there's nothing wrong w/ mp3's of live concerts or bootlegs.
don;t you think it's better that someone making $40 a pop off of it?
remember this is a live recording, not an official release.
I personally have no problems w/ a couple mp3's from official releases. it's
free promotion and gives me an idea of what to expect from that cd.
out
H
- -
------------------------------
Date: Tue, 09 May 2000 09:59:19 -0400
From: thehodgsons <thehodgsons@home.com>
Subject: Re: Zorn's NO to MP3 - more info (long)
I remember hearing that when the 'MASADA LIVE' bootleg came out on
shelves in stores JZ got real pissed and bought every copy he could
because he was planning on releasing his own series of live concerts.
(If you don't know which one I'm talking about it's got a blue cover and
the recording is from Hamburg, Germany on Nov.12/94.) I was just
shocked to walk into the local music store and see this disc in the Zorn
section for $19.99 when a studio recording was 29.99. Surely I snapped
it up real quick and I'm glad I did seeing as they didn't last long.
Don't get me wrong the musicians deserve the right to say NO to any
distribution of their material except by themselves.
About 6 months ago I got some videos of JZ and some of his various
projects from the filmer and it seems to me that he was well aware of
being filmed and the guy even warned me that he has tracked down people
with these un-official recordings of himself. Some of them were 'from
friends of the musicians', whatever that means, and I was asked not to
copy them for anyone no matter the circumstance. They are extremely rare
videos and I have never seen anyone who has a complete copy of them. I
don't know if there is any truth to JZ contacting people because I
haven't heard from him yet but I also haven't broken my word.
Also many of you might agree with me that 9 times out of 10 it's the
diehard fans who are taping/trading. For example I own 60+ JZ discs and
I cannot find enough of these unofficial recordings to satisfy me.
I just thought I'd throw in my 2 cents cause I'm in sort of the same
position as Artur is. I want to spread the music and that seems to be a
very fine line depending on who you ask. How do you get someone
interested in this stuff when you explain to them what it's like and
they look at you like you've got two heads. Then again most people I
know are in the habit of only listening to the radio and we all know how
much crap is on the airwaves I think.
Dwayne
H. wrote:
>
> there's nothing wrong w/ mp3's of live concerts or bootlegs.
> don;t you think it's better that someone making $40 a pop off of it?
> remember this is a live recording, not an official release.
>
> I personally have no problems w/ a couple mp3's from official releases. it's
> free promotion and gives me an idea of what to expect from that cd.
>
> out
> H
>
> -
- -
------------------------------
Date: Mon, 08 May 2000 21:31:37 -0500
From: Diego Gruber <dgruber@uio.satnet.net>
Subject: Re: Zorn's NO to MP3
You read my thoughts, I was pretty dissapointed about the mp3s being removed before i could download them. I don't think they were up there in detriment of the artist's interests, cause mostly it was live, unreleased stuff. In fact, some of those mp3s have encouraged me to spend my money on original cds. I
don't know, but if Zorn isn't very much aware of the internet music deal (he probably isn't since i 've heard he dislikes computers, internet, etc.), then probably he's unable to recognize the difference between good and evil.
D
Dgasque@aol.com wrote:
> I've got to agree here too- this is not copyright violation in effect here- a grey area of bootlegging maybe, but since there was no profit being made here, even that description may miss the target.
>
- -
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Date: Tue, 09 May 2000 10:12:56 -0500
From: kurt_gottschalk@scni.com
Subject: zornboots
says julian,
I must admit though, the Zorn thing is a bit strange considering relatively
few tracks have gone up, and often (with Naked City anyway) they are
obscure covers...
and 2L asks:
There weren't whole shows. So what's the big deal about this?
ok, it may be interesting to speculate about what different performers think
about bootlegging, and i do think artists who encourage it get some cool credit,
but let's keep something in mind here. it's their work and they should get to
say how it's distributed. if the question is, 'john, can we take just a little
of your work and pass it around without compensation to you or any guarantees
about quality control,' i think he'd be wise to say 'no, none of it can be
used.' and of course, they'll still end up going up anyway, so it doesn't much
matter.
by the by, the marvin pontiac record hugo asked about is a lot of fun, but has
not made my heavy rotation.
np: eugene chadbourne/the eddie chatterbox double trio love album
- -
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Date: Tue, 09 May 2000 07:16:15 PDT
From: "M. pathos" <mpathos@hotmail.com>
Subject: Re: Zorn's NO to MP3
Recently I read that worldwide, jazz retail accounts for 4% of the market -
and that includes all the Connick-Marsalis crap. As jazz remains a primarily
improvised music, the genre's recordings are usually "live" in a way "Sad
But True" isn't, thus making jazz bootlegs more (even) more insidious -
because they're more valuable - than usual.
In the small world of John Zorn listeners, I doubt there are many who aren't
"hardcore" fans. If the majority share the attitude that they deserve their
Zorn sets (or those of people like him) for free, it spells the end for a
kind, and quality, of music that already barely survives at all.
>
>
> I don't wish to rehash the ethical questions of
taping/Trading etc. but it still pains me to hear the tired old
industry line about about "depriving artists of their ability to make
a living" If all clandestine recordings were somehow rendered
unplayable, how would the artist benefit? Would Zorn-starved tapers
then mob Tower records? more importantly, where would our next
Dolphy or Coltrane release come from. ;-)
A few fanatical fans trading and/or posting mp3's of an
artist does not impact the artist financially, and can be a great
source of free publicity(witness the die-hard tapers who have helped
make bands like The Dead, Phish, King Crimson and MMW)
