Are you ready for some jazz?

Last night, I caught Chris Potter playing at 55 Bar, with Craig Taborn, Craig Taborn, Wayne Krantz and Nate Smith. Except for getting home after 2 AM on a Monday night, it was excellent.
Potter is one of the leading sax players on the NY scene and perhaps my favorite to listen to. He plays with a distinctive tone– warm and rich with a bit of edge. What sets Chris apart is not his technical playing (which is excellent), but how artfully he shapes his solos to build gradually in intensity and avoids unnecessary repetition.
Lift: Live at the Village Vanguard is Potter’s latest album (with a different band) and excellent.
Randomly, I ran into a high school classmate at the show, after I walked in and we ended up sitting across the table from each other.
Previously, I caught Chris lead a different band at 55 Bar last year and play as a sideman with David Binney last month.

One Million iTunes

Apple: iTunes Music Store Catalog Tops One Million Songs

The iTunes Music Store now has over one million songs available for download in the US, becoming the first and only online digital music service to offer consumers a million song catalog. The iTunes Music Store features music from all five major record labels and over 600 leading independent labels from around the world. With more than 100 million songs downloaded and more than 70 percent market share of legal downloads for singles and albums, the iTunes Music Store is the world’s number one online music service.

Those wacky libertarians

Yesterday, the Cato Institute held a conference on Law and Economics of File Sharing & P2P Networks. According to Digital Music News, this was “one of the best [conferences] in digital music this year,” so it might be worthwhile checking out the webcast.
Cato’s Adam Thierer suggests forgoing copyright legislation for judicial resolution of copyright claims:On Drawing Lines in Copyright Law

But how we call in the cops and who the IP cops are makes a big difference. In particular, we shouldn’t expect Congress or regulatory agencies to legislate on every problem that creeps up or ban or mandate specific technological solutions in an attempt to solve IP debates. But when certain parties are egregiously violating the rights of copyright holders, they are certainly justified in seeking redress in the courts. Common law resolution to copyright disputes has the advantage of avoiding a hasty, ham-handed legislative quick fix. As has been the case throughout most of copyright’s history, courts can sort through rival claims to determine where the creators’ concerns have merit and where the rights of consumers should instead carry the day

(via Joe Gratz)

Music industry donates only top-shelf albums

As part of the music industry price-fixing class action settlement, the music industry agreed to donate CDs to schools and libraries, at an estimated cost of $76 million. What are some of the CDs that the libraries are receiving?
One 10-library system received 1325 CDs. 482 of those CDs are:

57 copies “three mo’ tenors” (2001)
48 copies Mark Willis “loving every minute” 2001 (country)
47 copies “corridos de primera plana” by “Los Tucanes di Tijuana” (2000)
39 copies of “Christmas with Yolanda Adams”
37 copies of Michael Crawford’s “A Christmas Album” (Phantom of the Opera Broadway guy)
34 copies of the Bee Gees’  “This Is Where I Came In ” (2001)
34 copies “The Collector’s Series, Vol. 1” by Celine Dion
27 copies of a recording of Puccini’s Madam Butterfly
24 George Winston’s December (1982) (solo piano, jazz or new age)
23 copies of Aerosmith’s “Just Push play” (2001)
23 copies “A smooth Jazz Christmas” by Dave Koz and friends
21 copies of Son by four’s “Purest of Pain” (Latino pop band)
20 copies “symbols of Light” by Greg Osby (jazz)
20 copies “My kind of Christmas” by christina Aguilera
18 copies of Thalia’s “grandes exitos” (Latina artist, means “greatest hits”)
10 copies “A New day has Come” by Celine Dion

Nothing but the best.
MSNBC: Librarians: Free CDs too much of a good thing

Copyright Law Changes Rap

Public Enemy’s Chuck D and Hank Shocklee discuss how copyright law affected the creative approach of rap: How Copyright Law Changed Hip Hop

Back in the day, things was different. The copyright laws didn’t really extend into sampling until the hip-hop artists started getting sued. As a matter of fact, copyright didn’t start catching up with us until Fear of a Black Planet. That’s when the copyrights and everything started becoming stricter because you had a lot of groups doing it and people were taking whole songs. It got so widespread that the record companies started policing the releases before they got out.