THROWING OFF THE DRM SHACKLES at LAST.FM

(The new album cover - I hope you like it!)
One of the biggest stories of 2008 in the music business has been carefully buried or under-reported by the media: DRM, or digital rights management is gradually going the way of the compact disc.

It is clear that the people have spoken, and they like getting their music downloaded directly to their computer. They spoke REALLY LOUD in April when APPLE became the #1 music retailer in the US, beating out Best Buy for the first time (Apple was #2 in December 2007, and had been behind Best Buy, Wal-Mart and Amazon.com as recently as last June.) Paid downloads accounted for almost 30% of all music sold in January (for my catalog it accounts for at least 75% of sales every month).

Many people think that the main thing stopping digital sales from REALLY taking off is DRM - the various systems that have been set up to stop people from copying and/or sharing music they buy on the internet. This is the big draw-back with iTunes - you buy the download, but they limit how many copies you can make, and how many computers you can put the song on. Personally, I have no problem with this - the limits are plenty for my personal use, and as an artist I like the idea that one person is not allowed to buy my album and then just electronically give it to millions of folks. But the reality is, if someone wants to do that, they can - just by buying my CD, ripping it and away it goes, onto Limewire, or wherever. So why penalizes the people that prefer to pay and download the songs in the first place?

The walls have started falling fast this year: In January AMAZON announced that songs from all four major labels could be downloaded through Amazon MP3, their digital download store. They are the first retailer to reach agreements with all four of the major labels, so now you can download Justin, Beyonce, Mariah, Madonna and mental patient Britney if you choose to.

Now CBS, one of the last old-guard companies, had entered the fray with an update to a company started back in 2003: Last.FM
This year CBS announced that Last.fm will offer on-demand streaming of millions of tracks from all four major labels and a HUGE host of indies. There is no fee for the service - it is an "ad-supported" business model, with subscription upgrades if you desire. This service competes directly with Rhapsody and other streaming music services. The celestial jukebox has arrived, and it is sitting in your computer right now.
How huge is the "host of indies"? Well, as a test, I went on Last.fm today, typed in "George Kahn" in the search engine, pressed enter, and within 15 seconds I was listening to "Midnight Brew". No password to enter, no registration, no software to download to my computer.

I did not tell Last.fm to list my music in their service - obviously someone else did (CDBABY perhaps). And I certainly hope that people will click through to buy a song or a CD after listening. In the meanwhile, you will have to excuse me - I am going to type "Grateful Dead" into Last.fm and enjoy my afternoon.

IAJE Declares Bankruptcy

A sad day for jazz, indeed. Here is a copy of the official press release that came out on April 14th.
Too bad someone like Herb Alpert gave all his money to UCLA, and didn't save some to keep the IAJE aloat. We will miss their annual Jazzfest - it was the best in the world!

Dear IAJE Family,

It is with a great sense of loss that I inform you that despite drastic efforts to cut expenses and raise emergency funds, the IAJE Board has voted to file for bankruptcy under Chapter 7 of the Federal Bankruptcy Law. I want to thank profusely those who responded with their generous donations and offers of assistance following my last communication. While over 250 individuals contributed just over $12,000, this, along with the many other efforts and contributions of IAJE staff, Board members, and association partners, was simply not enough to address the accumulated debt of the organization or its urgent need for cash relief.

In the next few days, a Kansas bankruptcy court will appoint a trustee to oversee all ongoing aspects of the association. This includes the ability to examine IAJE's financial records and mount an independent inquiry into the causes of it's financial downfall as well as disposing of the remaining assets of the association with proceeds distributed to creditors in accordance with Kansas and Federal law. The board will no longer be involved in operation of the organization and will at some point resign. IAJE as it presently stands will no longer exist...

Since the first communication to the membership outlining this crisis, there has been considerable public speculation as to its causes. As noted in that communication, years of dependence upon the conference as a primary (but unreliable) revenue stream and the launch of a well-intentioned capital campaign (the Campaign for Jazz), which generated a meager response but required considerable expenditures in advance of contributions, drove the association into insolvency. Sadly, the attendance at the conference in Toronto (the lowest in 10 years) exacerbated an already critical situation, depriving the association of the cash-flow needed to continue daily operations as well as the time needed to seek alternative resources.

