Just this weekend, I captured a very HQ recording of an artist who would be of interest to this crowd, and before I mention whom (which I may or may not do, the jury’s still out, pending the response here), let me just say that the artist in question was very well aware that I was recording, and by their interaction with me from the stage (there was eye contact and a nod/smile of approval to my hand-in-the-air-with-recording-device), it was clear that this was acceptable.
Also, be it known that I also purchased two cd’s after the show, so my guilt is a bit allayed.
Anyone know of any policies (legal or ethical) regarding the sharing of recordings of this type? I’d love to share, but I’m curious as to what people feel about this (besides just “gimme! gimme!”).
I don’t know anything about the legality of such a thing but to me it would depend on whether said artist was otherwise participating in an official recording of the concert for sale or otherwise. Also, depends on the venue and whether they ban recording devices of any kind at the concert. Just my two cents.
Maybe we should clarify the term “bootleg”. I believe the term comes from illicit items being hidden surreptitiously in the top of one’s bootleg for illegal sale. If you came in to a concert venue with a forbidden recording device, stole a recording of the performance, and were now selling copies of that recording for your personal profit, with no proper and legal recompense to the artist, I would be very much against it. However, if you recorded the performance with the artist’s knowledge and approval for your own use, and were sharing copies of that recording for free with other ITM players as a learning aid, I would have no objections. I have benefitted from home recordings of many famous musicians. In fact many of the older ITM musicians would be unknown/unheard of today if it weren’t for circulation of private recordings of them amongst ITM players.
I’m with the tacit-approval-makes-it-okay camp. If anyone might give you grief it would be the recording company the artist is under contract to. As to sympathy for that lot, YMMV. Main thing is so long as you’re not distributing for the purpose of selling it, you should be okay, I’d think.
I think that the incredible rise in technology has reached the point that the most valuable thing is to be AT THE CONCERT, because it’s experiential, the only thing that can’t be copied or messed with.
And ticket prices reflect that reality. I would think that most big money types have thrown in the towel to making a boffo fortune on regular issues of recordings. Only some kind of novelty, like a retro 33 RPM record or a specific live recording using some kind of super-duper gear, becomes something of value. i have always wondered if we would reach a point that Deadheads reached a long time ago, of collecting various live performance recordings of the same sets by favorite artists and doing micro-comparisons about a “good night” on Aug …, 20…, for example.
I thought about this first regarding the music publishing industry. The rise of midi-notation and the Web has turned the music copying/publishing business on its ear. I have a series of painstakingly created arrangements of Brazilian music that are in pencil. I have never published them, but I know for a fact that classical guitarists would love to get their hands on them. I assume that nowadays with a good recording of a performance, a techie could actually create notation files with a good recording. Kinda puts a crimp on the old Mel Bay option…Why put a ton of time into it, when not only can somebody scan and pdf the thing if I did publish it, but even “pre-publish” it without me actually doing the work.
I once did a concert where I noticed a Japanese guy was making a recording of my flute and guitar duo (in Berkeley CA). I later found out that my duo was “known” in Tokyo, even though we never toured there or anything. I think it was from that tape. Flattering and bizarre.
The concert was Eileen Ivers, Sunday night at the Newport (RI) Irish Festival. I saw her for the first time last year at the same fest (was her first NIF as well), and she blew me away. This time, I dragged the fam along, got a great seat (though I didn’t keep it long), and screamed, sang, hooted and danced the whole time (and you can hear it on the recording, unfortunately).
She’s a friggin’ rock star, lemme tell you. What a fantastic, energetic performance, and her interplay with the other members of her band is beyond compare:
Singer and percussionist Tommy Anderson was great:
There was a fantastic ‘conversation’ between Eileen and Tommy which was to die for.
Later in the show, same type of thing with Button box player Buddy Connolly, was nothing if not brilliant, and the obvious fun they both were having was infectious.
Her bass player, Leo Traversa does a great solo on his 5-string bass.
And of course, Eileen does her best Jimi Hendrix on the opening of her “Gravel Walk set”.
And all of this (minus, of course, the energy which can only be captured by being there) captured in 90 minutes of uninterrupted musical bliss, including an 18-minute encore. Just great craic all around.
If I can find somewhere to host the files (I have 10 tracks in all), I’ll share with any who are interested.
Eileen and her band always has an amazing show. I have seen six concerts in the last 4 years, from sell out concert halls to small outdoor events. The band members change a bit from show to show; the talent and energy never does. I told Tommy the last time I had a chance to speak to him that I no longer consider a summer complete unless I get to see the band at least once.
Consider looking for some of Eileen’s older CDs. They have a more traditional sound, but I don’t think you will be disappointed.
Do you happen to know who was playing pipes and whistle in that show? Curious who is touring with her right now.
No piper, fluter or whistler this time, I’m afraid. Her normal fluter (according to her website, Isaac Alderson) was not there this time, instead she had the button box player Buddy Connolly, which, even though I’m a fluter myself, was definitely a fair trade. Once I put up the rest of the tracks (sorry I couldn’t get to it last night), track 2 has the full band intros, but it’s the guys from her website, 'cept replace Isaac with Buddy, and that’s them.
And one of the CDs I bought was her first commercial release (I think) on Green Linnet, and it includes (among many others) John Doyle on guitar and Natalie MacMaster on fiddle and piano. I haven’t listened to the other one yet.
