Top 14 CD's of 2011

As we enter the third round some re-introduction. These are my picks of the CD's I first acquired or heard this year. So there are many "old" CD's on this list. People don't send me free records- I have to buy them. Here's what the top 14 are for the third round of the shootout

Tierney Sutton-American Road.

I bought this from the Artists Website. I got a track free using "tweet for a track" and also listened to the bulk of it on Spotify. And I still bought it.

Boston-Boston

Always loved this record. Finally bought it. Paid retail at Borders before they closed. I probably first heard this on WMET-Chicago. Google it. It will give you and idea how old I am. I also remember seeing a huge in-store display for the record in a Ben Franklin store. Google that too. All that radio and promo finally worked 35 years later. (Google what a record is too, if you must)

Geoffrey Keezer-Falling Up

Complete audible purchase from Jazz Record Mart. I follow Keez on twitter. Sometimes he talks to me-he's always funny. So that was probably the impetus for me buying this record. Plus he's on most of my later Ray Brown sides and he plays his ass off on those. I figured it was a safe bet.

Yo Yo Ma, Stuart Duncan, Chris Thiele, Edgar Meyer-Goat Rodeo Sessions

It's got Edgar Meyer on it. Zero chance I don't buy it. Pre-ordered, but thanks to Sony's fulfillment department didn't get until about a week late. Listened to some on Spotify, but I'd already bought it by then.

Darcy James Argue-Infernal Machines

Heard a lot about this record on Twitter. Thought it was yet another case of emperor's new clothes. Then I heard a track on Accujazzradio, and bought it the next day. Physical copy with instant download from the label website. My favorite format!

Jazz: The Smithsonian Anthology

Never had the original version everyone uses in Jazz appreciation class. Got the new version as a gift. Great compilation, and still in the running for top honors. Needs more Ron Carter and PC though.

Kira Small & Bryan Beller-Live at the White house

Another side I picked up primarily from talking to the artists on Twitter. Heard a nice long demo in soundcloud, and decided I could share some of my hard earned bread on this

John Coltrane-My Favorite Things

Long overdue. Bought at discount when Borders was wrapping up shop.

Vince Mendoza-Nights On Earth

Bought from label website. Heard about this from miss Donna M @elementsofjazz. She posted the EPK, and after playing it I decided I needed to get this side.

Tedeschi Trucks Band-Revelator

This was a birthday gift. Probably an Amzaon recommendation to my wife. Really glad to have this side. I have one other TTB side that goes back aways. I first got to hear this band on the Clapton-Crossroads DVD.

Bela Fleck and the Flecktones-Rocket Science

Another one I was fished in on due to an EPK. Plus I had to check out Howard Levy's return to the band.

Howard Levy-Tonight and Tomorrow

Bought from the artists' table. Saw a duo show with him and a guitarist in Elgin. Dug the show, got the souvenir.

Metropole Orkest-54

Was on quite a few 2010 best of lists. Bought at a discount from a Borders closing. Never heard it before buying it.

Top CD's of 2011, Round 2, Final Part

Poncho Sanchez-Psychedelic Blues

This side loses out to Tedeschi/Trucks Revelator. Both sides have some killer grooves. The horn work by Pancho's band is really great. Doesn't sound tricky, but then I'm a bass player. While there's a horn line on the TTB side too, I wish they had them play as much as Poncho's band. TTB passes on it's stronger writing. But Psychedelic Blues is a fun side. Recommended. A solid B.

Clark Terry-Serenade to A Bus Seat

This is a fine side with some great playing from Paul Chambers and Philly Joe play great. I notice my ear is more drawn to this record when Clark is Playing. This is up against Rocket Science by Bela Fleck, and the more I hear that side the more I like it. Another B (which is my most common rating)

Jason Moran-Ten

This is another CD that really grows on me. I can't pick Jason's playing out of a lineup though. I haven't been able to hear what his style is. The writing is good on some of this, other tracks feel like throwaways to me. I like "Gangsterism over Ten Years" and really dig "Blue Blocks". Many other tracks though just don't do it for me. Somewhat recommended.

