smith had a nice light touch in the Desmond mold, Brian and I locked in the rhythm like we'd been doing it all along, and I even got to throw in my best Morello chops on the requisite "Take Five" drum solo. It was a blast, and we ended up playing "Take Five" at a Choral Club concert later that spring. I don't know who to thank, Phyl or my drum teacher or the unseen hand of fate, but that whole experience got me tuned into jazz in general and Brubeck in particular. And I can still swing the hell out of 5/4, thank you very much.
A little later that year the Brubeck Quartet came to town for an outdoor concert at the Indianapolis Museum of Art, and Phyl and Brian and I snapped up tickets. It wasn't the "classic" Quartet; Desmond, Morello, and Wright were gone, replaced (if my memory serves me correctly) by Gerry Mulligan (bari sax), Alan Dawson (drums), and Jack Six (bass). But the concert was fantastic, and I even got talked into getting Brubeck's autograph for Phyllis, who was too shy or embarrassed or whatever to do it herself. This visit coincided with a clinic by Alan Dawson at Fred's Drums, the big local drum shop of the time, which was another fine learning experience. Heady times.
I listened to Brubeck pretty continuously over the years, but never got another chance to catch him in concert until a couple of years ago, after I'd moved up to the Twin Cities. He was playing with his long-standing current Quartet, with Bobby Militello on sax, Randy Jones on drums, and Michael Moore on bass. Brubeck himself was 89 years old, needed assistance getting to and from the piano, but played just as strongly as he had forty years before. It was a privilege to listen to the man play, a true joy.
And now, two years later, Dave Brubeck has left us. His music, however, remains, and remains a considerable influence on the worlds of both jazz and popular music. Brubeck was a unique pianist, with his dense block chords punctuating the music in unexpected rhythms, while at the same time supporting his sweetly lyrical melodic lines. He was a very intelligent player, applying tons of advanced theory to even the simplest tunes; his own compositions were intricate and thoughtful, things of joy and beauty.
The world remembers Dave Brubeck for "Take Five," and that's fair, even if it wasn't his composition (Paul Desmond wrote it after hearing Joe Morello do some warm ups in five) and even if he didn't have a solo on it. But it was representative of his repertoire, cool and intelligent yet still swinging -- just like the man himself.
Dave Brubeck will be missed, of course, but will be remembered -- and will also be the key to other great memories. Thanks, Mr. Brubeck. You deserve a big time out.
To that end, a few remembrances of my own.
Well, the very next day after I got that first Brubeck LP, I was leaving my morning choir class when my choir teacher, Mrs. Earnshaw (I know her now as Phyllis Fulford) asked if I'd be interested in getting together some afternoons after school to "play a little Brubeck" with her on piano, band teacher Gene Smith on alto sax, and my ninth-grade friend Brian Siemers on bass. THE VERY NEXT DAY it was. Fortuitous. Of course, I said yes. The four of us put together a fairly good facsimile of the Brubeck Quartet, Mr. Smith had a nice light touch in the Desmond mold, Brian and I locked in the rhythm like we'd been doing it all along, and I even got to throw in my best Morello chops on the requisite "Take Five" drum solo. It was a blast, and we ended up playing "Take Five" at a Choral Club concert later that spring. I don't know who to thank, Phyl or my drum teacher or the unseen hand of fate, but that whole experience got me tuned into jazz in general and Brubeck in particular. And I can still swing the hell out of 5/4, thank you very much.
A little later that year the Brubeck Quartet came to town for an outdoor concert at the Indianapolis Museum of Art, and Phyl and Brian and I snapped up tickets. It wasn't the "classic" Quartet; Desmond, Morello, and Wright were gone, replaced (if my memory serves me correctly) by Gerry Mulligan (bari sax), Alan Dawson (drums), and Jack Six (bass). But the concert was fantastic, and I even got talked into getting Brubeck's autograph for Phyllis, who was too shy or embarrassed or whatever to do it herself. This visit coincided with a clinic by Alan Dawson at Fred's Drums, the big local drum shop of the time, which was another fine learning experience. Heady times.
