Post tag: pop
Hearing Is Believing

Justin Kauflin in concertThe Marlowsphere Blog (#119)

On April 2, 2015, The Milt Hinton Jazz Perspectives concert series  (of which I am honored to serve as co-chair) at Baruch College (City University of New York) will present a quartet led by twenty-something jazz pianist Justin Kauflin. The concert will take place in Baruch’s Engelman Recital Hall, part of the college’s Performing Arts Center.

There are certainly many young, talented jazz pianists being educated and nurtured in high school and college jazz programs across the country (around the world, for that matter). But what makes Kauflin stand a little taller than the rest is the fact that he was mentored by the very recently departed, great trumpeter and educator Clark Terry.

Keep On, Keepin' On PosterI became familiar with Kauflin and his relationship with Terry through a showing of the award-winning film “Keep On Keepin’ On.” I reviewed this film in a previous blog.

To quote from this review:

Clark Terry became acquainted with Kauflin when he was studying at William Patterson College. The relationship between these two musicians—an age difference of over 60 years—evolved into more than just a professional exchange. It became a friendship founded on the mutual respect and, yes, love, between these two artists.

But there’s more to this story. During the course of the documentary we learn of Justin’s eyesight problems at a very young age and ultimate loss of all his sight at age 11. We also learn—and see first-hand—of Clark Terry’s battle with diabetes and the ultimate loss of both his legs late in life (around age 90). Here, then, are two musical artists with serious physical challenges who share their pain with each other, but encourage each other to “Keep on Keepin’ On.”  (Click to read full review.)

The documentary has earned an armful of awards.

Clark Terry, one of the most popular and influential jazz trumpeters of his generation and an enthusiastic advocate of jazz education, died on Saturday, February 21, 2015 in Pine Bluff, Ark. He was 94. (Read New York Times obituary.)

Justin Kauflin is also keepin’ on.

But the pain that these two artists have dealt with—Terry with diabetes, and Kauflin with his loss of eyesight at the age of 11—begs the question: how do some people deal with physical adversity given their creative impulses? In particular, how do people with musical genes overcome their lack of sight to express their sonic visions?

At first blush, the perception is that the vast majority of musicians do not have to deal with “sight“ issues. But even a cursory look at the musicians who have achieved success in the music world gives one pause. The number and quality of blind American musicians who have battled past a lack of sight to become successful at making sounds is impressive. Here are a few examples of the many blind musicians in the jazz/pop genres, courtesy of http://blindamericanmusicians.blogspot.com/:

Ray CharlesRAY CHARLES (1930 – 2004) – Ray began life with sight but was blind due to Glaucoma by age 7.  He attended the Florida School for the Deaf and Blind.  It was here he received a formal education in classical music.  With this base and his growing interest in Jazz and Blues he began to develop his musical style.  He listened to Country, Blues, Gospel, Pop and Jazz on the radio.  His 1955 hit “I Got A Woman” was the beginning of finding his unique musical voice.  He loved how music allowed him complete freedom of expression.

Sammy Davis Jr.SAMMY DAVIS Jr. (1925 – 1990) – His dad, Sammy Davis Sr. was a well-known vaudeville entertainer. Davis never attended school and was self-taught through the school of hard knocks. In 1955 he lost his left eye in a car accident. His music was very traditional in Broadway, Light Jazz and Pop Standard vein. Davis was famous for his stage presence, acting ability and singing style. He had more than a hand full of big hit songs, “Love Me Or Leave Me”, “The Candy Man”, “That Old Black Magic”, and “What Kind Of Fool Am I” to name just a few.

Jose FelicianoJOSE FELICIANO –  a Puerto Rican/American born blind, Jose has become one of America’s best known entertainers internationally. He belongs in the upper echelon of the great guitarist of our time. His version of the national anthem performed at Tiger Stadium in Detroit in the late 1960’s was controversial at the time but has become recognized as one of great interpretations of the song. In the United States he is best known for his million selling hit “Light My Fire” and the Christmas classic “Feliz Navidad”  He helped to mainstream Latin music influence on Rock ‘n’ Roll.

Terri GibbsTERRI GIBBS – Terri was born in Florida in 1954 and the family moved to Augusta, Georgia. She comes from a family steeped in Gospel music. She began playing the piano at age three and began performing at an early age. She did take music lessons to help improve her understanding of the art. Like Ray Charles, Ronnie Milsap and other great artists from the South, she grew up listening to Country, R&B, Rock ‘n’ Roll and Gospel. Her debut single “Somebody’s Knockin’” became a huge hit and a crossover success.