Fred Hersch-Whirl

Up against Metropole Orkest's 54. Just doesn't stand a chance. A few neat tunes, but nothing really connects for me. Not recommended. C.

Best CD's of 2011, Round 2 part 2

Dave Holland & Pebe Hachibuela-Hands

This side is great, but loses out to tough competition from Darcy James Argue. It's great to hear Flamenco played by cats who really know how it's done. Dave Holland fits in seamlessly. It's always inspiring to hear a musician who can play without limits. Highly Recommended. A

Huntley Brown-Jazz Praise

Loses out to volume 2 of Smithsonian Jazz A fine side from an inspirational cat. Much of the album is rendered in Midi, but that was a trade off for realizing the songs within the means of his ministry. Larry Gray and Fareed Haque make some guest shots on this side. The tracks that are recorded with full band are much better. I like that Huntley plays in a variety of styles and comps as well has he plays. Recommended. B.

Jazz: The smithsonian Anthology. Volume 5

This one loses out to Volume 3. Some great playing on this, but the sides on volume 3 are just from a more favorable era. It's nice that Clark Terry and Bob Brookmeyer made the compilation.

James Brown-Live at the Apollo

This loses out to an independent release from Kira Small and Bryan Beller (Live at the White House). The energy on this side can't be matched. There are some recording flaws, and some band clams as well. The bonus material isn't additive. Including a very horrible single remix where they slowed the tempo down, but didn't correct the pitch. Single mixes just don't do it for me as a bonus track. Recommended. A

Mel Lewis Jazz Orchestra-the complete Thad Jones, Volume 2

This is the stronger of the 2 discs in the set. Lovano and Wheeler, two cats I don't necessarily dig today, playing in a more traditional vein. Loses out to Coltrane.

Alison Krauss and Union Station-Paper Airplane

This loses to Vince Mendoza Nights on Earth. Paper Airplane is a solid side, but a bit of a disappointment. After a strong start, there seems to be too much filler material. The recording quality is brilliant, and even on less solid material the band always sounds great. You can't find a finer voice in music today than Alison. Just needs more 'oomph'. Recommended B.

Best CD's of 2011, round 2, part 1

So with the format I've chosen, time to winnow out the records that made it past one.

Quincy Jones-Birth of A Band

Birth of a band loses out to Tierney Sutton's "American Road". Birth of a band is just a great record. I became aware of this record while reading Q's auto-biography and it took me years to search it out. This record is so swinging. The writing isn't ground-breaking per se, but it's just so well executed. I wish the liner notes were complete so I knew who was playing on it. Seek it out.

Abigail Washburn-City of Refuge

City of Refuge loses out to Boston's first album. Again this is a list of CD's I bought this year, and not a listing of titles that were issued or re-issued this year. City of Refuge starts with some strong songs, and finishes pretty well. It loses me in the middle act. There's some great cats on here, but most of the mixes are very dense. Hard to really pick out exactly what the individual contributions are. It's a decent record, but no where near as strong as the disc it went up against.

Lee Morgan-The Cooker

This was a toss up against Geoff Keezers "Falling Up". Lee was such a unique voice in Black American Music. PC and Philly Joe play right down the middle but nothing matches Brownie's intensity. The material choice is your pretty typical standards. Falling Up just brings sounds to my ear I haven't heard before. It's a tough call, but The Cooker won't continue

Sarah Jarosz-Follow Me Down

This doesn't pass as it comes up against tough competition from Yo-Yo Ma. Follow me down is grammy nominated in engineering and I couldn't agree more. The writing is solid, and Sarah wrote most of the tracks. There's an all star cast on this, and unlike City of Refuge, the individual players are present and you can identify them even without the aid of liner notes in many cases. Jerry Douglas, Viktor Krauss and Stuart Duncan all make major contributions. Plus there's plenty of one-track cameos to dig too. An outstanding set of music.