I listened to Brubeck pretty continuously over the years, but never got another chance to catch him in concert until a couple of years ago, after I'd moved up to the Twin Cities. He was playing with his long-standing current Quartet, with Bobby Militello on sax, Randy Jones on drums, and Michael Moore on bass. Brubeck himself was 89 years old, needed assistance getting to and from the piano, but played just as strongly as he had forty years before. It was a privilege to listen to the man play, a true joy.
And now, two years later, Dave Brubeck has left us. His music, however, remains, and remains a considerable influence on the worlds of both jazz and popular music. Brubeck was a unique pianist, with his dense block chords punctuating the music in unexpected rhythms, while at the same time supporting his sweetly lyrical melodic lines. He was a very intelligent player, applying tons of advanced theory to even the simplest tunes; his own compositions were intricate and thoughtful, things of joy and beauty.
The world remembers Dave Brubeck for "Take Five," and that's fair, even if it wasn't his composition (Paul Desmond wrote it after hearing Joe Morello do some warm ups in five) and even if he didn't have a solo on it. But it was representative of his repertoire, cool and intelligent yet still swinging -- just like the man himself.
Dave Brubeck will be missed, of course, but will be remembered -- and will also be the key to other great memories. Thanks, Mr. Brubeck. You deserve a big time out.
Monday, November 26, 2012
Crooked Management
More on the Minnesota Orchestra issues. This article proves it -- orchestra management cooked the books to make things look better when they were asking for corporate donations to redo Symphony Hall, then cooked them again to make things look worse when it was time to renegotiate the musician's contract. Also, a very explicit desire to "reset the business model." Here's the relevant quote:
"Balances in 2009 and 2010 would support our state bonding aspirations," Bryan Ebensteiner, vice president of finance, told the orchestra's executive committee in September 2009, "while the deficits in 2011 and 2012 would demonstrate the need to reset the business model."
What a bunch of lying, backstabbing, unappreciative crooks. These people should not be involved in any artistic endeavor in our community. The orchestra board should be deposed.
"Balances in 2009 and 2010 would support our state bonding aspirations," Bryan Ebensteiner, vice president of finance, told the orchestra's executive committee in September 2009, "while the deficits in 2011 and 2012 would demonstrate the need to reset the business model."
What a bunch of lying, backstabbing, unappreciative crooks. These people should not be involved in any artistic endeavor in our community. The orchestra board should be deposed.
Wednesday, November 21, 2012
Best Demo Music
CNET's "Audiophiliac" Steve Guttenberg has laid out his top albums for demoing speakers and headphones. (Here's his list.) As I don't own most of the albums on his list, I can't confirm or object, but of the two albums I do own (Holly Cole's Temptation and Rosanne Cash's Ten Song Demo), I'd say they're good choices.
A while back I put together an "audiophile playlist" that contains the tracks I use to show off my own system. Here's what's on the playlist, in no certain order:
I also put Steely Dan's Aja and Al Stewart's Year of the Cat up there on my demo list, although they're not quite the audiophile quality as the rest of the list. (Aja comes very, very close, however.) Any of these tracks will give you immense sonic pleasure; they're all beautifully and lovingly recorded, without a lot of excess splash and woohoo. Just great music, recorded well.
A while back I put together an "audiophile playlist" that contains the tracks I use to show off my own system. Here's what's on the playlist, in no certain order:
- "The Look of Love," Dusty Springfield, Casino Royale. This soundtrack to the 1960s movie, with music by Burt Bacharach, has long been an audiophile's delight. Dusty's vocals on this track are just so close and breathy, you really get the feeling she's sitting right beside.
- "Don't Know Why," Norah Jones, Come Away with Me. More tight breathy vocals. Doesn't get much better than this.
