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Mood Valiant was released through Brainfeeder Records on 25 June A previously unreleased album from pioneering jazz pianist Bill Evans was released on 25th June. The live performance - originally recorded for radio host Gary Barclay - took place at Oil Can Harry's in Vancouver, Canada, and has been restored by Plangent Processes, with mastering by Paul Blakemore.

The multi-instrumentalist, vocalist and producer announced the new record with the release of her new single 'Say Something'. The Prince Estate and Legacy Recordings, a division of Sony Music Entertainment, released the enigmatic Prince album Welcome 2 America on 30th July — a powerful creative statement that documents Prince's concerns, hopes, and visions for a shifting society, presciently foreshadowing an era of political division, disinformation, and a renewed fight for racial justice.

As the title suggests, here the pair take on the Cole Porter songbook of classic popular music with both duet and solo selections, accompanied by a mixture of jazz ensemble, big band and orchestral arrangements. Somewhere Different was released through Impulse! Records on 13 August With a voice that has stopped critics in their tracks, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted.

Multi-instrumentalist, vocalist, producer, and songwriter Jordan Rakei released his fourth studio album in - What We Call Life. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the 'positive psychology' movement. After nearly six decades, a private recording of a rare, nightclub performance by John Coltrane of his magnum opus, A Love Supreme , in Recorded in late on the culminating evening of a historic week-long run at The Penthouse in Seattle, A Love Supreme: Live In Seattle is a musical revelation of historic importance, capturing Coltrane as he began to expand his classic quartet—adding Pharoah Sanders on second saxophone and Donald Garrett on second bass—and catapulting him into the intense, spiritually focused final phase of his career.

It's a torrent of roisterous funk, indelible beats and all-too-current lyrics that boasts the talents of producer-guitarist Charlie Hunter and two stars of the hip-hop generation: drummer Corey Fonville and bassist-keyboardist DJ Harrison both of the genre-hopping band Butcher Brown. Elling has always been a master of grooves, ranging from bebop to pure pop and progressive jazz to neo-soul, but he's never filled an album with grooves quite like these.

SuperBlue was released via Edition Records on 8 October Over the past decade, Gregory Porter has taken the world by storm, bringing contemporary jazz to the masses. With Still Rising , Gregory Porter has amassed a track selection of brand-new songs, covers, duets and a handpicked selection of his most cherished songs. The Jazz Messengers were among the first modern jazz groups to tour the country, and adoring Japanese audiences were enthralled by one of the band's all-time great line-ups featuring the legendary drummer with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass.

Herbie Hancock reveals details of new album. Pat Metheny returns to London with music from across his career and new material. Emma-Jean Thackray announces debut album. Planet Radio jazz fm news music news. Instead of being connected to the Internet, these devices are connected via ad hoc wireless networks within mobile geographical settings.

Michael Bull, identified here primarily with those who argue against the prosocial aspects of mobile music listening, for example, equally engages the utopian aspects of such listening. Gianluca Colombo, L. Lawler, V. Jaron Lanier argues similarly against the spatialization of locked-in ideas about how software is constituted. The overarching intellectual focus on individual and social effects of nanotechnologies whether pro- or contra- , in contrast, manufactures disinterest in all-too-concealed macro-structures, which include the cyber- infrastructural assemblages that invisibly support the various patterns of usage, the institutional maintenance of the technical systems undergirding these technologies, and above all the economic determinants at stake in such support and maintenance.

In the words of David Ribes and Thomas A. Corporate investment in music streaming should be read, above all, against these infrastructural developments; as attempts to control the increasingly centralized computing grid. For many businesses, economies of scale now make it possible to outsource their storage needs and computer applications to these sites at much reduced cost. Mobile computing on a mass scale has followed suit. To invoke a question I raised in the context of a critique of Deleuzian postmodernism: Is not the argus-eyed and micro-capillaried digital network, its algorithmic surveillance attuned to ever-finer gradations of resonance between consumer desire and niche market production, the very lifeblood of Capital today?

They weave themselves into the fabric of everyday life until they are indistinguishable from it. They required too much of our full attention. A good technology, according to him, functions like a tool. A tool, when properly used, disappears as a function of its use, moving to the background of our attention. In Luke Jansen, chief executive officer of Tigerspike, a media company with a specialization in mobile, for example, addressed the possibility of integrating digital chips in contact lenses and teeth.

It is as if these, basically postmodern, interpretative pluralities foster determined incuriosity toward the metanarratives that undergird fragmentation of socialities into plural dimensions in the first place. The liberatory, utopian aspects of mobile communication in our times become at most a compressed freedom; contained—in both senses—by a rigid, mandatory technological structure. Or, put differently, effortless habituation in divisible mobilities has entailed containing their emancipatory promise, bringing down a curse thereby.