Round 1 final rankings

So simply put

"A"- essential listening. Absolutely worth getting

"B"-solid. good to have if you love the artist

"C'- average to poor. Worth listening to, but not missing much.

Round 1 eliminated:

Bunky Green & Rudresh Manthappa-Apex, "A"

Oscar Peterson-Live at the Stratford Shakespeare Festival, "B"

Oliver Nelson-Blues and the Abstract Truth, "B"

Esperanza Spalding-Chamber Music Society, "B"

Mel Lewis-Definiteve Thad Jones, disc 1, "B"

Dexter Gordon-Dexter Calling "B"

Joe Lovano Us Five-Folk Art "C"

Limited Edition Big Band-For the Love of the Music "C"

Christian McBride Big Band-The Good Feeling "A"

Gretchen Parlato-In a Dream "A"

Mahavishnu Orchestra-Inner Mounting Flame "C"

Smithsonian Jazz, discs 1, 4, 6- All "B"

Santa Fe and the Fat City Horns-Let the Healing Begin "A"

Guillermo Klein-Live in Barcelona "A"

Brian Patti-Live In Concert "C"

Brussels Jazz Orchestra-Naked in the Cosmos "C"

Charlie Haden & John Taylor-Nightfall "B"

Thelonious Monk-Monk's Dream "B"

Danilo Perez-Providencia "B"

Various-River of Song, disc 1 & 2 "B"

Various-Round Midnight Soundtrack "A"

Chris Thiele & Michael Daves-Sleep With One Eye Open "B"

Mountain Heart-That Just Happened "A"

Dick Daughtry-Versatility "C"

Yes-The Yes Album "B"

Best CD's of 2011, Round 1, Final part

Various Artists-River of Song, disc 1 (1998-Promo)

v

Bela Fleck and the Flecktones-Rocket Science (2011-Borders retail)

Bela moves on here. The first disc of River of song (no idea why their metadata puts the discs in the wrong order) has some unusual music on it. It opens with a pow-wow song recorded by the Chippewa nation, has some Hmong immigrant song, and a whole mess of swedish/nordic folk. For sure, quite a bit of stuff I would never own, but some I would never want to. Favorite track: Bottle Rockets, Get down, river.

Various Artist-Round Midnight Soundtrack (1986-Borders dumpbin)

v

Clark Terry-Serenade to a Bus Seat (messed up metadata-Jazz Record Mart)

Round midnight still stacks up, but I'm going to go with Clark on this one. What the heck, it was just his birthday. I love Herbie's playing on Round Midnight. I still love the chart "Chan's Song", even if it never quite made it as a standard.

Chris Thiele & Michael Daves-Sleep with One Eye Open (2011-gift)

v

Jason Moran-Ten (2010-Jazz Record Mart)

Toss up here, but I'll go with Jason Moran. The Thiele/Daves side is a fun side, the Jason Moran set is just a notch better. I've not heard Michael Daves before, he's got a strong voice and holds his own with Christ Thiele on a largely traditional bluegrass set.

Mountain Heart-That Just Happened (2010-Artist's table)

v

Howard Levy-Tonight and Tomorrow (2009-Artist's table)

I think I went to both of these concerts in the same weekend. Both are strong discs, with excellent material. I have to go with Howard here. Mountain Heart is a young band that is up and coming. They play traditional bluegrass with a very newgrass feel. Plus there are very strong originals and they even cover some Allman brothers. Highly recommended.

Yes-The Yes Album (1971-Borders Carcass Pick)

v

Metropole Orkest, John Scofield & Vince Mendoza-54 (2010-Borders Carcass pick)

Read a biography of Yes this year. Bio wasn't that great but got me missing the music of Yes. Really wanted to find something else by the band, as most of this material is on Yessongs. Not real glad I bought this side, and the bonus tracks add almost nothing. There is a version of "The Clap" recorded before Steve Howe had it under his fingers. It's interesting that there is a sizeable part of what would become "Mood For A Day" on Fragile. 54 moves on.