- "I Don't Like Mondays" and "Time," Tori Amos, Strange Little Girls. Very upfront vocals, great presence.
- "Written on the Back of His Hand" and "Song for Molly," Lucy Kaplansky, Every Single Day.
- "Priscilla," Suzanne Vega, Songs in Red and Gray. Chest-thumping bass drum.
- "Stockings," Suzanne Vega, Nine Objects of Desire.
- "Brothers in Arms" and "Why Worry," Dire Straits, Brothers in Arms. Terrific (and terrifically recorded) guitar work from the legendary Mark Knopfler.
- "You're a Big Girl Now" and "Simple Twist of Fate," Bob Dylan, Blood on the Tracks. Some of the best recorded acoustic guitar work ever.
- "Round Here," Counting Crows, August and Everything After. Really. Just listen to it.
- "Love Turns 40," Vienna Teng, Dreaming Through the Noise.
- "Walk Away Renee," Linda Ronstadt and Ann Savoy, Adieu False Heart.
- "New Favorite" and "Let Me Touch You For Awhile," Alison Krauss & Union Station, New Favorite. It's like they're playing in your living room.
- "Jericho," Joni Mitchell, Don Juan's Reckless Daughter. Bass by the late great Jaco Pastorius.
- "The First Five Chapters," Dianne Reeves, In the Moment: Live in Concert.
- "The Music That Makes Me Dance," Shirley Horn, You Won't Forget Me.
- "Peel Me a Grape," Nancy Wilson and Ramsey Lewis, Meant to Be.
- "Twentysomething," Jamie Cullum, Twentysomething.
- "Spring is Here," Charlie Haden and Kenny Barron, Night and the City. Intimate jazz, terrific acoustic bass.
- "Fascinating Rhythm," Dave Grusin, The Gershwin Collection.
- "Some Other Time," Gary Burton and Ralph Towner, Matchbook. Vibes and acoustic guitar. Wow.
- "Electronic Performers," Air, 10,000Hz Legend. Powerful electronics.
- Carmen Fantasie, op. 25, Ruggerio Ricci and the London Symphony Orchestra, Carmen Fantasie/Havanaise
- V: Saturn, the Bringer of Old Age (Adagio), Zubin Mehta and Los Angeles Philharmonic, Holst: The Planets
I also put Steely Dan's Aja and Al Stewart's Year of the Cat up there on my demo list, although they're not quite the audiophile quality as the rest of the list. (Aja comes very, very close, however.) Any of these tracks will give you immense sonic pleasure; they're all beautifully and lovingly recorded, without a lot of excess splash and woohoo. Just great music, recorded well.
Tuesday, November 13, 2012
Changing the (Orchestra) Model
It's becoming quite obvious to me that Minnesota Orchestra management does not see individual musicians as having unique value. Instead, it regards musicians as interchangeable parts. Why bother paying Pinchas Zukerman top dollar when any young violinist fresh out of music school can play the same notes?
What the MO management really is trying to do is to change the model for the entire orchestra, from a world-class artistic ensemble to a (perhaps) more profitable pops orchestra. The ultimate goal in these contraction "negotiations" is to force out the higher-paid cogs in the machine and replace them with lower-paid, less experienced musicians. Reduce the payroll, reduce the reliance on well-known, higher-paid individuals, and you make more money -- especially if the new guys spend most of their time playing pop concerts instead of more challenging classical pieces.
This is a drastic re-imagining of one of the world's top orchestras, and it's being done with zero transparency and zero input from the community to which the orchestra serves. If management succeeds, they may end up killing this highly regarded artistic organization and replacing it with a less-regarded, more generic pop ensemble of undistinguished players.
What the MO management really is trying to do is to change the model for the entire orchestra, from a world-class artistic ensemble to a (perhaps) more profitable pops orchestra. The ultimate goal in these contraction "negotiations" is to force out the higher-paid cogs in the machine and replace them with lower-paid, less experienced musicians. Reduce the payroll, reduce the reliance on well-known, higher-paid individuals, and you make more money -- especially if the new guys spend most of their time playing pop concerts instead of more challenging classical pieces.