In the older music economy, the media of music its tangible forms—vinyl, cassette, compact disc, and so on were fused with its contents its sounding forms—songs, symphonies, and so on , which facilitated its efficient circulation as a physical commodity.

In the newer economy, medium and content are increasingly delinked; the former effectively dematerialized; or, more accurately, micro-materialized, which is to say transformed from an actual tangible medium to a seemingly virtual digital format. The virtualization of music parallels the shift toward ever-miniaturized, and therefore concealed, technologies centered around mobility.

Interestingly, the MP3 format itself, developed in the s by Karlheinz Brandenburger and others at the Fraunhofer Institute in Erlangen, Germany, was encoded as a commodity form, including, for example, digitally inscribed copyright protections in its code.

For this reason, Sterne insists that the MP3, for all its invisibility, retains its thinglike character. This is an important point in the context of the emerging cloud-based music economy, to which I will return shortly. With the mainstreaming of peer-to-peer connectivity in the early s, large-scale practices of exchange were no longer primarily governed by financial transactions. According to the International Federation of the Phonograph Industry, only one in twenty digitally downloaded musical tracks was legally purchased in Web 2.

The collapse of the mass-industrial music sector thus witnessed the burgeoning of an independent, and more diverse, extra-industrial sector. For LaPlante, Bracy, Byrne, and others, the new technologies ushered in a period of unprecedented musical freedoms.

Music, in this view, has shifted from a more communitarian-oriented activity the age before the technological reproducibility of sound to a more a privatized one the age of the recording industry and now back again the age of disintermediated network connectivity. One might say this urge is part of our genetic makeup. By , the listening habits of a new generation of listeners had shifted.

Illegal file-sharing rapidly decreased and online music streaming became the norm. Indeed, as Weingarten points out, 95 self-mounted digital musical downloads are not in themselves lucrative: despite the hundreds of blogs, thousands of downloads, and millions of views of OK Go songs, for example, the band cannot effectively sell their music online.

In his book Mashed Up: Music, Technology, and the Rise of Configurable Culture , for example, Aram Sinnreich extols the virtues of the new nonlinear modes of intertextual music-making, whose patterns deftly recapitulate the networked architectures of new digital technologies. Online culture is dominated by trivial mashups of the culture that existed before the onset of mashups, and by fandom responding to the dwindling outposts of centralized mass media.

Everything is retro, retro, retro. Arguably, by leveraging a kind of reflective techno-terroir, these genres critically engage with the consumer culture upon which they depend. Lanier, however, would regard this kind of artistic practice as derivative and reactionary. It is in the context of new business opportunities associated with cloud computing, where millions of computers and servers are linked to human and nonhuman agents invisibly harvesting, processing, and analyzing data, that free work should be scrutinized.

Aside from the winners known as Bellkor, a global alliance of some thirty members , three years of labor, involving thousands of teams, from over countries, missed the mark. Likewise, the website Crowdspring acts as an interface between companies and graphic designers and writers, promising an average of entries per project.

The economic logic is evident: for every successfully purchased design, we find about one hundred redundant ones. The list of platforms providing crowd-sourced opportunities goes on. This is the unpaid labor that increasingly delivers content and data to profit-oriented mainstream platforms. Paradoxically, in the context of music-making, such nonproprietory volunteerism resonates with a host of 60s-era countercultural themes—the virtues of free culture, the death of the author, the irreducibility of intertextuality, the flourishing of creativity, the productive dimension of reception and consumption, the demise of oppressive copyright protection, and so on—which come ideologically to signal a massive divide between the music industry and digital music users.

Quite apart from the well-established legacy of anti-establishment credibility afforded by countercultural rhetoric for the advertising and branding of commodities and services, brands themselves have also leveraged the tactile-behavioral logic associated with new technologies for their own ends.

While iTunes still represents an older model for the commercial delivery of music in bit-size chunks, instead of cloud-based streaming , it is worth noting a downward trend as far as the per-unit revenues received by actual musicians is concerned. Byrne notes, for example, that, while iTunes returns a higher percentage of its revenues to artists 14 percent , Apple itself receives 30 percent; furthermore, the actual amount received by artists is less than what they would receive with a traditional CD.

As mobile technologies coupled with subscription-based streaming services become mainstream, and the concomitant stockpiling of music in user-controlled digital memory dissipates, unit-based revenues for artists has diminished much further, if not withered outright. While the economics of streaming are vexingly opaque, the measurable revenue streams toward actual artists indicate remarkably meager returns. Mode Records, for example, received less than one third of a penny for every stream on Spotify.

