The Jazz Guitar Chord Dictionary
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  1. #1

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    Listen to a couple of minutes starting at 21:30:


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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Maybe it is not about artists, who try to fake themself as "jazz artists" instead of

    a) Spotify incompetence
    b) Spotify greediness.

    About a) is simple, the recommendation and in general all automated things are incompetent, especially when it comes to genres related to jazz. Even human crowd knowledge about categorizing music as jazz or not, is on very low level.

    About b) This is my theory of myself. Btw it is on Apple Music, not spotify, but they are the same. They for the profit, and not for me. So here is the thing. I have a starter library in 500 some albums in it. When I drive my car, the shuffle random tunes from my library are automatically bluetoothed from my phone, without any manual action. It is cool btw, just open the door, sit, and enjoy the drive.

    Anyway, here is the thing: The tunes are far for a random selection. For weeks Benson was over represented, almost every second tune was Benson, despite, approx 2 percent was Benson in my library. Then after a few weeks, Benson disappear, and Bill Evans came up, and some others. Then again they disappeared, and now Mehldau and Kenny Baron leads.
    So my theory, that the record labels has temporal actions and Apple Music is over represent in the "random shuffle choice" the actual cheapest.

    This also can explain the Spotify list: They were fool to recommend you the priciest selection, were not they? The more nobody the more cheap

  4. #3

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    [Paraphrasing] "When you degrade the quality of music reproduction, and decrease the impact of the musical experience, people will lose interest. What did you expect?" Most listening is done on distinctly poorer systems - smaller speakers, poorer fidelity - and has become essentially background noise: not exciting, not offensive, just something to fill the time - wallpaper, if you will. Nothing to get engaged in, nothing to care about.
    As a composer, I abhor the signal loss from the .wav files on my CDs to whatever is used to stream. It's not the same. It's like the difference between an excellent photographic print of , say, Da Vinci's "Last Supper" and a polaroid snap of same. Way too much missing information.

    And don't get me started on the nudges away from my work to that of others via #spurious tags on "my" page.

    It comes down to the ob$e$$ion with eliminating the "middle man"- in this case, the artist.

  5. #4

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    Quote Originally Posted by citizenk74
    [Paraphrasing] "When you degrade the quality of music reproduction, and decrease the impact of the musical experience, people will lose interest. What did you expect?" Most listening is done on distinctly poorer systems - smaller speakers, poorer fidelity - and has become essentially background noise: not exciting, not offensive, just something to fill the time - wallpaper, if you will. Nothing to get engaged in, nothing to care about.
    As a composer, I abhor the signal loss from the .wav files on my CDs to whatever is used to stream. It's not the same. It's like the difference between an excellent photographic print of , say, Da Vinci's "Last Supper" and a polaroid snap of same. Way too much missing information.

    And don't get me started on the nudges away from my work to that of others via #spurious tags on "my" page.

    It comes down to the ob$e$$ion with eliminating the "middle man"- in this case, the artist.
    Apple Music is lossless nowadays, same quality as CD. I know some regard CD is also loss compared to LP but it is another topic.

  6. #5

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    Quote Originally Posted by Gabor
    Maybe it is not about artists, who try to fake themself as "jazz artists"..
    It is definitely not about such artists. As Ted Gioia wrote in the article he and Beato were discussing, "Even the term fake artists doesn’t really do justice to the scope of the situation—because, as we have seen, it’s not the musicians, real or otherwise, who are at the root of the situation, but the dominant players in the industry. "

    The article is worth reading.
    Last edited by Litterick; 05-27-2022 at 03:37 PM.

  7. #6

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    Quote Originally Posted by citizenk74
    [Paraphrasing] "When you degrade the quality of music reproduction, and decrease the impact of the musical experience, people will lose interest. What did you expect?" Most listening is done on distinctly poorer systems - smaller speakers, poorer fidelity - and has become essentially background noise: not exciting, not offensive, just something to fill the time - wallpaper, if you will. Nothing to get engaged in, nothing to care about.
    As a composer, I abhor the signal loss from the .wav files on my CDs to whatever is used to stream. It's not the same. It's like the difference between an excellent photographic print of , say, Da Vinci's "Last Supper" and a polaroid snap of same. Way too much missing information.

    And don't get me started on the nudges away from my work to that of others via #spurious tags on "my" page.

    It comes down to the ob$e$$ion with eliminating the "middle man"- in this case, the artist.
    Did you read JR yet?
    Gaddis predicted this back in the 70s.

  8. #7

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    What exactly is a 'fake jazz artist'?

  9. #8

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    If you read the article, you will learn.

  10. #9

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    I read the article and watched the video. I also have Spotify.

    'For example, a search for ‘jazz’ on a streaming platform leads you to a large number of playlists.'

    I did. 'Jazz' brought up

    Fake Jazz Artists on Spotify-jpg

    That in turn brought up a huge list beginning

    Fake Jazz Artists on Spotify-aa-jpg

    And continuing

    Fake Jazz Artists on Spotify-aaa-jpg

    Till you get to #250. All solidly famous names.

    Fake Jazz Artists on Spotify-aaaa-jpg

    So he must have a different Spotify to me!

  11. #10

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    Incidentally, 'Hara Noda' brought up

    Fake Jazz Artists on Spotify-b-jpg

    Clicking on him

    Fake Jazz Artists on Spotify-bb-jpg

    Which is what the article showed. But it's not the whole story

    Fake Jazz Artists on Spotify-bbbb-jpg

    So the guy has at least a few records out.

    Here he is on YouTube. Nothing wrong with his jazz.