This is a drastic re-imagining of one of the world's top orchestras, and it's being done with zero transparency and zero input from the community to which the orchestra serves. If management succeeds, they may end up killing this highly regarded artistic organization and replacing it with a less-regarded, more generic pop ensemble of undistinguished players.
Sunday, November 11, 2012
Digital Music in Windows 8
I've been using and writing about Windows 8 for some time now, for my two books Absolute Beginner's Guide to Computer Basics, Windows 8 Edition, and Easy Computer Basics, Windows 8 Edition. I just now got around to upgrading my aging Niveus media center PC to Windows 8, however, so I can now speak to the Windows 8 experience for digital music in the living room.
First, about the upgrade. My Niveus Denali HTPC is getting a little long in the tooth. I'm pretty sure it dates back to 2005 or so, but in 2008, following a massive system failure, the good folks at Niveus put in a new motherboard and other internals, free of charge. So let's call it a 2008 model, still four years old, still running Windows Vista.
The upgrade went relatively smoothly. The only big issue was that, post-upgrade, Windows couldn't find my sound card or install proper drivers. Fortunately Brian Paper at Niveus helped me out by identifying the proper sound card and a link to the drivers; got the drivers installed and everything worked good as new. Better than new, actually, as Windows 8 is much, much zippier on older machines than Windows Vista was. Feels kind of like a new system.
(Kudos to Brian and the guys at Niveus for their continued assistance and support -- which they really don't need to do, as Niveus quit making PCs about two years ago. Now they focus on providing digital media solutions for various consumer and commercial markets; no more of those uber expensive, ultra quiet, high-end HTPCs, which I miss.)
Anyway, one of the questions I had was whether the default Win8 Music app (recently renamed to Xbox Music) would suffice for living room use. Quick answer? Nope. I thought the big-tiled interface would work well as a ten-foot interface, but that's not the case; navigation gets in the way. I can use my Logitech remote control to move left or right (or up or down) through the individual tiles, but not from one tile group to another on the Music screen. And, since Microsoft insists on starting Music on the Now Playing section, leading to the All Music section (the focus is on purchasing music, not playing your own), it's difficult if not impossible to move backwards to the My Music section to access my own digital music collection. Even when you get into the My Music section, the album display is much, much too small for living room use. Let's face it; Win8 is designed primarily for up-close tablet use, is somewhat usable on a standard desktop or notebook PC, but doesn't cut it as a living room media center interface.
Which means it's back to Windows Media Center. If you're into digital media at all, you probably know that Microsoft has ceased future development of WMC and even removed it from the base version of Windows 8. But MS still makes WMC available as an add-on for Win8 users, and it's actually free until the end of the year. (Go here to learn how to download WMC for Win8.)
So after I upgraded to Win8 I downloaded my free version of Windows Media Center. It's essentially the same WMC that was in Windows 7, which is a small improvement over the one I was using in Windows Vista. There were a handful of useful changes that I noted, including the following:
First, about the upgrade. My Niveus Denali HTPC is getting a little long in the tooth. I'm pretty sure it dates back to 2005 or so, but in 2008, following a massive system failure, the good folks at Niveus put in a new motherboard and other internals, free of charge. So let's call it a 2008 model, still four years old, still running Windows Vista.
The upgrade went relatively smoothly. The only big issue was that, post-upgrade, Windows couldn't find my sound card or install proper drivers. Fortunately Brian Paper at Niveus helped me out by identifying the proper sound card and a link to the drivers; got the drivers installed and everything worked good as new. Better than new, actually, as Windows 8 is much, much zippier on older machines than Windows Vista was. Feels kind of like a new system.
(Kudos to Brian and the guys at Niveus for their continued assistance and support -- which they really don't need to do, as Niveus quit making PCs about two years ago. Now they focus on providing digital media solutions for various consumer and commercial markets; no more of those uber expensive, ultra quiet, high-end HTPCs, which I miss.)
