… as of February 3rd 2017.
Source: Session Player « Session Masters
I’m seeing new aspects of significance with this as I study it. It’s H.U.G.E.!
Per above article The Bandcamp 2016 Year in Review I feel reaffirmed in my decision to have pulled my music from iTunes, Amazon and the likes, where service and commission fees would leave next to nothing for me with an already meager number of overall downloads (Smooth Jazzers don’t seem to appreciate downloading music all that much, but seem to prefer meeting the artists in person at concerts, Jazz festvials and music cruises, shake hands, take the selfie, purchase a CD and have it signed by the artist while enjoying the company of other SJ fans along with a weekend trip or a small vacation. I think I have learned that). While the rest of the industry seems to push for subscription services and get everyone lured into that business model, I think I concur with Bandcamp’s analysis as to what it will do to the music business in general and the artist in particular on a longterm basis. And although I’d still consider myself a person, who embraces technology to the point of being an “early adopter” in certain regards, I think that at least music lovers from my generation still prefer holding a physical item in their hands, be it a Vinyl or CD or some other media that they feed into a playback device of some sort (with the upper end of that spectrum being audiophiles, of course, who spend some thousands of dollars on high-end HiFi-equipment.)
I have a feeling that 2017 will be interesting with regard to music lovers’ listening modalities. And I’m looking forward to whatever Bandcamp have lined up for us, of course 🙂
Listening to Katharina, it is easy to imagine yourself being whisked off to some trendy basement jazz club. Katharina sings softly through the smoke to an appreciative audience, while the musicians strum, pluck and tap their instruments with a smiling nod and occasional “yeah”.
Do you remember the days when you snuck off to the den, “armed” with a pitcher of ice cold lemonade in one hand, a snack in the other and your cassette player tucked under your arm and when equipped in this way you’d spent an entire blissful afternoon daydreaming yourself away to the realms that your favorite music icons wrote and sang about? When the world would seem to stand still for a precious few hours and noone and nothing could get you distracted from this secluded island of peaceful happiness? I certainly do as clear as daylight and the closest I got to moments of this caliber unmatched for years of “grownup” existence that leave barely any “breather” of space between chores and responsibilities of one or the other kind was when closely listening to Katharina Heinrich’s Love For Life album today. It is an effort that teems with passion, dedication, precision execution of the artistic vision albeit birthed during one of the darkest trials anyone can go through: The loss of a loved one. Or maybe it is exactly because of this personal tragedy that the results are hauntingly awe-inspiring, while I’m intentionally avoiding the term perfect at any cost…. because nothing is more boring than complete perfection. And yet – you almost can’t call this major piece of music anything else but perfect.
How so? Well, for one there is Katharina’s knack for writing songs that marry musicianship to the accessibility of a catchy melody or writing “timeless classics” as her collaborators and recruited musicians coined it. There is her sensual voice that navigates the musical equivalent of deepest despair with the same command and ease as the more lighthearted tracks – or so they come across. A vocal maturity that is rare and a humility towards her gift that should be wrapped and sold in family sized packages in the days of talent casting spectacles and whatnot. As if that wasn’t enough, she displays impressive piano chops throughout the record only to be “relieved” from her post for the piano solo in “Motherless Child” and “Christine” that Andy Nowak contributed as an icing on an already lavish cake of music. Have we mentioned “multi instrumentalist” yet? No? Well, she is, as she plays classical guitar on the record as well.
Next, Kat’s lyrics. It rarely ever gets more profound than this and not only in light of the backdrop of personal tragedy. You might as well divorce the lyrics from the personal experience that spawned them and can’t help but find yourself going “Yeah, been there, done that”, nonetheless, if you’re a sufficiently sentient, sensitive being, that is.
And then – the abundance of musical talent and sensitivity from her collaborators, who brought their incredible skills to the project in ways any songwriter can only dream of. Every single lick, every single line and musical statement finds its way into the songs in such an organic way that borders on telepathy. And that is the exact magic that outstanding pieces of music are made of: A mutual understanding, a being on the same page with everything that turns a song into a gem. And no less is what we hear on the album: Magic!
I haven’t listened to music like this in a long time. Scrap that: I haven’t experienced music like this in quite some time. But when you come across substance, there are no filters, there is no defense. It’s like falling in love: It happens and the forces of the universe align and inadvertently draw you into the experience.
Katharina Heinrich: All songwriting/composing except: “Sometimes/Motherless child” (Gospel/Spiritual), vocals, backing vocals, piano, classical guitar, piano, rhodes, editing, E-piano solo on “Faoleon”
Jeff Spencer: Electric Bass, producer, editing, mixing, mastering, steel string guitar in “All I need”, backing vocals, acoustic guitar, bass solo on “I Know” and “Relate”
Matthew Jones: Drums, percussion
Steve Browning: Jazz guitar, classical guitar, solo on “Love for Life”, “Roundabout”, “I know”, “Olena”, “Swimming”, “Trying”, guitar solo at the end of “Relate”
Andrew McKenzie: Electric guitar on “Together”
Luke Hanrey: Drums on “Together”
Aristazabai Hawkes: Double Bass on “Together”
Pete Rosser: Accordion solo on “Launderettes and Stories”
Christopher Arthur: Spoken lyrics on “Together”
Andy Nowak: Rhodes
Mad respect for Madonna! At the time she put herself on the map with “Material Girl” I hadn’t grown to the level of understanding and awareness just yet that the song’s lyrics might be a sarcastic statement and criticism as to the status quo in the music industry in particular and society in general. Looking at her career spanning three decades and having remained on the billboards and touring for all these years and still doing it while not compromising her stance is an almost intimidating reference to willpower, stamina and character. Mad respect!
Source: Friday essay: the loss of music
Found this in my Facebook stream today. I think this article is spot on in regards to the future of music that’s created at a professional level.
So, here’s yet another social media (music related) hangout I just registered on: Source: wesbound – NumberOneMusic
(don’t think, I was able to keep track… Facebook, Reverbnation, Soundcloud, Orfium, Bandcamp, my own homepage/blog, G+… and now NumberOneMusic… 😉 Oh, I forgot iLike, Last.FM, Myspace – not active on these – and … see… I forget…)
Source: Moonalice – Google+
Does it? Coz I’ll go there and find me one if I have to… <devil emoji>