Rahsaan Roland KirkRAHSAAN ROLAND KIRK (1935 – 1977) – He performed as a multiple instrumental artist. Jazz was what he performed and was famous for his stage antics and the ability to play more than one instrument at a time.  He left a legacy of over a dozen albums.

MARCUS ROBERTS – He is one of America’s great jazz musicians who happens to be blind since age five. His mother also was blind and a gospel singerMarcus Roberts who helped him to learn to play the piano. He attended the Florida School for the Deaf and Blind, the Alma Matter for two other great musicians, Ray Charles and Charles Atkins. He went on to college at Florida State University. He believes strongly in the traditions of the great Jazz artists. Marcus is a perfectionist and very tradition minded when it comes to his art.  Yet, he believes the artist needs to play for the audience and not for themselves.  He is an Assistant Professor of Jazz Studies at Florida State University.

Diane SchuurDIANE SCHUUR – Two-time Grammy award-winning jazz singer. While she was self-taught on the piano, she did attend Washington State School for the Blind for formal education in music and piano. She was influenced by the great Sarah Vaughn, Dinah Washington and Ray Charles to name a few. She has had several hit albums in the Jazz genre. While Jazz is her forte, she has performed in nearly every popular genre.

SIR GEORGE SHEARING, OBE (1919 – 2011) – was a world-renownedSir George Shearing British-born jazz composer and musician. Shearing became involved in the jazz scene in the greater London area.  When he immigrated to the United States in 1947 he was swept into the New York jazz world. He melded the two worlds of classical orchestra music with jazz.  He has over 300 songs to his credit as a composer, as well ass two Grammy’s and 100+ albums. His music has been heard in more than a dozen films and TV shows. In 2007 he was Knighted by the British Crown and given the official title of “Sir.

Art TatumART TATUM  (1909 – 1956) – Tatum was not totally blind.  His vision was little more than light perception. At a very early age he taught himself to play the piano. Both parents were skilled musicians. During his high school years he attended the Ohio School for the Blind.  He studied braille and music. He has over four dozen albums to his credit.  His piano styling has had a lasting impact on jazz musicians. Great musicians he influenced are Oscar Peterson, Lionel Hampton, Charlie Parker, and Herbie Hancock. He is noted for his impressive speed playing of the piano. He was posthumously honored with  the prestigious Grammy Lifetime Achievement Award.

Lennie TristanoLENNIE TRISTANO (1919 – 1978) – He was born in Chicago and was one of the nation’s leading jazz educators.  He acknowledged fellow brother in blindness, Art Tatum, as influential in his music.  He also credited Charlie Parker and Nat King Cole. He had more than a hand full of recordings to his credit.

STEVIE WONDER – a world famous singer/songwriter, was Stevie Wonderborn blind in 1950. At a very early age he began to master the piano.  Later he mastered the harmonica, drums and bass. He attended the Michigan School for the Blind where he studied classical music. Perhaps, what might have been more important were the impromptu jam sessions in the dorms at the school. Ronnie White of the Miracles discovered Stevie which led to him being signed by Berry Gordy of Motown and Tamla records. He has two dozen Grammys (including the Grammys is the coveted Lifetime Achievement Award), a Golden Globe, and an Oscar for best song in a film.

There is truth to the observation that when one loses, either partially or totally, one of his/her senses, the other senses compensate by becoming more sensitive. Perhaps there’s truth also in the observation that the jazz/pop musicians presented above achieved their artistic success, in strong part, because of their loss of sight. Their loss of vision accentuated their musical vision.

But the other significant thread among all these musicians is that they did not let their sensory handicaps to deter them. They kept on keepin’ on.

If you have any questions or comments about this or any other of my blogs, please write to me at
meiienterprises@aol.com.

Eugene Marlow, Ph.D.
March 30, 2015

© Eugene Marlow, March 30, 2015

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Six Reasons Why You Should Support Indie Labels

6 Reasons to support indie labelsThe Marlowsphere Blog ( #111) 

There are two kinds of record labels in the world today: the majors (of which there are only three) and the small, independent (or indie) labels, of which there are thousands globally.

These are the three remaining “major” record labels (since 2012):

  • Universal Music Group (part of EMI’s recorded music division absorbed into UMG)
  • Sony Music Entertainment (EMI Music Publishing absorbed into Sony/ATV Music Publishing)
  • Warner Music Group (EMI’s Parlophone and EMI/Virgin Classics labels absorbed into WMG on 1 July 2013) 

The consolidation in the music industry—which is now global in terms of distribution—parallels similar mergers in the oil, accounting, and media industries. For example, Exxon bought Mobil and is now Exxon/Mobil, the largest oil company in the world. There used to be eight big accounting firms, now there are four. There used to be 80 media companies, now there are six with their fingers in all sorts of print, electronic, and live entertainment activities.