Best CD's of 2011, Round 1 Part 6

A few more today. Coming to the end of round 1, but still a few more

Charlie Haden & John Taylor-Nightfall (2004-Borders carcass pick)

v

Vince Mendoza-Nights on Earth (2011-Label website)

Nights on Earth progresses to round 2. Nightfall is a beautifully recorded side. The material is strong, but all very familiar to me. I have every side John Taylor recorded in Peter Erskine's trio (with Palle Danielsson on bass). While Palle and Charlie are two different players, each cuts a similar vibe. The tunes on this I wasn't already familiar with don't stack up and grab me. Somewhat recommended.

Thelonius Monk-Monks Dream (1962-Borders carcass pick)

v

Alison Krauss & Union Station-Paper Airplane (2011-Borders retail)

Two very different sides. Both good from the artist, but both not as strong as other works from the artist's catalog. A virtual tie, will give it to AKUS since it's a record from this year. It's good to have recordings of Monk's versions of these songs, but like many artists from this era that weren't hugely commercially successful, there are other albums with the same songs on them.

Danilo Perez-Providencia (2010-Borders carcass pick)

v

Pancho Sanchez-Psychedelic blues (2009-Borders carcass pick)

I think I bought these two sides on the same day. This is a tough pick. Some tracks on Danilo's side are incredibly strong, others I don't care for as much. A few I flat out dislike. Pancho's band plays more accessible music, but plays it really well. I'm going to go with Pancho here. On Providencia, the horn ensemble writing is fantastic, the ballads are beautiful. The more uptemp tracks I find repetitive and waiting for them to end. Somewhat recommended. Highly recommended if you like repetitive riffs.

Tedeschi/Trucks Band-Revelator (2011-Gift)

v

Various Artists-River of Song, disc 2 (1998-promo)

TTB moves on. River of Song is a nifty compilation from Smithsonian masterworks. The idea is to document the various styles of music that can still be found in this country. It probably won't be that way for ever. Disc 2 is the more R&B heavy side. TTB just does it better. Favorite tracks: T for Texas, Going back to Memphis.

Dick Daughtry-Versatility (No date-promo)

v

Fred Hersch-Whirl (2010-Borders carcass pick)

Versatility plays like a demo. There's some flaws in mastering and performance. The Fred Hersch doesn't float my boat either, but progresses.

Best CD's of 2011, ROund 1, part 5

So where was I? Got it

Kira Small and Bryan Beller, Live at the White House (2011-Artists Website)

v.

Guillermo Klein-Live in Barcelona (2004-Jazz Record Mart)

Two very strong sides. Kira Small will go on to the next round.

This is my first introduction to Klein's music after hearing good things. Very strong writing, but not all of it is his. Con Brasil Ardernto-Fuga X is probably my favorite track. Post-millenial big band writing that doesn't forget to have some melody. Highly Recommended

Brian Patti-Live in Concert (no date-Promo)

v

Mel Lewis-The Complete Thad Jones, disc 2 (date inaccurate-Jazz Record Mart)

Will go with Mel Lewis Here. Brian is a Chicago area clarinet player I had the fortune to work with earlier this year. I don't know the players he recorded this side with, but it is a solid all-arounder. My only comment is the song forms are shortened. A typical AABA form is played ABA which takes some getting used to. Given the overal run time, I wonder if this CD is intended more as a demo disc. Well done readings of familiar music. There are some combo tunes that close the record that are my favorite tracks.

