Posts filed under “Digital Media”
Interesting discussion, via Hits Magazine on the Compact Disc – still a multi=-billion dollar business:
CD OR NOT CD: Here’s a shocker: A just-completed survey of American
music consumers conducted by Pew Internet & American Life Project
survey found that 82% of respondents, or 69% of those under 35, still
buy all (62%) or most (20%) of their music on CD, while 15%, or 27% of
those under 35, said that half of their purchases now downloads of
individual tracks. Some 86% of music buyers said they rely on radio, TV
or movies to find out about music (apparently print media wasn’t listed
as a choice in the survey), 64% consult family, friends and co-workers,
and 51% said online information had no impact whatsoever on their music
purchases. Just 22% of those surveyed said their most recent music
purchase was done online (including physical CDs as well as downloads),
while 74% said the purchase was made at a retail location. Thanks to
Digital Media Wire for crunching the numbers. (5/23a)
Consider the following music/cd factoids —
Music purchasing still generally means buying a CD and buying in a store:
• 82% of music buyers say that all (62%) or most (20%) of the music they buy is CDs.
• 15% say at least half their purchases were individual digital files.
Even for young adult music buyers (defined as those under age 36), music purchasing still is dominated by CDs:
• 69% buy most or all of their music on CDs
• 27% purchasing digital music files at least half the time.
• 74% of music buyers say their most recent purchase was at a store, while 22% said it
was done online (either ordering a CD or a paid download).
Once people buy music, they are most likely to cite an offline means as a way that they
share the experience:
• 77% of music buyers say they talk about a music purchase with family or friends.
Various media resources also play key roles in how people engage with music after they buy it:
• 56% of music buyers say they watch a music video of the song or artist, some of which may be online videos.
• 44% of music buyers transfer the music to a CD, computer, or MP3 player.
• 44% of music buyers have done at least one online activity relating to their music purchase, such as going to an artist’s or band’s website or reading blogs about the artist or band.
Internet-using music buyers use the internet post-purchase to connect directly with artists.
• 39% go to the artist’s or band’s website.
• 28% look online for live performances by the artist.
• 13% either post their music to a social networking site such as Facebook or post their
own reviews of the music they purchase.
The Internet and Consumer Choice
PEW INTERNET & AMERICAN LIFE PROJECT
18 May 2008
It was a real eye opener: This clean, cool recording of lovely Latin melodies, overlaid with a delightfully dry, reedy saxophone that infused everything with a sophisticated flavor. That was Gerry Mulligan’s sound.
NPR radio described Mulligan as "the most influential baritone saxophonist in jazz."
But Mulligan was more than that — he was a
commanding composer, an innovative musician, someone who pushed boundaries, yet remained accessible and enjoyable to listen to.
Mulligan’s light and airy baritone saxophone was the epitome of the the "cool" jazz sound. Yet its amazing how easily he could interact with many other musical styles: Ben Webster’s blustery tenor (the epitome of a "warm" sound); Monk’s percussive, fractured piano rhythms and dissonant tunes; the sweet, subtle tension between Mulligan and Chet Baker.
You can pretty much grab any random Mulligan album (I put up a decent selection here) and not be disappointed. You will see scattered around a broad selection of different styles, eras, and musical cohorts.
Are you a Brubeck fan? Monk? Chet Baker? Webster? Desmond? Grab anything, sit back — and enjoy.
Mulligan became known for his writing and arranging skills in his teens. He wrote for Johnny Warrington’s radio band in 1944, and for Gene Krupa’s band two years later.
Mulligan hit the big time when he became known for his work (writing, arranging, and soloing) on Miles Davis’ defining album, "Birth of the Cool." Gerry’s compositions for this album included "Jeru," "Godchild," and "Venus de Milo," all songs that would remain in his repertoire long after the initial success of the album had died down. (This album launched and aided several careers of important jazz figures).
Mulligan’s last record came out as one of his most beautiful. Lovely tunes, clever arrangements, and understated fabulous players mark his last recording (John Scofield and
Grover Washington, Jr. play on this).
Mulligan Discography (massive PDF)
One of my all time favorites Jazz musicians is Thelonius Monk.
Our man Monk was a three way genius: As a composer, as a jazz pianist, and as an improvisationist, he was without peer, and shaped the future of Jazz. Some notable discs:
• Thelonious Monk with John Coltrane — what more can you add to these two geniuses riffing off of each other? Simply a monst rous most own.
• Monk’s Dream is a great example of Thelonious Monk in a Quartet format, with Monk at the peak of his career peak.
• Monk’s Music a classsic compositions & recordings; Bold and inspired, with Coltrane, Blakey and Hawkins. Just fabulous.
• Solo Monk a man, a piano, a studio tape recorder. Brilliant.
• Thelonious Monk Quartet with John Coltrane at Carnegie Hall accidentally discovered in an unmarked box by a Library of Congress engineer early 2005 (previously mentioned in our year end review).
Videos after the jump . . .
As we await what is happening with Microsoft and Yahoo, Aaron Task and I discussed the bigger picture as to what happens next on the internet.
This was all pretty off the cuff stuff (in case you cannot tell) but its how I really feel about the players involved:
That headline was actually spontaneous (I can turn a phrase, huh?)
Ok, feel free to write what a MSFT basher I am (no arguments from me)
FNJ has a guest DJ tonite: BondDaddy is in the house!
Dexter Gordon is one of the greatest tenor sax players. He had a strong tone and incredible sense of melody. Some players like Sonny Rollins and Joe Henderson had a slippery sense of time; their phrases speed up and slow down, moving within the rythm section’s accompaniment. Not Dexter. Dex’s time was rock solid, never wavering. The rythm section had to accompany his time.
His playing is incredibly melodic, easily followed by the listener. Ideas naturally morphed from one to the other, always following a logical pattern. However, he was also able to surprise listeners with a run into upper chordal extensions.
His playing provides a logical link between Parker and Coltrane. Dex used many ideas from Parker, but played them with a tone that was deep, bold and soulful. His tone provides the link to Coltrane, who also favored a deep and rich tenor tone.
Gordon swung — and swung hard. If your feet are not tapping within 8 bars of his starting to play, you’re just not listening.
Our Man in Paris:
This be-bop session is a meeting between three of the most influential
musicians of the forties. The rhythms crackle, the solos fly; Our Man
In Paris is essential Dexter. A nice compilation of standards.
Homecoming: Live at the Village Vanguard. Dex lived in Amsterdam for about 10 years, and this was the album be made when he came back. Very cool set. Woody Shaw is on Trumpet, and the two work really well together. THis is Dexter at the very top of his game (and probably one of the top 25 live jazz albums of all time).
He also starred in the Round Midnight, probably the best jazz movie ever made
Go: Its been widely reported Gordon himself considered this his greatest achievement. Brimming with conviction and poise, Gordon’s gentle-giant sax carries itself with a sort of graceful edge that is difficult to emulate. Never has anyone made the diminished scale sound so musical.
Ballads: This is a compilation of his ballads (duh), and he could play just beautifully on these. Gordon delivers his almost sleepy and smoke-filled solos with real grace. Some of the most romantic playing you will every hear.
Videos after the jump