Posts Tagged ‘Tzadik’
Wednesday, May 9th, 2007
Doh. There have been recent rumors about various indie labels being dissatisfied with eMusic — specifically its royalty system, which according to a post today at Digital Audio Insider pays less than 28 cents per song to be split between the label and artist (and that’s much higher than I would have guessed, frankly) — and today I noticed that all the Tzadik albums are gone from the service. Bummer.
eMusic is all over the place these days — in addition to the Ars Technica and Digital Audio Insider posts, I somehow just descovered eMusic’s own staff blog, 17 dots, which highlights new music and also features a very long philosophical post from eMusic’s CEO on the state of digital music distribution and the eMusic model. Also, the music/technology/business blog HypeBot started today a four-part series on eMusic, including coverage of recent label dissatisfaction; and an old thread at I Love Music has been revived with renewed discussion over eMusic’s business model.
Whether or not said model proves to be efficacious (and, much as I love the service, their scant payouts seem to make statistics like “eMusic receives on average more than $13 per subscriber every month. Compare this with the $7 per year that iTunes receives” less than relevant), it is undoubtedly at the center of the current debate regarding the future of music distribution, especially as regards indie music, and so I’ll be following it closely.
Tuesday, September 19th, 2006
The big news today is that John Zorn has won the so-called Macarthur “Genius” grant, the same one that Ken Vandermark won a few years ago, that pays out half a million dollars over five years. Folks in the avant-garde community are having predictably mixed reactions over this one. On the one hand, Zorn isn’t particularly cutting-edge these days and hasn’t been for several years. More, the dude already seems to have a hell of a lot more resources than plenty of other equally deserving semi-underground artists out there. Giving him $500,000 for even more Masada live releases seems almost perverse.
On the other hand… he’s still John Zorn, still one of the more fiercely independent musical minds out there, and it’s cool that he’s getting recognition from the establishment (the Macarthur Foundation is large enough to be considered part of the proverbial “establishment,” I think — even though they have given this grant to folks like Cecil Taylor, Ornette Coleman etc). So, congrats to him, although I hope that instead of expanding the Tzadik release schedule to 5,000 releases per year instead of just 4,000, he uses the funding to take a radical left turn, maybe starting a brand new label for underground artists with a completely different bent. Or at the very least maybe he can now tour outside of New York City and Europe.
Wednesday, December 21st, 2005
Nice ending paragraph from an article in today’s New York Times about the 2005 releases of a 1957 Thelonius Monk Quartet archival on Blue Note, and Coltrane’s One Down, One Up (which is at the top of my wish list).
This is how jazz works. It is not a volume business. (Its essence is the opposite of business.) Its greatest experiences are given away cheaply, to rooms of 50 to 200 people. Literature and visual art are both so different: the creator stands back, judges a fixed object, then refines or discards before letting the words go to print, or putting images to walls. A posthumously found Hemingway novel is never as good as what he judged to be his best work. But in jazz there is always the promise that the art’s greatest examples - even by those long dead - may still be found.
If this is the case, then, and I say this because I have Tzadik on the brain thanks to eMusic, John Zorn and company are following the right model — releasing scads of great live recordings alongside (or, in the case of bands like Electric Masada, in lieu of) relatively contemporaneous studio recordings. Tim Berne is another great example, as his Screwgun releases are often basically just high-quality audience DAT recordings packaged onto CDs.
On that topic, I’m currently most enthralled with the latest 50th Birthday release, Painkiller’s. This series has been a real goldmine for me, although I’ve been avoiding the non-band stuff (Zorn solo and with guests) except for Volume 5, the duo with Fred Frith, because I know that stuff will just grate on me more than anything else. But the stuff I do have is fantastic, including this one (Volume 12).
Tuesday, December 6th, 2005
Most everyone who’s been paying attention knows by now that Tzadik has put their entire discography, nearly 400 albums, online at eMusic.com. I think this is unbelievably awesome, and is going to result in Zorn’s label getting a lot of money out of me at least. However, I’m only using emusic for the unfortunately brief (30-second) free previews, figuring out what I like, and then going to a real record store to buy the actual CDs. I’ll probably sign up eventually for $10 a month just to download a full track from each album that sounds promising, and make more informed decisions based on that.
Call me old-fashioned, maybe, but the true reason behind this decision to buy actual CDs isn’t necessarily that I like having a real CD with real packaging — although that is also true. The real reason is that emusic is kind of behind the times and only offers downloads as lossy MP3s. If they offered FLACs, I might rethink. Still, this is extremely cool, and who knows — I might download full albums I might not like quite enough to buy the actual CD of.
Also, another eMusic flaw is that they seem to charge by track — you pay a certain amount to be able to download a specific number of tracks per month. They don’t seem to have a download-by-album option, so you pay a lot more for an album that has 20 short tracks as opposed to 3 long tracks. Maybe once you sign up a solution to this problem becomes apparent. It does seem like a pretty major issue.
You can browse Tzadik’s catalog at emusic from this starting point.