Te Vas by Carmen Cuesta – YouTube

For some reason, I came across this video today that Carmen Cuesta posted on her YouTube channel on July 25th, 2017, only a few days shy of the incredibly sad andshocking news that her husband Chuck Loeb had passed away on July 31st, 2017. There is another version of this song with her and Chuck sitting on the sofa in their living room, both playing acoustic guitar and Carmen Cuesta singing this song. I chose in favor of this version as it is just a little bit less heartbreaking than the more recent one. I also decided it is probably going to be o.k. to link to his video as she had chosen to upload it publicly, simply saying “So long my dearly beloved” for a caption, but her voice and playing capturing…. the intensity of the moment.

I hope, none of my following words or the mere action of posting this blog will be considered inappropriate or intrusive or anything like that. But I think I feel compelled to say something for a tribute as it now – more than ever – appears to me that there is truly a special element about all of the Loeb family: As they have been enjoying these etraordinary relationships in the family that seem firmly founded in love for each other, the love for music and as that love for humanity, they have also been sharing all this with the rest of us – and sharing this in a most humble, modest way, which ironically – especially now – has so much more impact than all the fanfare of other artists who may have placed more focus on getting attention for themselves. This man – and I’d take the liberty of extending this quality to each of his family members as they all seem kindred spirits in that way – would be a truly wonderful, kind human being first. And he also happened to play the guitar like noone else I’ve ever listened to. The modest approach, which put the song in question first and personal dexterity on the instrument only in the context of making the song shine more is hard to find, I think. It is exactly this element in Chuck Loeb’s entire body of work that I see and hear reiterated through the vast catalogue he leaves behind.

I am also extremely grateful I should have been given the opportunity to interview him in the context of Smooth Jazz Festival Augsburg 2010 and on behalf of SmootJazzNow.com hosted by John Beaudin (who does his own tribute video here; as for the above linking of my own interview: No, I’d never dare to use it as placing a shameless plug on my part, especially at this time. I only do so in the hopes that Lena and I managed to capture some of the kindness that this exceptional artist exuded and to pay my respects that way. From what I hear, everyone who was ever lucky enough to cross paths with him seems to have experienced this wonderful quality in him). I will never forget this unparalleled highlight in my life and how his kind, articulate, soft-spoken, but super attentive – not forgetting super gifted”, of course – man impressed me with his very down-to-earth, natural, accessible personality.

My heart is with his family and the entire family of music lovers around the world, who followed Mr. Loeb’s career in one or the other way. Peace, love and light be always with you and yours!

Schallplatten: Warum Sony wieder Vinyl presst | ZEIT ONLINE

Musikstreaming verbreitet sich rasant, aber in der Nische wächst der Umsatz mit Schallplatten. Die Antithese zum digitalen Hören ist sogar für Großkonzerne interessant.

Source: Schallplatten: Warum Sony wieder Vinyl presst | ZEIT ONLINE

Interessant. Es scheint einen für Sony interessanten Anteil audiophiler Musikkonsumenten zu geben. So interessant, dass Sony sogar ein eigenes Presswerk errichtet und in Betrieb nimmt.

We’re Closing Up Shop

Thanks for all your support, kind people! Wesbound.de will be terminated on September, 5th 2017 (possibly earlier). I might consider extending this blog at nieke.de/wesboundmusic, but I’m not going to put my shirt on that.

// Vielen Dank für Ihre/Eure Unterstützung hier. Dieser Blog/Homepage endet spätestens am 5. September 2017 (vermutlich schon vorher). Ich erwäge die Fortführung dieses Inhalts unter nieke.de/wesboundmusic, kann aber meine Hand nicht dafür ins Feuer legen (was bedeutet: Ist nicht sicher).

Man sieht sich! (vielleicht)

Chaka Khan Drops “I Love Myself” On Her Own Label

The 10-time Grammy Award-winning singer-songwriter, Chaka Khan, releases her first official single under hew new, iKhan Sounds indie record label.

Source: Chaka Khan Drops “I Love Myself” On Her Own Label

I really, really love what Ms. Chaka Khan has been doing for us for all these years. And now she’s reinvented herself in ways noone could have predicted. She’s leading by example as fine as it ever gets!

Chaka Khan Drops “I Love Myself” On Her Own Label

The 10-time Grammy Award-winning singer-songwriter, Chaka Khan, releases her first official single under hew new, iKhan Sounds indie record label.

Source: Chaka Khan Drops “I Love Myself” On Her Own Label

I really, really love what Ms. Chaka Khan has been doing for us for all these years. And now she’s reinvented herself in ways noone could have predicted. She’s leading by example as fine as it ever gets!

THRILL Walkthrough NATIVE INSTRUMENTS

They excelled again, those creative engineers at Native Instruments, this time partnering up with Galaxy Instruments’ sound design genius Uli Baronowsky, who was also at the helm for NI’s Rise & Hit and Una Corda. Wow, wow and then some!

Jazz Musician: ‘I See the Gap Between the Haves and Have-Nots’ – Working In These Times

Working In These Times is dedicated to providing independent and incisive coverage of the labor movement and the struggles of workers to obtain safe, healthy and just workplaces.

Source: Jazz Musician: ‘I See the Gap Between the Haves and Have-Nots’ – Working In These Times

And if I may, I’d like to add: Building your network, your fanbase, your clientele, whatever you prefer to call them, is about loving the people who gave you the privilege of listening to you in the first place. In other words: It is about love. Front to back.