While ultimately not able to skirt the financial land mines placed in its path, I want to assure you the IAJE Board has acted responsibly, ethically, and with a sense of urgency ever since it was blindsided last fall with the discovery of the extent of the accumulated association debt. Since that time, the board slashed spending, set specific performance targets for the Executive Director, sought outside consultations, and enlisted the services of several past-presidents and strategic association partners in attempts to raise funds - sadly, with minimal success.

It goes without saying, the board you elected is comprised of very accomplished, intelligent, and dedicated educators and professionals who have given generously of their time in service to this association and care about it passionately. Likewise, our entire professional staff, led by Associate Executive Director, Vivian Orndorff, and Executive Producer, Steve Baker, has worked heroically in the face of declining resources to meet the needs of the association and its members. I wanted to take this opportunity to thank both the board and staff for their service. I have been privileged and honored to serve with them. While there may be those who question specific decisions or strategies in efforts to meet this crisis, the dedication and integrity of these individuals should never be in doubt.

As we move forward, one of the most pressing questions is how the operations of individual chapters and affiliated associations will be affected by this filing. Since our chapters are either separate corporate entitles or voluntary associations with their own boards, constitutions and bylaws; IAJE views them as completely independent entities. Ultimately, however, the trustee and the court will make this determination and it is anticipated that the trustee may request certain information from the chapters in this regard.

Sadly, the 2009 IAJE International Conference in Seattle has been cancelled. However, there has been some discussion of mounting a regional conference in its place. At the moment, Lou Fischer, U.S. Board Representative is fielding inquiries: ljazzmanf@yahoo.com.

For the time being, the IAJE website will remain up. However, the international offices of IAJE will close their doors at the end of the day on Friday, April 18th. Should there be additional questions you may submit them to info@iaje.org and every attempt will be made to respond to these as staffing allows.

Today, we, the members of IAJE and the global jazz community, face an extremely important task. For, as we all recognize, the opportunities, impact, and work of this association are too vital to simply disappear. Whether you were first drawn to IAJE for its conference, its magazine or research publications, its student scholarship programs such as Sisters in Jazz or the Clifford Brown/Stan Getz All-Stars, its Teacher Training Institutes, the resources provided through its website or Resource Team, or any one of a number of other offerings; it is clear the mission of IAJE still resonates and its advocacy is needed today more than ever. We must, therefore, look at this as an opportunity to refocus the mission, scope, programs, and vision of IAJE (or whatever succeeds it) to better meet the needs of our members and the jazz community not only today but looking toward the future.

I am, in no way, suggesting the membership turn a blind eye towards the need for an independent inquiry into causes and ultimately assigning responsibility for this situation. I ask you recognize the court appointed trustee, who will have access to all necessary documents and facts, is charged with that task. Our efforts and our passion, should be to collectively rally the community to recognize the importance IAJE has had and continues to have in the life and development of jazz and jazz education - seeking new strategic partnerships, new government structures, and a revitalized mission that embraces current needs.

Already there are efforts to do just that. I know that Mary Jo Papich, who would have begun serving her term as President of IAJE beginning this July, is dedicated to recreating such an association. As many know, Mary Jo has been a tireless advocate for IAJE, serving it long and well. You will, undoubtedly, be hearing from her in the near future. When she does contact you, I urge you to join me in offering her every support and assistance. Of course, others may also seek to fill this void by promoting alternative visions for empowering, serving, and gathering the jazz community. While I generally believe such diversity is quite healthy, I would strongly encourage all such efforts and leaders to attempt to collaborate and seek ways to unite us in spirit and strength.

Finally, I would encourage you to recognize and remember IAJE for all the tremendous good it has done in the past 40 years. Many individuals have contributed along the way, often at considerable personal sacrifice of their time and resources, to establish and advance the work of this association. Much has been achieved that can never be taken away! Therefore, the vision, effort, and shared passion that have fueled the growth of IAJE and its programs should not be forgotten or considered in vain. Rather, the spirit that is IAJE must be rekindled into a new vision for the future.

Sincerely,

The IAJE Board - Chuck Owen, President

WHAT IS WEST COAST JAZZ?

There is a fair amount of confusion about the term "West Coast Jazz". Some people would argue that West Coast Jazz is jazz recorded on the West Coast of California, from Los Angeles up to the San Francisco area. After all, some of Charlie Parker's most important recordings for Dial Records were made in LA, before and after he spent time "Relaxing at Camarillo". Wardell Grey, Teddy Edwards and Dexter Gordon all burned up the Central Avenue scene, playing bebop as bad as anyone on 52nd Street.