John Coltrane-My Favorite Things (1961-Borders carcass pick)

v

Brussels Jazz Orchestra-Naked in the Cosmos (2002-iTunes)

Trane. Hands down. Picked up the Brussels Jazz Orchestra to hear a chart I was going to play. Mercifully we scratched the chart. This is post millenial big band that has no accessible melody. Each compostion has several sections but do not relate to each other or build well in my ear. But that Kenny Werner for you. Tracks "All That" and "Sasumi" are decent enough. Of course, I had to buy the whole CD to get the one recording I needed to hear.

More to come. Gotta reload some discs since their metadata is all fouled up.

Best CD's of 2011, Round 1, part 4

Jazz-The Smithsonian Anthology, Disc 5 (2011-Gift)

v

Disc 6 (2011-Gift)

I'm going with Disc 5 here. Disc 6 has much less inventive material than disc 5 which covers the 60's and 70's. In fact, the material on 6 doesn't really take many chances at all. Plus there is yet another version of Maple Leaf Rag on it. And it's completely a straight ahead take. Does a six disc set really need three versions of Scott Joplin-who I remind everyone isn't really a Jazz player?

James Brown-Live at The Apollo (1962-Borders Carcass Pick)

v

Santa Fe and the Fat City Horns-Let The Healing Begin (2007-Artists Table)

Have to give the nod to JB here. I love Santa Fe. Highly recommended disc. But a Funky R&B disc with a killer horn section just wouldn't exist without James Brown and the Famous Flames. Again, highly recommended. Can't find the disc at the moment. Maybe I loaned it out. But if you love R&B, search this record out. And if you don't love this record, see a doctor quick.

Best CD's of 2011, Round 1, part 3

Mahavishnu Orchestra-Inner Mounting Flame (1971) (Borders Carcass Pick)

v.

Huntley Brown-Jazz Praise (Undated) (Artists Table)

I've got a few Mahavishnu tracks on some compliations, and thought I'd try this record out. Really kind of regret it. There's a couple of good tracks, but it's a lot of chops, and very low on groove. Sounds very dated and has nothing to really hang my ears on. Compositions are weak. Not recommended

Various Artists-Jazz The smithsonian Anthology

I'll admit it's crazy to put a six CD set in here. But I'm going to work it down to my favorite of the six discs.

Disc one is a solid set, but has a bit too much of the pre-cursor music to Jazz. I'm sure this will be used as curriculum in many Jazz Appreciation classes. But I don't think the first disc needs two versions of "Maple Leaf Rag".

Disc four is a wonderful introduction to the peak of Jazz. Much of the set dates from 1959. However, it's mostly records I already have. Again, if you are using this set for educational purposes the tracks are all pretty essential to listening to Jazz. But since most of them I already had I like disc 3 better.

Best CD's of 2011, Round 1, Part 2

Continuing on/Catching up

Esperanza Spalding-Chamber Music Society (2010) (Borders-carcass pick)

v.

Abigail Washburn-City of Refuge (2011) (Borders-carcass pick)

This is another tough draw, but for a different reason. Both these records have some flaws to my ears. The nod goes to Abigail Washburn. Notes on Chamber Music Society:

I had a feeling that the record company would start to change what makes Espe's first CD so great. There are some really strong tracks, but too much filler. She's a great bass player, but only one of the solos really caught my ear. Not recommended, but download "Wild is the Wind". An album of tracks like that one would have been really special.

Dexter Gordon-Dexter Calling (1963) (Borders carcass pick)

v.

Geoffery Keezer-Falling Up (2003) (Jazz Record Mart-retail)

Twice here in the first round I'm going against Paul Chambers on bass. Dexter calling is great, but there's not a lot new here. Most of the tunes are at the same tempo/same groove. I love Dexter's playing, love the whole band, but just not enough to continue on to the next round. Nod goes to Keez. Dexter Calling is a record everybody should search out though.

Joe Lovano Us Five-Folk Art (2009) (Borders carcass pick

v.