  12. #11

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    The number of views for that playlist vid is 106,014, which is okay. Likewise high figures for his other videos. Doesn't look fake to me.

    I think Mr. Gioia is up his own backside. I thought that the moment I heard him talking. Just puts you in some sort of mental nowhere land. Beware people like that.

    I also have a friend whose music is on Spotify. I asked him how he got his stuff on there. He said, I quote:

    "To get onto these 'digital resellers' and 'streaming' services you require a company called an 'aggregator' that digitally prepares/distributes the material. Some companies charge, either upfront, or as % of sales."

    I wouldn't know. Maybe somebody's fiddling something, it's a dangerous world, but I can't say I'm losing much sleep over it


  13. #12

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    You hardly need money to put your music up on digital platforms like Spotify etc. You can use a company like Distrokid, CDbaby, Orchard, etc. Some take a flat fee (like 20$ a year), some take a percentage of sales (like 15%). You have to buy a barcode and Irsc numbers for tunes which costs around 20-30$ and that's it.

    Then they put your music up on dozens of platforms, and everything ends up on your email.

  14. #13

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    What's the catch?

    Oh, I know, no one listens to it :-)

  15. #14

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    Quote Originally Posted by ragman1
    What's the catch?

    Oh, I know, no one listens to it :-)
    Bingo!

  16. #15

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    Well, if they do .. the money goes to Spotify that's the catch i guess.. The only site that somehow differs seems to be Bandcamp (and its audience too).

  17. #16

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    From what I can tell Spotify makes its money from Premium subscriptions.

    As for royalties:

    https://www.strategyzer.com/business-model-examples/spotify-business-model

    To be honest, I think it's probably quite easy to pick holes in these services but if it were really that bad they'd soon cease to exist. So I'm happy using the free Spotify. I'm not worried about where the money goes and the occasional ads don't bother me.

  18. #17

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    Quote Originally Posted by ragman1
    To be honest, I think it's probably quite easy to pick holes in these services but if it were really that bad they'd soon cease to exist.

    Ted Gioia:

    But no matter what Spotify streams, the company needs subscribers. And the very actions Spotify has taken contribute to consumers’ declining interest in new music. A crappy interface with mediocre audio quality that provides almost no information on musicians will inevitably lead to declining fan loyalty—and so it’s no surprise that, when the economy gets in a tight spot, people cancel music subscriptions.

    Spotify’s attempts to channel listeners into music that’s more profitable to them (e.g., work-for-hire tracks from unknown artists) leads to the same end result. This is like the famous table of new books at the front of the Barnes & Noble store—where the company has the choice of displaying the books people will enjoy the most, or instead featuring offerings from publishers willing to pay for placement. Every time a company decides to steer consumers deliberately to inferior products because of behind-the-scenes financial incentives, they undermine their own business model. It may provide a short-term boost but, sooner or later, results in declining customer loyalty.

  19. #18

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    A crappy interface with mediocre audio quality that provides almost no information on musicians
    The quality can be made decent in settings, but the fact that they never mention any info about the music and musicians is really annoying, every time you like a cd you have to do google searches to find info about it..

  20. #19

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    I've posted some thoughts about Ted Gioia's "Fake Artists" article on Medium.

    Max Smith on Medium - Ted Gioia and "Fake Artists"

  21. #20

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    Thanks for that, Max – a thought-provoking addendum to Ted’s essay.

  22. #21

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    william gaddis J R his best .my alltime favorite

  23. #22

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    Is the term 'fake artists' the new trumpian term for those working musicians who produced what was known as 'library music', some of which became well known through its use as TV theme tunes? It provided a working wage for a lot of session musicians and an outlet for compositions and arrangements which wouldn't otherwise have been heard. A lot of it was pedestrian but so was much of the formulaic generic jazz, blues or any other genre of any decade you would care to name.

    Before I'm called out on it, I'm a Spotify premium customer and pay what I acknowledge is a quite low price so that I can explore the music of so many artists I otherwise would be unable to access on any other medium.

    If Spotify became solely a platform for ersatz music, I would cancel my subscription.

  24. #23

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    Quote Originally Posted by Irishmuso
    Is the term 'fake artists' the new trumpian term for those working musicians who produced what was known as 'library music', some of which became well known through its use as TV theme tunes? It provided a working wage for a lot of session musicians and an outlet for compositions and arrangements which wouldn't otherwise have been heard. A lot of it was pedestrian but so was much of the formulaic generic jazz, blues or any other genre of any decade you would care to name.

    Before I'm called out on it, I'm a Spotify premium customer and pay what I acknowledge is a quite low price so that I can explore the music of so many artists I otherwise would be unable to access on any other medium.

    If Spotify became solely a platform for ersatz music, I would cancel my subscription.
    Which leads smoothly the only quote that works on a Coltrane cycle


  25. #24

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    Library music is straightforward: nobody is being fooled. A TV producer goes to De Wolfe Music and buys rights to use recordings made by studio musicians of songs written by named composers. The jazz section, for example, includes several works by Gavin Skinner, such as Be Back Soon – 'insistent fidgety drums with double bass, quirky percussive synths, and laidback jazzy guitar and electric organ'.

    In 1968, Southern Television bought the rights to Keith Mansfield's Teenage Carnival (performed by his Carnaby Street Pop Orchestra) for the opening titles of The Freewheelers and Laurie Johnson's Private Eye for the closing titles. All this was above board.






  26. #25

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    In the "resurrecting zombie threads" category :-) the video at the top of this reddit post
    (new as of yesterday) examines a Spotify playlist that contains 1 known artist (Bill Charlap) and 80 others that exist only on Spotify.