Chaka Khan Drops “I Love Myself” On Her Own Label

The 10-time Grammy Award-winning singer-songwriter, Chaka Khan, releases her first official single under hew new, iKhan Sounds indie record label.

Source: Chaka Khan Drops “I Love Myself” On Her Own Label

I really, really love what Ms. Chaka Khan has been doing for us for all these years. And now she’s reinvented herself in ways noone could have predicted. She’s leading by example as fine as it ever gets!


They excelled again, those creative engineers at Native Instruments, this time partnering up with Galaxy Instruments’ sound design genius Uli Baronowsky, who was also at the helm for NI’s Rise & Hit and Una Corda. Wow, wow and then some!


New talent appearing in droves!¬†Music is not dead. And it smells like teen spirit. ūüėČ

Session Masters (Reprise)

Source: Sing. Play. Produce. ¬ę Session Masters

Tom Glagow of Popstop mentioned Larry Carlton’s latest album effort in his great radioshow “Jazz & More”. What caught my attention was him – Tom – elaborating on the fact that not only do you get to purchase Larry Carlton’s latest – and excellent! –¬†CD, but there’s much more to it: Sufficiently “stacked” wallet/credit card provided, you also get to¬†acquire the entire¬†recording session and the¬†master files from it as a package! Yes. You saw this right: You get to purchase the master files from Larry Carlton’s recording of this CD along with single¬†instrument tracks, a reference mix by Csaba Petocz, videos being shot from 10 different angles, sheet music hard drives to hold all this information along with required connection cables to directly hook this up to your own music recording¬†environment and load the entire recording sessions directly into ProTools, Logic 8 or DAW of your choice (so long as it can use and process¬†at least files recorded at a sample rate of 48k; the raw files come at 96k sample rates, some conversion may apply in certain cases).

However: Let’s put the technical aspects aside for a minute, shall we? (because they are not the most important thing IMHO as I type this up; in a nutshell: If your home recording equipment is at least half way up to speed with today’s recording gear, you¬†will get to work with the materials provided). Everyone I mentioned this to so far, they all get caught up in the specs and technical or monetary considerations right away. But in my view,¬†there is something else standing out – and standing out with flying colors: For the first time in music history that I’m aware of – correct me, if I’m wrong on this –¬†you get to purchase your favorite artist’s master files, as in: M.A.S.T.E.R.S.!¬†And – they didn’t stop there, no Sir. You also get to¬†do with those master files whatever you please and whereever the muse – as in: your creative sources – will take you!¬†In other words and at normal breathing ratio: Larry Carlton et al. let you purchase the master files of recorded tracks along with an¬†unlimited license¬†(!) as to how you’re going to use these recordings! That’s right! So long as you do¬†something with them – add your own instrumental/vocal parts, remix, dissect, reassemble, send through your own equipment, have it come out¬†your way¬†and in¬†your particular style, you – drum roll – get to publish the results¬†under your name! (I guess the fine print will say that you are required to always mention the original writers/musicians/producer, but heck – who wouldn’t in this case?!)

What I’m getting at is this: As far as I know and in my understanding this creates an¬†all time first situation in the music industry. A paradigm shift, if you will. Never before have I heard of a situation, where a single legal entity, a private person to be exact, got to purchase an artist’s master files¬†and use them as a framework for their own creative endeavours. Again – if you know more, I almost¬†beg you to prove me wrong. Until then, I will say that this foray into uncharted waters by Carlton & Co. is a bold move that does exactly what their marketing claim says: It puts¬†you in the composer’s/producer’s seat along with the super-accomplished cats performing on the album, each of whom have the most magnificient credentials you could dream of, not to mention decades of a professional career under their belt (at least that’s true for Larry Carlton, a.k.a. “Mr. 335”).

The catch? Well… the purchasing price is somewhere in the range of a used quality brand car and beyond. On the other hand: If you actually thought about collecting the money to book these musicians/producers for your own effort, the required budget would be somewhere at five times this figure, potentially more if you factor in transportation, accommodation, rental costs for particular (vintage) gear etc. etc.

I really think Mr. Carlton’s team have opened an entirely¬†new chapter in the music industry with this. As I hate to listen to the reverberation of my own musings, I’d really¬†love to have¬†your take on this from the perspective of a musician | composer | producer or knowledgable, inclined and dedicated fan/music lover/music industry professional. Paradigm shift – yes or no?

How Science Is Becoming Music | Jon Skinner | Pulse | LinkedIn

Nature has some aesthetically pleasing inherent melodies, but it likely doesn’t compose them for the same reasons as we do, and certainly not to the same extent. So intent on new musics are we that we’ll create machines and algorithms that can go further than us. Yet we are still at the early stages of artificial intelligence, while computers might still be a little way off improvising jazz to a human standard, the thought of watching a band made of both human and artificial minds improvise new music is exc

Source: How Science Is Becoming Music | Jon Skinner | Pulse | LinkedIn

Check out some of the samples linked to in the article. As of late I often find myself divided between the “early adopter” in me, who tends to fully embrace new technology as it becomes available – at least where it pertains to the realm of creativity-, and the more evolution-resistant conservative. While there are some very liberating aspects with the idea of making music on a computer – and the latter possibly soon informed by and infused with artificial intelligence, even a portion of creativity built into these algorithms -, the social aspect seems to be on the decline. And the latter seems to be correlated with the inherent value and societal significance with all things “culture” and the arts – as we can already see in today’s world, where music has been relegated to the back seat of commodity rather than a culturally or even societally relevant phenomenon. I hope, I’m wrong with this take on things….