Sarah Jarosz-Follow Me Down (2011) (Gift)

I really just don't "get" Joe Lovano. I liked what I heard of this bands current release, but this record is not that one. James Wiedman plays his can off on this record. Get it if you're a fan of his playing. Otherwise I think you can skip it. Espe plays bass on this too, and proves that she's a well rounded musician who's going to be doing great playing for years to come. Sarah Jarosz goes to second round.

The Limited Edition Big Band-For The Love of Music (not dated) (Promo)

v

Yo Yo Ma-The Goat Rodeo Sessions-(2011) (Label Website)

Robot Chicken has a bit called "One-sided fights caught on tape" That applies here. Many friends of mine play in Ltd Ed., and I'm the former bass player. Hard to be objective here, but the swing is too shuffly, the ensemble is tight, but the rhythym section and soloists don't keep up.

Christian McBride Big Band-The Good Feeling (2011) (Label Website)

v.

Dave Holland & Pepe Hachibuela-Hands (2010) (Borders Carcass Pick)

Really thought I'd give this to McBride, but Dave and Pepe created some real magic. McBride side is very strongly recommended. The writing style is a bit chameleon-like, influences are clearly heard and the style changes from track to track. Interested to hear more of McBrides writing for a large ensemble like this. Plenty of bass pyryotechnics on this side too.

Gretchen Parlato-In A Dream (2009) (Borders Carcass Pick)

v.

Darcy James Argue's Secret Society-Infernal Machines (2009) (Label Website)

When I say carcass pick, it was the last day at this borders. 10 cents on the dollar. I think I spent $1.60 on Gretchen's record and it's the best $1.60 I've ever spent. Love this record, and such an individual voice. Unfortunately against the individual voice of Darcy, I've got to go with Darcy here. I'm not familiar with bassist Derek Hodge, but he plays a great supporting role throughout this side. Very highly recommended

Best CD's of 2011, Round 1, Part 1

Right off the bat we've got a tough draw: American Road by the Tierney Sutton band v. Apex by Rudresh Mahanthappa and Bunky Green.

I bought American Road from Amazon. I also did "tweet for a track" on this, and listened to the bulk of the album via Spotify. I also enjoyed some preliminary tracks on Tierney's Soundcloud account. Just pointing out that giving music away led to a sale in this case.

I bought Apex at Borders, during the early round of store closings. Back when we thought they would stick around. I also got a preview track from the label. So again-free led to sale, although discounted. But at retail, most of a CD's price goes to the store anyway.

In a tough call, American Road is going to advance. Notes on Apex, released 2010.

I love the opening of this record. I love the closing, but the hidden track is misplaced. The hidden track should have been it's own track and sequenced into the middle of the track. A few tracks didn't click for me, notably "Playing With Stones" and "Who?". I'm fine with abstract, but these tracks seem to lack direction. That said, I highly recommend this record on the strength of the remaining tracks.

I'm not familiar with bass player Francois Moutin, but I really dig his work on this side. He's definitely got an individual style, and I need to find more records he is a part of.

Oscar Peterson-At the Stratford Shakespeare Festival (1956) v. Quincy Jones-Birth of a Band (1959)

I bought the Peterson side from a Borders dumpbin, pre-bankruptcy. Birth of A Band I got from the Jazz Record Mart in Chicago.

I'm going with Birth of a Band here. Notes on Stratford...

A great live document of the OP trio, but flawed by a very poor recording. Probably one of the worst fidelity records I have. A great deal of distortion, which apparently can't be cleaned up. The notes and the swing are there, and that must be why so many people recommend it. I only somewhat recommend this, and it does not make a good introduction to OP's music if you aren't already familiar with it.

Ray Brown plays as wonderfully as always, but there are some moments of arco playing that are cringe-worty. It's easy to see why the tracks where Ray plays arco were not part of the original album release.

Here's an odd draw: Oliver Nelson-Blues and the Abstract Truth (1961) v Boston-Boston (1976)

Both of these were bought at Borders, both at full retail.

