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David Ayers

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  1. If anyone wants to go down the rabbit-hole of the history of the 28-year copyright in pre-1972 sound recordings (I don’t!) here is a place to start with useful summary and links: https://blogs.loc.gov/now-see-hear/2019/02/copyright-breakdown-the-music-modernization-act/
  2. Anybody know what this is? https://open.spotify.com/album/2GUaxvV3Ziln8TLjK7YLIz?si=lQagfgkhQ6aIe9-zcBHijw
  3. I am not aware of any academic work on this topic, but that is what is needed. In literary studies we have for a long time paid attention to questions of readership, distribution, advertisement and cognate areas. Influenced by the once entirely separate field of the history of the book, we have paid increasing attention to publishers, booksellers, bookshops, nd other sites and mechanisms of distribution. Literary studies is a heavily resourced field. Music less so, not least because a large part of music studies is practice-oriented (performance and composition), the technical barrier to entry is high, and the scholarship of the kind which would be useful in answering the OPs question is thin on the ground, not least because there is more fundamental work yet to be done on basics as far as the last century or so is concerned. This work - or some of it - will I think eventually come, in the same way we understand to some extent at least how earlier markets for music functioned (e.g. Handel, Mozart) and, while I haven't checked it, I imagine we have a similar level of knowledge re. big names as to the personal finances of e.g. Bartok and Ellington. Now I don't follow music scholarship very much and there may be more out there than I suspect, but I should think there is much further to go in the study of venues, publications, advertising outside specialist publications, and we probably haven't made much of a start on jazz producers, record stores, etc. I daresay there is more of this kind of thing on e.g. rock, punk, pop. All that said, I haven't done much of a search on this, and if people are aware of good sources it would be useful to see the references posted here.
  4. There are four terrific trio albums - two most recent on Intakt, two earlier on Jazzwerkstatt.
  5. I’m going to add Silke Eberhard. Unfailingly interesting, immersed in classic modernists (especially Dolphy) but very much her own voice. She’s been mentioned on the board a couple of times but I’d have thought she’d have a wide appeal here in terms of people’s tastes.
  6. Yes some labels have moved on this. By opportunities I was thinking leader or duets.These UK researchers produce some depressing analysis and statistics but suggest that the largely older male audience for jazz can influence the culture with their concert attendance and purchases - which is what I’m going to try. See how long I last!
  7. I see. So where does she express the views which you attribute to her? Why stifle this topic? There are currently active record labels which have rarely or never given opportunities to women. The most significant exception is Intakt. I wonder what they might make of this discussion? I'm not even asking people to embrace feminism and feminist cultural theory (though I think they should), I just asked which women in jazz people find interesting - whether currently active or from forty years ago - or both.
  8. Here’s what Léandre has actually said “I was looking to create new music, my music, in my century, plus I am a woman, not a man. I had to find my music, my feeling, my sounds. I don’t want to play like a man. Men have examples to look up to, not only in music, but as a woman, we don’t really have big figures on podiums. The only figures in front of me were men. I had to find myself, as a woman, in a creative way. All the world is built by men, almost everything. Women have to do somethings by themselves.”
  9. Well, this is the recommendations thread, and I still think it's ok to ask for recommendations of recordings by women. I wonder why the very idea of this thread arouses objections?
  10. One British stalwart was Kathy Stobart. That’s going back a bit. More present in my lifetime, Annie Whitehead. Now even I’m just listing names when I started out trying to see what people would recommend…
  11. Angelika Niescier took some time to break through but is now more widely known through recordings on Intakt, not least her most recent with Alexander Hawkins. That's a fine record which shows sides of her that her leader dates don't. Let's mention too that Alex has made terrific records with Tomeka Reid and - to outstanding effect - as co-leader with the polymathic Elaine Mitchener. So that's one 'white guy' who knows where to look for interesting collaborators.
  12. I guess like you I knew most of these names from recordings and concerts. Does anyone really not know any of these musicians? FWIW there are quite a lot of names missing - some of them eminent indeed. I think it's a topic worth active review. On the topic of men bringing women into their projects except as singers it occurs to me the 'avant-garde' got off to a particularly shaky start, with Coltrane maybe the first notable exception.
  13. Women in Jazz: Music Publishing and Marketing Seems some people think there might be issues.
  14. Here's how Nicole Mitchell sees it. "So yes, there was definitely women stuff, because first of all, there’s never enough. There’s never enough gender balance, and that’s the real issue. And that’s what I work to solve in my own projects. There’s a lot of great male musicians that talk a lot of stuff about being progressive and supportive of women. But if you look at it, what are the projects they put together? Who do they hire? Who do they bring in to do their music? Have they actually brought in anyone except other white dudes? That’s, to me, what I think people don’t take seriously enough, and that’s really where the change happens." https://nationalsawdust.org/thelog/2018/01/15/nicole-mitchell-science-fiction-and-sound-strategies/
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