Some would say the West Coast Jazz is not based on location, but more a certain sound. Many people go so far to call it a creation of the West Coast record companies in an attempt to "brand" and cash in on a style that, for a moment, caught the ear of the nation via Dave Brubeck's quartet with Paul Desmond, and the creative "little big band" sound of Howard Rumsey's Lighthouse All Stars.

I would posit that "West Coast Jazz" was (and is) really an attitude, a feeling, a "vibe" that could only originate in a place filed with palm trees, big, open horizons, ocean breezes and urbanity. It was an answer to the left turn that took place when the Big Bands died out and jazz starting chasing the Bird down the bebop trail. And it took the mix of the City and the Wild West to make it come together.

It is entwined with Cool Jazz - Gil Evans should be considered an honorary member of the West Coast Jazz contingent - after all, he lived in California from the age of 10, saw his first jazz concert in San Francisco when he was 15 (the Duke Ellington Orchestra), and Gil didn't really move to New York until he was almost 30 years old!

Fostered by the likes of Vince Guaraldi, Cal Tjader, Shorty Rogers, Andre Previn, http://en.wikipedia.org/wiki/Shelly_Manne, Curtis Counce and others, the core of West Coast Jazz consists of:
- a less frenetic, calmer style (some might say more "soulful")
- interesting and more intricate arrangements, sometimes with a "classical" bent to the compositions
- a sophistication that is more "martini" than "whiskey"
- a willingness to try new sound combinations and orchestrations

Not that the west coast players couldn't BURN on any bebop tune (look at Art Pepper). Many of the live recordings from the Lighthouse in Hermosa Beach gave light to the lie that West Coast Jazz players were all "laid back". In LA, where many of the jazz cats found their true financial calling by doing recordings for the movie and TV industry (such as Bud Shank, Jack Sheldon, and Shelly Manne) it kind of makes sense that West Coast Jazz would become more eclectic in form and instrumentation.

But the BEST of West Coast Jazz - the part that lifts my sails and makes me glad to carry on its tradition - is that part that speaks to the creative and adventurous in each of our souls. My goal is to create music that is classic, contemporary, hip and cool, all at once.

I think this new album will fill the bill. I hope you do, too, when you hear it.

2008: The Death of Digital Rights Management

Welcome to 2008! I thought I would celebrate my birthday (Jan. 7th) with a BLOG for the new year, a couple or resolutions and predictions.

Here are some statistics from the NY Times.
The bad news is that music sales of albums fell 15% from 2006, continuing the pattern of double-digit decreases from the last few years.
The good news is that RAP music sales fell 30%! Amazing - people will soon once again have to SING for it to be called music!

The good news is that DIGITAL sales increased by 45%!
The bad news is that this increase only brought the TOTAL decrease in sales down to 9.5% (The decline in album sales drops to 9.5 percent when sales of digital singles are counted as 10-track equivalent albums, per the NY Times article).

In the niche market of jazz, album sales were off 10.6%. That drop pretty much parallels the industry, so Jazz still only reflects about 3% of the total sales in the USA. The Ghetto has not gotten any bigger, it just continues to shrink with the industry as a whole.

Three of the top 6 albums for 2007 were Josh Groban, High School Musical 2 and Hannah Montana - showing that the music industry has already given up on what was it's core age group (16 - 30 year olds). Instead the focus is on music for 'tweeners too young to know how to download, or on parents too lazy to learn how. The #3 album in sales for the year was The Eagles, who totally bypassed the record industry, releasing the album themselves with an exclusive agreement to Wal-Mart. That turned into 2.6 million album sales, so I guess the $10,000,000 advance the Eagles got was a good bet by Wal-Mart, and a brilliant marketing move by the Eagles.