On paper, I have to pick a record Paul Chambers is on over anything else right? I just love Boston too much, I guess.

Blues... is a great record, there is some great small group writing, but not every track is a classic. I recommend it for everybody who doesn't have it.

Paul has a great arco solo, and plays very well, but he's been part of better records than this too.

Lee Morgan-The Cooker (1957) v. Mel Lewis & The Jazz Orchestra-The Definitive Thad Jones, disc 1 (1989)

The Cooker was a Borders carcass pick, last round I think. Mel Lewis was bought at the Jazz Record mart.

Giving the nod here to Lee Morgan. I had to replace the Mel Lewis side. I bought it not long after I came out, but lost it a couple moves ago. Mel's side is great, but the live recording is a bit wonky. Plus there are moments where the band just isn't that tight. I love Thad's writing, always have. There are better recordings of his music out there.

Dennis Irwin is a great big-band upright bass player. This side has the classic bass anththem "Three and One"- something that has to be in the bag of every big band bassist. Somewhat recommended.

Best CD's of 2011

Hi everyone. Been about a year since posting on this account. Well, that will change time permitting. I'm going to attempt to present my best CD of 2011. Now, I'm not a paid reviewer. I generally only get the CD's and music I pay for. But this past year has been good to me. What with going to pick over the carcass at the lamented Borders, I've acquired a record crop of new music this year.

I'm going to do a elimination bracket and review CD's head to head. I'll be reviewing different genres, and eras in some cases head to head. Any music I got in 2011 is eligible. If I manage to tick of 10 people reviewing in this fashion, I'll have tripled my readership.

Why I'm my own patron of the arts

Musicians with day gigs suck, right? I hear this all the time. It's just not true and their seems to be little dialogue about why this feeling prevails. A lot of people complain about how the internet is full of garage bands and weekend warriors. But here is the first point I'd like everyone to consider: can you tell just by listening to someone if they have a day gig? I certainly can not. I don't really see how anyone could. So for disclosure, yes I have a day gig. It was not always the case. If we approached music like we approach sport, I have lost my amateur status.

Now, does everyone deserve to be paid for their art and set their prices accordingly? Yes to both, but in practicality it's quite difficult for us to really set our own prices. As independent artists, we try to price based on the prevailing market trend. A CD tends to be about $18 retail. A download $0.99. Those prices were set by the major labels and Apple. Both benchmarks are completely artificial. You read it here first, but the $0.99 download will not keep pace with inflation. As long as iTunes is a portal to music, singles will be $0.99.

Why does the price of music either stay stagnant or fall? The same reason housing prices are. Just as there are more houses than buyers, so is the same for music and listeners.

So one reason to pick on the non-full-time musician is to pretend to be the gatekeeper for the industry. The pro might reason that if they don't have to put up with us weekend warriors then there is more opportunity for them. But the very first thing I learned on my first day of college is that the music business is intensely competitive. So to this group, I'd say deal with it. You are not the gatekeeper for the industry. No gatekeeper is going to open that gate for me no matter what I sound like.

How about the listener? Does the listener feel somehow cheated if they fall in love with a garage band? Again this is just a prevailing attitude. Is it because most people can't listen critically to music to be able to decide for themselves what's good and what's bad? Kids loved to ostracize me for my love of the Beatles, Yes and the Who growing up. It certainly wasn't what all the cool kids were listening to. The music marketing industry thrives on everyone listening to the same thing. This is how multi-platinum albums are made.

How do we define a full-time pro? I think such people are incredibly rare. I love the playing of John Goldsby. He plays with the WDR big band in germany and has made several recordings. He's obviously "in the club". But he is also a magazine contributor and author of a few books. Yes, they are about playing the bass, but is that the same as playing music? He also teaches university. Freelance writing and adjunct teaching don't pay a hill of beans, but I'm sure it's a contribution to keeping the lights on.