Anyway, one of the questions I had was whether the default Win8 Music app (recently renamed to Xbox Music) would suffice for living room use. Quick answer? Nope. I thought the big-tiled interface would work well as a ten-foot interface, but that's not the case; navigation gets in the way. I can use my Logitech remote control to move left or right (or up or down) through the individual tiles, but not from one tile group to another on the Music screen. And, since Microsoft insists on starting Music on the Now Playing section, leading to the All Music section (the focus is on purchasing music, not playing your own), it's difficult if not impossible to move backwards to the My Music section to access my own digital music collection. Even when you get into the My Music section, the album display is much, much too small for living room use. Let's face it; Win8 is designed primarily for up-close tablet use, is somewhat usable on a standard desktop or notebook PC, but doesn't cut it as a living room media center interface.
Which means it's back to Windows Media Center. If you're into digital media at all, you probably know that Microsoft has ceased future development of WMC and even removed it from the base version of Windows 8. But MS still makes WMC available as an add-on for Win8 users, and it's actually free until the end of the year. (Go here to learn how to download WMC for Win8.)
So after I upgraded to Win8 I downloaded my free version of Windows Media Center. It's essentially the same WMC that was in Windows 7, which is a small improvement over the one I was using in Windows Vista. There were a handful of useful changes that I noted, including the following:
- New Now Playing screen, with small thumbnails of album covers in the background. I kind of like it, but my wife thinks it's too busy.
- New Now Playing controls after you make a selection. Smaller text, but more options. I give it a wash.
- New "play pictures" option from the Now Playing screen, launches a completely different photo slideshow than the standard slideshow in the Photos section. Looks like it grabs all photos at random from the My Photos folder, as opposed to any selected subfolder. I like it.
- New ability to play all albums/tracks released in a given year. I really like this.
- Appears to have fixed the old Vista bug that downgraded all album artwork to 300 x 300 pixels.
And just a slightly snazzier interface throughout, with hipper fonts. Always nice to put a fresh coat of paint on the old house.
By the way, the potential issue of not being able to boot directly into WMC is an issue, but not a major one. Windows 8 always, always, always boots into the hated Start screen; you can't boot to the Desktop or to Media Center. But one push of the "green button" on the remote control launches WMC and displays it front and center. Turns out not to be a big deal, and I have to deal with the Win8 Start screen not much at all.
By the way, the potential issue of not being able to boot directly into WMC is an issue, but not a major one. Windows 8 always, always, always boots into the hated Start screen; you can't boot to the Desktop or to Media Center. But one push of the "green button" on the remote control launches WMC and displays it front and center. Turns out not to be a big deal, and I have to deal with the Win8 Start screen not much at all.
The big news, however, is how much faster the entire system runs under Windows 8. No more interminable pauses before playing music after a restart. Much, much faster booting. More responsive menus. Fewer little playback quirks. Just runs better. Well worth the $39 upgrade price.
I'll talk more about the Xbox Music app in a future post. At this juncture I'm not overwhelmingly impressed, but we'll see.
Sunday, October 28, 2012
Those Darned Canadians!
Take a read of this article about the Toronto Symphony Orchestra, which played this past season at a slight deficit and is ready to renegotiate musicians' contracts without asking for a cut in payroll. The approach of the Toronto Symphony Orchestra management is in direct contrast to that of the Minnesota Symphony and many other American orchestras. Those darned Canadians want to produce the best possible music they can, and know that that will attract audiences (and donations). What a concept!
I think most American businesses can learn something from Toronto's CEO: "I’m trying to increase the compensation to musicians so that we can attract the best and reward them for great performances." That's right. Pay more to get the best employees, and good things will happen. As an old boss of mine used to say, you can't save your way to prosperity. You have to spend a little get the best people, and the best people will deliver the best results. Period.
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