Perhaps we should not be surprised. Mergers & Acquisitions have become prevalent in the last several decades in numerous industries as the wave of electronic media has become a communications tsunami of sorts. From a management perspective, the growth of electronic media has provided managers with a greater span of control, thereby enabling consolidation across the board.

3 Major Labels vs. Indie LabelsBut every action has an equal and opposite reaction. In the context of this blog it is the growth of independent music labels despite the apparent domination of the big three music labels.

The growing power of the indie music industry was profiled in a New York Post article earlier this year. In part, the reporter, Claire Atkinson wrote in January 2014:

“The rise of streaming music services, where the major labels’ control is weaker, and the decline of FM radio, where the labels’ control is powerful, has had a clear effect on the power of indie.

In 2007, indies controlled 25.8 percent of the music business, No. 2 behind Universal Music Group’s 28.8 percent share. By June 30, 2013, indie — a universe that includes Taylor Swift, Jason Aldean, Bon Iver and Mumford & Sons — leapfrogged Universal by growing its market share to 34.5 percent, according to Nielsen SoundScan. Universal was at 28.3 percent.”

The growing influence of the so-called “indies” was articulated by Peter Weber, a senior editor at TheWeek.com, who wrote (also in January 2014):

In the first half of [2013] alone, people listened to 50 billion songs on streaming services, like Spotify and Pandora, or on YouTube, according to Nielsen SoundScan. That’s a 24 percent increase over the first half of 2012.

Revenues from streaming services are also increasing: Record labels and musicians got $1.1 billion from ad-supported and subscription streaming in 2012, a 40 percent jump over 2011. That’s still a fraction of the $28.7 billion the global music industry pulled in in 2012, but as Hannah Karp at The Wall Street Journal notes that money will only grow as an explosion of new streaming services hits this year.

The American Association of Independent Music (A2IM) helps independent music labels improve business by promoting access and parity through advocacy, education and connection-building with one another and affiliated businesses.

According to their web site: A2IM serves the independent music community that, according to Billboard Magazine, comprises over 34.5% of the music industry’s market share in the United States (and approximately 40% of SoundScan digital album sales).

Here are six reasons, then, why you should support an independent label: 

1. Independent labels look to at least cover their costs, turn a modest profit, and market a product to as wide a niche market as possible. The major labels market in as many ways as       Pad of Paper & Penpossible to dominate the music industry—they care about making as much money as possible given the investment they make in new and extant artists.

2. Independent labels, given the smaller, niche markets they serve, reach for a higher intellectual and aesthetic level. The major labels reach for the lowest common musical
denominator.

3. Independent labels take chances/risks out of which comes experimentation which, in turn, leads to innovation. Very often, though, innovation occurs by accident. The major
labels want guarantees of success. This attitude breeds musical conservatism.

4. Independent labels support musical self-expression that allows for new ideas and sounds to be shared.

5. Small, independent labels allow artists greater freedom of creative expression.

6. The small labels are where larger movements come from. Smallness has a major role to play in growing fresh musical expression. Many a large industry grew out of someone’s
garage. The airline and home computer industries are two that come to mind almost immediately.

The small labels are where larger movements come from. Smallness has a major role to play in growing fresh musical expression. Many a large industry grew out of someone’s garage. The airline and home computer industries are two that come to mind almost immediately.

Overall, while the big three music labels create the perception that they are the only game town—with their promotion of rap, hip-hop, rock and pop; and if you buy the myopic public coverage of the Grammys—the larger universe is the growing presence of so-called independent labels, helped along by the expanding digital universe.

The irony is that in the last 100 years success in the music business has evolved from live performance Live to Recorded back to Live Music(prior to recordings) to recorded performance (78s, 45s, LPs, CDs) back to live performance (Live Nation didn’t become a monster company for nothing). There was a time when Barbra Streisand was just a recording artist, but in recent years she has come of the recording booth to perform live again. Today, a recording for a very few makes money, but it is the live performance where the fans are created, the venue and performers make money, and physical CDs are sold.

Recording has also evolved. Early on an artist recorded one piece, given the technological limitations at the time. The LP enabled the recording of a multi-track album. And in the digital age, musicians, for various reasons, have gravitated to single track releases again.

What goes around, comes around.

If you have any questions or comments about this or any other of my blogs, please write to me at meiienterprises@aol.com.

Eugene Marlow, Ph.D.
November 10, 2014

© Eugene Marlow 2014

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