Instead of monetizing per stream, music labels tend to be invested in equity shares in the streaming services themselves. This means that revenues generated by advertising and subscription fees are proportionately divided up among equity holders and only then distributed to artists, according to variable agreements between artists and labels. Just as consumption is delinked therefrom, remuneration, in the era of streaming, is therefore delinked from the unit-based legal model meant to guide it.

Given the mismatch between the flow of capital and investment, it is not surprising that the most powerful music streaming platforms, such as YouTube and Spotify, are also the lowest revenue-producing platforms for artists. As a result, even stars like Lady Gaga were locked into recording label deals that generated no revenue for the artist from streams on Spotify.

Far from tending toward disintermediation, the old industrial intermediaries have effectively been transformed into or substituted by a handful of cloud-based hyperintermediaries. In this sense, the crisis of intellectual property in the context of information production today could signal a terminal danger for capitalism itself.

In other words, creative work that may have fallen off the radar of searchability under older technological conditions exists on the market, and, newly visible, may even migrate up the long tail. Lanier, for example, argues that the alliance has resulted in a new kind of social contract:. The basic idea of this contract is that authors, journalists, musicians, and artists are encouraged to treat the fruits of their intellects and imaginations as fragments to be given without pay to the hive mind.

Reciprocity takes the form of self-promotion. Culture is to become precisely nothing but advertising. I prefer to think of the Long Tail as being a tail to a different animal. It is not the long tail of the Beast of Commercial Profits. Rather it is the long tail of the Dragon of Love.

The love of creating, of making, of connecting, of unreasonable passion, or making a difference, or doing something that matters to ourselves, the love of connecting, giving, learning, producing, and sharing. It is important to know which tail we are wagging. How it will be possible, without some way of controlling pricing and distribution, for individuals or music companies to cover expenditures related to longer-term creative projects, the development of new artists, and elaborate studio productions, is uncertain.

In contrast, it is unlikely that the proprietors of the major cloud computing centers will discourage the culture of unpaid creative labor, especially in the context of subscription-based streaming services; it is even less likely in the context of free advertising-driven services; and most unlikely in the context of search-based services.

Better to play the big-n statistical game of User Generated Content [the doctrine of statistical reliability through sheer magnitude], as YouTube has. Nelson proposed that whenever a digital bit of music, journalism, video art, and so forth was accessed by a user, the maker of that expression should be paid a moderate sum.

As a result, anyone might be able to get rich from creative work. The people who make a momentarily popular prank video clip might earn a lot of money in a single day, but an obscure scholar might eventually earn as much over many years as her work is repeatedly referenced. But note that this is a very different idea from the long tail, because it rewards individuals instead of cloud owners.

In addition, Lanier argues that copy-protection technologies should be reinstated even if they cannot be perfected , banking on the idea that most people would accept the kind of social contract that expects a moderate payment for a cultural item or expression that reward creators directly.

Failing the kind of libertarian hypercapitalism advanced here, it becomes difficult to envisage a flourishing and sustainable culture outside of socialism. If music is to retain its cultural value, it may also need to retain an aspect of its thing-like, content-based character, which is otherwise gradually being eroded by mobile computers tethered to streamlined services alone.

Not only does the piecemeal, self-employed work proffered in the context of crowd-sourcing, practically by definition, demand a nonalienated relationship to that work, but full-time employees are increasingly expected to express such a relationship within the traditional workplace as well.

Labor processes in the digital age are looking more and more alike. The production by information and knowledge workers—including journalism, telecommunication, information technology, design, and other cultural communities—is approximating, as it were, the condition of musical work. As it is with musical work, creativity, open-mindedness, initiative, entrepreneurial skill, originality, individualism, and innovation are common subjective preconditions for employment in the context of intermittent, freelance, and temporary tasks afforded by the independently networked environment.

The new subject of capital is not that of law-abiding servility under the oppressive gaze of power, but instead decentered, innovative, flexible, and networked. Lazzarato characterizes such metropolitan immaterial labor as precarious, hyper-exploited, mobile, and hierarchic, and detects within the creative class the appearance of an intellectual proletariat.

As shown earlier, digital media in the 21 st century have ushered in widespread new online habiti , which, in turn, have proffered new networked socialites. In the large-scale context of enhanced digital efficiencies in delivery, experience, etc. Given the constitutive dependence of musicking on community or, put differently, on the publicity-accessed public , this model becomes selectively, and deceptively, in visible within the network.

On the one hand, online communities bear witness to intermittent musical successes self-launched artists, flash mob events and parties, audiovisual memes, viral videos, etc. It is the private, richly subjective, invisible crowd that proffers new forms of capture for the increasingly privatized invisible cloud.

The question is, what kind of storm will be precipitated as the evaporating crowd increasingly serves as nervous system for the accumulating cloud? Can these new subjectively inflected laborers—the creative commons in production—open up production to the commons? Or do the creative commons merely innervate capitalist industry and services?

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