Thursday, 26 May 2016
Wednesday, 25 May 2016
Tuesday, 24 May 2016
Bandcamp, Downloads, Streaming, and the Inescapably Bright Future
In light of a recent report that Apple will soon abandon music downloads
(later denied, but undoubtedly containing a certain amount of
inevitability), we thought we’d take a moment to update you on the state
of Bandcamp’s business and our plans for the future.
Bandcamp grew by 35% last year. Fans pay artists $4.3 million dollars
every month using the site, and they buy about 25,000 records a day,
which works out to about one every 4 seconds (you can see a real-time
feed of those purchases on our desktop home page).
Nearly 6 million fans have bought music through Bandcamp (half of whom
are younger than 30), and hundreds of thousands of artists have sold
music on Bandcamp. Digital album sales on Bandcamp grew 14% in 2015
while dropping 3% industry-wide, track sales grew 11% while dropping 13%
industry-wide, vinyl was up 40%, cassettes 49%… even CD sales grew 10%
(down 11% industry-wide). Most importantly of all, Bandcamp has been
profitable (in the now-quaint revenues-exceed-expenses sense) since
2012.
Subscription-based music streaming,* on the other hand, has yet to prove itself to be a viable model, even after hundreds of millions of investment dollars raised and spent. For our part, we are committed to offering an alternative that we know works. As long as there are fans who care about the welfare of their favorite artists and want to help them keep making music, we will continue to provide that direct connection. And as long as there are fans who want to own, not rent, their music, that is a service we will continue to provide, and that is a model whose benefits we will continue to champion. We have been here since 2008 and we mean to be here in 2028. Thank you!
*Bandcamp is not a download store, and we very much embrace the convenience of streaming. When you buy music on Bandcamp, whether that’s in digital or physical form (30% of sales on Bandcamp are for vinyl and other merchandise), you not only get the pleasure of knowing you’re supporting the artist in a direct and transparent way, you also get instant, unlimited streaming of that music via our free apps for Android and iOS, as well as an optional, high-quality download. Your purchase is about direct support, ownership and access, whether that access takes the form of a stream, download, or both. So please consider joining us in never using “streaming” as shorthand for “subscription-based music.” The former is an inevitable technological shift, the latter is an unproven business model.
Subscription-based music streaming,* on the other hand, has yet to prove itself to be a viable model, even after hundreds of millions of investment dollars raised and spent. For our part, we are committed to offering an alternative that we know works. As long as there are fans who care about the welfare of their favorite artists and want to help them keep making music, we will continue to provide that direct connection. And as long as there are fans who want to own, not rent, their music, that is a service we will continue to provide, and that is a model whose benefits we will continue to champion. We have been here since 2008 and we mean to be here in 2028. Thank you!
*Bandcamp is not a download store, and we very much embrace the convenience of streaming. When you buy music on Bandcamp, whether that’s in digital or physical form (30% of sales on Bandcamp are for vinyl and other merchandise), you not only get the pleasure of knowing you’re supporting the artist in a direct and transparent way, you also get instant, unlimited streaming of that music via our free apps for Android and iOS, as well as an optional, high-quality download. Your purchase is about direct support, ownership and access, whether that access takes the form of a stream, download, or both. So please consider joining us in never using “streaming” as shorthand for “subscription-based music.” The former is an inevitable technological shift, the latter is an unproven business model.
Fans have paid artists $157 million using Bandcamp, and $4.3 million in the last 30 days alone.
Sunday, 22 May 2016
Friday, 13 May 2016
Billy Bang, Craig Harris, Henry Threadgill • Hip Hop Be Bop
Our idea with this effort was to mix two genres - hip hop (the underlying culture of modern jazz).
The two did not seem to exclude each other because both relied on unusual tempos and often discordant harmonies for there effect. Will believe by honoring the principles of each form, they would naturally mix.
the phrase that was used to describe the overall effect is ‘surface tension’ where the melodies and rhythms sometimes sometime challenge each other. By choosing the words and voice of a jazz poet we attempt to illustrate the literary of contemporary rap and offer the listener the relief from standard predictable rhyme schemes by choosing the diversion of the reggae form we hoped to show that another popular modern form could carry the sophistication of the jazz melody. In addition, egg has influence the evolution of rap and has drawn its inspiration from the R&B music of New Orleans, itself a jazz extension.
The listeners need not know anything except what they hear: challenging rhythm and intricate ensemble playing.
• Billy Bang •
1. Hip Hop Be Bop
Music by Billy Bang
Words by Wayne Providence
2. Riding With Ra
Music by Billy Bang
3. Night Stich
Music by Joey Eboli
Words by Alphonzo Stanley
4. If You Like It, Lick It
Music by Billy Bang
Words by Wayne Providence
5. Breeze
Music by Joey Eboli
Words by Alphonzo Stanley
6. Shine
Music by Billy Bang
Words Traditional
7. M'am
Music by Billy Bang
Words Adapted From ‘Thank You M'am’ by Langston Hughes
Music by Billy Bang
Words by Wayne Providence
2. Riding With Ra
Music by Billy Bang
3. Night Stich
Music by Joey Eboli
Words by Alphonzo Stanley
4. If You Like It, Lick It
Music by Billy Bang
Words by Wayne Providence
5. Breeze
Music by Joey Eboli
Words by Alphonzo Stanley
6. Shine
Music by Billy Bang
Words Traditional
7. M'am
Music by Billy Bang
Words Adapted From ‘Thank You M'am’ by Langston Hughes
8. Breezy Dub
Music by Joey Eboli
Henry Threadgill • alto saxophone
Craig Harris • trombone
Brett Allen • guitar
Wayne Providence • voice
Prince Dominique • voice
Insane Asylum • programmed rhythms
All Rhythms Produced By Insane Asylum
Produced by Billy Bang
Label: ITM Records – ITM 1480
Format: 320
Country: Germany
Released: 1993
Genre: Hip Hop, Jazz
Style: Soul Jazz, Jazzy Hip Hop
Labels:
Billy Bang,
Craig Harris,
Henry Threadgill,
Jazz,
Rap
Wednesday, 11 May 2016
Jon Hassell Words & Music with Gilles Peterson
During a hour of words and music, Jon honestly and thought-provokingly
discusses that Talking Heads period and some of the regrets he has from
that time, as well as touching on his experiences working with German
electronic music composer Stockhausen, his admiration for Gil Evans, and
his developed thoughts on the north vs south/ mind vs body divide,
which have significantly informed the way he creates his music and lives
his life.
Tracklist:
Jon Hassell • Earthquake Island (Earthquake Island)
Talking Heads • Once In A Life Time (Remain In Light)
Stockhausen • Klavierstuck I (Klavierstuck)
Miles Davis • On The Corner (Take 4) (On The Corner)
Terry Riley • In C (In C)
Jon Hassell • Mombasa (City: Works of Fiction)
Jon Hassell • Blues Nile (Vernal Equinox)
Jon Hassell • Hex (Vernal Equinox)
Gil Evans • Prayer (Porgy & Bess)
Jon Hassell • Tribal Secret (Earthquake Island)
Jon Hassell • Balía (Earthquake Island)
Jon Hassell • Maarifa Street (Maarifa Street)
Jon Hassell • Dreaming (Forthcoming)
Jon Hassell • City Spot (Forthcoming)
Podcast download: right click and save HERE
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