Sing. Play. Produce. « Session Masters (Reprise)

Source: Sing. Play. Produce. « Session Masters

Tom Glagow of Popstop mentioned Larry Carlton’s latest album effort in his great radioshow “Jazz & More”. What caught my attention was him – Tom – elaborating on the fact that not only do you get to purchase Larry Carlton’s latest – and excellent! – CD, but there’s much more to it: Sufficiently “stacked” wallet/credit card provided, you also get to acquire the entire recording session and the master files from it as a package! Yes. You saw this right: You get to purchase the master files from Larry Carlton’s recording of this CD along with single instrument tracks, a reference mix by Csaba Petocz, videos being shot from 10 different angles, sheet music hard drives to hold all this information along with required connection cables to directly hook this up to your own music recording environment and load the entire recording sessions directly into ProTools, Logic 8 or DAW of your choice (so long as it can use and process at least files recorded at a sample rate of 48k; the raw files come at 96k sample rates, some conversion may apply in certain cases).

However: Let’s put the technical aspects aside for a minute, shall we? (because they are not the most important thing IMHO as I type this up; in a nutshell: If your home recording equipment is at least half way up to speed with today’s recording gear, you will get to work with the materials provided). Everyone I mentioned this to so far, they all get caught up in the specs and technical or monetary considerations right away. But in my view, there is something else standing out – and standing out with flying colors: For the first time in music history that I’m aware of – correct me, if I’m wrong on this – you get to purchase your favorite artist’s master files, as in: M.A.S.T.E.R.S.! And – they didn’t stop there, no Sir. You also get to do with those master files whatever you please and whereever the muse – as in: your creative sources – will take you! In other words and at normal breathing ratio: Larry Carlton et al. let you purchase the master files of recorded tracks along with an unlimited license (!) as to how you’re going to use these recordings! That’s right! So long as you do something with them – add your own instrumental/vocal parts, remix, dissect, reassemble, send through your own equipment, have it come out your way and in your particular style, you – drum roll – get to publish the results under your name! (I guess the fine print will say that you are required to always mention the original writers/musicians/producer, but heck – who wouldn’t in this case?!)

What I’m getting at is this: As far as I know and in my understanding this creates an all time first situation in the music industry. A paradigm shift, if you will. Never before have I heard of a situation, where a single legal entity, a private person to be exact, got to purchase an artist’s master files and use them as a framework for their own creative endeavours. Again – if you know more, I almost beg you to prove me wrong. Until then, I will say that this foray into uncharted waters by Carlton & Co. is a bold move that does exactly what their marketing claim says: It puts you in the composer’s/producer’s seat along with the super-accomplished cats performing on the album, each of whom have the most magnificient credentials you could dream of, not to mention decades of a professional career under their belt (at least that’s true for Larry Carlton, a.k.a. “Mr. 335”).

The catch? Well… the purchasing price is somewhere in the range of a used quality brand car and beyond. On the other hand: If you actually thought about collecting the money to book these musicians/producers for your own effort, the required budget would be somewhere at five times this figure, potentially more if you factor in transportation, accommodation, rental costs for particular (vintage) gear etc. etc.

I really think Mr. Carlton’s team have opened an entirely new chapter in the music industry with this. As I hate to listen to the reverberation of my own musings, I’d really love to have your take on this from the perspective of a musician | composer | producer or knowledgable, inclined and dedicated fan/music lover/music industry professional. Paradigm shift – yes or no?

How Science Is Becoming Music | Jon Skinner | Pulse | LinkedIn

Nature has some aesthetically pleasing inherent melodies, but it likely doesn’t compose them for the same reasons as we do, and certainly not to the same extent. So intent on new musics are we that we’ll create machines and algorithms that can go further than us. Yet we are still at the early stages of artificial intelligence, while computers might still be a little way off improvising jazz to a human standard, the thought of watching a band made of both human and artificial minds improvise new music is exc

Source: How Science Is Becoming Music | Jon Skinner | Pulse | LinkedIn

Check out some of the samples linked to in the article. As of late I often find myself divided between the “early adopter” in me, who tends to fully embrace new technology as it becomes available – at least where it pertains to the realm of creativity-, and the more evolution-resistant conservative. While there are some very liberating aspects with the idea of making music on a computer – and the latter possibly soon informed by and infused with artificial intelligence, even a portion of creativity built into these algorithms -, the social aspect seems to be on the decline. And the latter seems to be correlated with the inherent value and societal significance with all things “culture” and the arts – as we can already see in today’s world, where music has been relegated to the back seat of commodity rather than a culturally or even societally relevant phenomenon. I hope, I’m wrong with this take on things….

Nature has some aesthetically pleasing inherent melodies, but it likely doesn’t compose them for the same reasons as we do, and certainly not to the same extent. So intent on new musics are we that we’ll create machines and algorithms that can go further than us. Yet we are still at the early stages of artificial intelligence, while computers might still be a little way off improvising jazz to a human standard, the thought of watching a band made of both human and artificial minds improvise new music is exc

Source: How Science Is Becoming Music | Jon Skinner | Pulse | LinkedIn

Check out some of the samples linked to in the article. As of late I often find myself divided between the “early adopter” in me, who tends to fully embrace new technology as it becomes available – at least where it pertains to the realm of creativity-, and the more evolution-resistant conservative. While there are some very liberating aspects with the idea of making music on a computer – and the latter possibly soon informed by and infused with artificial intelligence, even a portion of creativity built into these algorithms -, the social aspect seems to be on the decline. And the latter seems to be correlated with the inherent value and societal significance with all things “culture” and the arts – as we can already see in today’s world, where music has been relegated to the back seat of commodity rather than a culturally or even societally relevant phenomenon. I hope, I’m wrong with this take on things….