How about the full-time pro, that does instrument repair? Or perhaps has a spouse who is the major breadwinner? Trust fund baby? Has any revenue stream that's doesn't come from playing gigs or selling recordings? Are they a "full-time" pro?

Outside of the record I buy or the gig I hear, it's really none of my business what a musician does.

So my thought is, I'm my own patron of the arts. I'm the first person that earns money elsewhere to then give to support my art. The outside world is free to join me in hiring me for gigs and buying records, but ultimately I support myself. Supporting oneself is the only definition of independence that matters.

In closing, judge music with your ears and your heart. That's what you were given them for.

An Open Letter to Chris Hodges

Chris,

A few weeks ago, you posted a blog "Is It Worth It?" Everyone else can check it out at http://christopherhodges.com/blog/2010/12/16/is-it-worth-it/

You ask the age old question of how to balance music with everything else. Let me assure you that you are not alone. Everybody goes through this question multiple times. So the short answer is yes, of course. So long as it is still what you need to do.

I'll give you a few examples. One is the drummer in my group. I haven't seen him in quite a while, probably over a year. He was up front with me, and said that he wanted to spend all the time he could with his son before his son finishes high school and leaves for college. He knows that he only has a few years left and wants to make the most of it. Do I think he is no longer a drummer? Of course not. Will he be calling me every week to play or hang very soon? He will. But for him, the best choice was to put family first. I can't really fault that.

Another example. I don't have children for a variety of reasons. One of them is that I never wanted to leave them alone while I play gigs. Now, I don't point this out to make you feel horrible. It's just an example. Most adult musicians have children and leaving them is part of the deal. You leave for work too. Has to be done. For these cats playing has to be done too.

The best thing to do is ask yourself is each situation worth it. Even with kids out of the equation, I came to a crossroads where I had to decide if I could continue to live in two worlds. I reasoned the whole point of a day gig is to provide for my wife and I. So doing that half-way, and playing pro half-way wasn't getting me anywhere. Perhaps I chose the easier path (though bass players never have to worry about being outsourced to India), but working on my career got me closer to the concept of "security" that got me to fill out an application to begin with.

However it hasn't been 100% career. I play at least 1 night a week, more right now. I've made certain choices like turning down transfers because I didn't want to quit a band. I live close to work, so I can spend more time practicing and writing than commuting. I use vacation time to play gigs or go on short tours.

It does mean that I have to prioritize gigs. I base the worth of a gig on three categories. Bread/Music/Hang. The formula isn't exact, but as an example if the bread is awesome, but if the music and hang stink I might take it. Other gigs I take just for the hang. Especially since my day gig is now a career, the bread is often the least of my worries. So for many gigs, the evaluation fails on many levels and I just don't do it. More time to spend with family or on housework or paying bills.

You do have to ask yourself: is being a full time pro the only way to feel connected to music?What you really might be trying to do is determine your own self worth. This is a tough question and I suggest you keep exploring this question through music. It's taken me a long time to get to a space where I'm ok with what I do musically and otherwise. You will get there too in time.

Peace,

Matt

2011 blues collaboration

Hi, Happy New Year!

If we haven't met before, I'm a jazz player. I've got a new collaboration in mind. What I'd like to do is just collect some blues riffs. These can be as simple or complex as you want to make them. What I'll do at a later date is combine them all into one song. I'll then find a band to record a demo and post the final results. This riff can be written down, or just recorded as a simple audio file. I'll transcribe as needed. If you only sing, then scat something into your phone and send it my way. Whatever works!

I'm not going to put constraints of tempo or key, but obviously I'll have to push the riffs around as needed to get them cohesive. I'll keep the basic architecture of the notes and rhythms intact.

Please post your riff as a comment on this blog. If you can notate the riff, that's certainly my preference as it saves me the time of transcription. The final results will be creative commons.

Your virtual friend,

Matt/Stonewing

www.twitter.com/stonewing