Jazz is like a big secret club. The mainstream media doesn't pay any attention to it; it's, like, 1 percent of the music market - no one cares. Why? Because the majority of jazz is old.
There are musicians who want to make a living making music. There are listeners who want to listen to music. Complicating this relationship is a whole bunch of history: some of the music I want to listen to was made a while ago in a different economy. Some of the models of making a living making music are no longer valid but persist.
Even an independent label is looking for a hit, they're not looking for a record that's not gonna do well.
The music industry is transforming fairly rapidly.
The whole music world is based on the young, the very young people.
It's great to bring urban music to the commercial scene.
China's got a billion people and a hit record over there is a million records. You know that ain't right.
Now, we are selling over 5 million songs a day now. Isn't that unbelievable? That's 58 songs every second of every minute of every hour of every day.
Major labels didn't start showing up really until they smelled money, and that's all they're ever going to be attracted to is money-that's the business they're in- making money.
My audience is the baby-boomers, the bulk of the population. This is also a group that is being ignored by most record companies because they're not the Top 40 hit singles market. They forget these people still listen to music.
The 'music industry' is not a term I use. I tend to concentrate on music, and the music business is something different.
If you're not on a major label today, you're not gonna get played. They've got the market sewed up.
There won't ever be a mass-market record industry again, and that's fine with me because that industry didn't operate for the benefit of the musicians or the audience, the only classes of people I care about.
The iPod is not a new category. Music is not new. It's not a speculative market. It's a very, very large market. It's been around for thousands of years and will be around as long as humans exist.
First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.
It's hard for me to get shows in the U.S. It's that simple. I don't know what that means. I think it means there's not as much support here for my music?
D.C. is one my largest audiences. They buy tons of records of mine in Washington, D.C.
I think another thing is that we don't really want exclusivity. We accept that it is in the artist's interest to be on sale in every place where they sell music.
Well, I never made a record to be in the Christian market. So when I made my record it was to exist in all of the markets. I grew up not really listening to tons of Christian music and if I did it was in the context of all the other music I listened to. So when I made the record I definitely had plans and visions and dreams.
This is not a happy time for this kind of music in this country.
There are half a billion people that listen to music online and the vast majority are doing so illegally. But if we bring those people over to the legal side and Spotify, what is going to happen is we are going to double the music industry and that will lead to more artists creating great new music.
I'm a guy that roots for the home team. Daddy Yankee and Luis Fonsi, those are my guys. As far as I'm concerned, they won. They broke into every market with 'Despacito.'
I got about 6037 songs I wrote myself and I'm trying to get them on the market and I just wish people could hear them and stuff but they'll do pretty good.
The music industry over there seems to treat America like it's one territory even though they got offices in different parts of America - they're still quite sort of 'America is the territory.'
I think, as an industry, we should be supportive of a broad subscription model and not do anything to jeopardize the potential health of the music business - because we're not out of the woods yet.