So, a couple of predictions for 2008 - 2010:
- The few remaining stand-alone music stores (Virgin, FYE, etc.) will close in the next 24 months. The few left standing will mainly sell fashion and "lifestyle" products, or become like Amoeba records, catering to used CDs and collectors.
- As attention spans grow shorter over the next 5 years, the concept of an "album" will gradually vanish, except for compilations, greatest hits packages and TV or movie soundtracks. These will succeed by pricing themselves low enough for people to see the value of the purchase, vs. 99 cent single-downloads.
- By 2010 all the major labels will throw in the towel re: DRM (digital rights management). Ease of purchasing music online and competitve pricing (i.e., cheaper, but not totally "free") will offset the losing battle to stop people from copying digital music.
- By 2010 the major entertainment companies will view music as an "ancillary product" that is there to promote a movie or a line of clothing. Even major artists will start to view albums as little more than advertisements for more-lucrative goods like concert tickets and T-shirts.
- Barring a couple of break-out artists, Jazz music will continue to be a niche market, but album sales will increase, as it becomes one of the few music forms that still holds up in an album format.

AS for New Year's resolutions, I resolve to continue to share my music with the world, as that really is my primary purpose.
I resolve to release my Best Jazz Album Ever in 2008.
I resolve to continue to use the internet - "the great leveler" - in creative ways to bring more attention to jazz and improvisational music.

How the Grinch Stole the Record Business

As 2008 approaches, I find myself thinking more and more about the fate of the music business, the fate of the physical Compact Disc, and the fate of Jazz as a viable national product.
These observations are personal, and just support and confirm the double-digit losses that record sales are once again showing compared to 2006:
-I went to Harvard Square in November while visiting family back east. Upon asking to see their music department, I was informed that they closed the whole CD and DVD department down 2 years ago - students were no longer buying music and movies. (It is too easy for them to download or "share" the music with their classmates.) In reality there is NO record store in Harvard Square. The only place carrying music is Newbury Comics, and that store has a very small supply.
-If you go into a "big box" store, like Best Buy, Circuit City or Target I think you will notice that the CD department is one of the loneliest places around. No shortage of elbow room
-The top selling albums of the year are... Josh Groban singing Christmas Carols, and "High School Musical". More proof that the music business is giving up on what was once the core demographic (teen - 30 year olds) and focusing on selling product to kids too young to know how to download, or parents too lazy to learn.
-Starbucks bought "Hear Music" a couple of years ago with the idea of integrating a record company that could allow people to burn their own CDs while they sipped lattes. Last week I visited the one free-standing "Hear Music" store in LA, located on the Third Street Promenade in Santa Monica. The front third of the store had been converted into a Starbucks. The back 2/3 was still filled with listening stations and a very eclectic selection of music CDs - and virtually no people.
-In place of record stores in the Malls this year, you find coffee places, booksellers and Nordstrom (to name a few) selling the TOP 10 CDs as impulse buys right next to the cash register. Only big names (Dylan, Springsteen, Alicia Keyes) need apply.

About 5 years ago I predicted the death of record stores as we knew them. Little did I know I would have the timing down so closely.

So where does this leave people like you and me - people who like diversity in music, adventure, experimentation and great music of all kinds? There is always the internet - which can be a very big, lonely place at times.
More shall be revealed - I look forward to your comments

Album Update #4 - Day 3-4

The basic tracks are in the "can" (though it is not a can anymore, it is just a dedicated hard drive). Now the producing and editing fun begins.
All the tracks on the album were played "live", and were done in just a couple of takes in most cases (some, like "Wes' Coast" were done in one take!) At the same time, the recording studio at Brian's allows us to record each instrument in isolation - we were each in our own room, with visual view of each other and headphones for the sound. This allows each of us to go in and "fix" things, if we choose to, after the basic tracks are done.
Day 3 of the session was set aside for piano fixes. I am very picky about the quality of material that I release, and I want it to sound the very best. This style of recording allows me to go in and redo my solos, if I choose to, to really play the best that I am able. Of course, the "feel" comes first. I am not looking for the "perfect" solo, as much as the best "feel", and so very often the original take is what we ended up staying with. Sometimes, with the pressure of the initial tracks out of the way, I found that my mind and fingers found wonderful new places to go that really added to the songs.
On Day 4 I had Courtney Lemmon come back in to redo her vocals for "Use Me", and I also asked Justo if he would like to come back and play some more. This allowed Justo to play in the "big" room, where he was able to stretch out more, as opposed to the little iso room he was in when we did the initial recording. Justo really had a chance to open up with his tenor - it was great!
We were now nicely along in the project, and it was really starting to sound good! Little did I realize that, after Brian came back from a 3 week road trip in Europe, there would be so much more!