Grammy award-winning composer and bandleader Maria Schneider has taken on the fight for musicians everywhere with her recent release Data Lords. Having been an advocate for musicians reaping the financial fruits of their labors for many years, Schneider makes her feelings very clear through her music. The double album showcases the dichotomy between the digital world and the natural world. The data world is where internet corporate moguls such as YouTube, Google, Spotify, and many others essentially pay musicians LESS than pennies for streams all for the sake of exposure while they make hand over fists in profits. The second half of the album is the natural world- the organic world where people would converse at meals without looking at a device every ten seconds, or where people sent actual letters and postcards to friends and families, and dare I say it… even picked up the phone to have a conversation! The two themes are complete opposites, and I love the fact that this album makes use of this platform to remind people of a simpler time where we were all more connected, and that perhaps we can return to this more personal social fabric.
As mentioned earlier the first disc Data Lords focuses on the exploitation of musicians by the aforementioned services, more often than not with very minimal financial compensation. The opening track “A World Lost” explores the idea of a world of more social interaction and connection that has been replaced by people seeking their dopamine fix from social media outlets. “Don’t Be Evil” is a confrontation of Google and their “ethical” standards, and the music is very much in the “spirit” of the title of this track! “CQ CQ, is Anybody There?” is an ingenious composition making use of morse code conveyed by the rhythms she writes. The natural human voice of tenor saxophonist Donny McCaslin stands in stark contrast with the electric trumpet solo that is played by Greg Gisbert, representing artificial intelligence as the voice that answers back. The otherworldly “Sputnik” starts very eerily in nature and is meant to represent the satellites orbiting earth making the fabric for this digital monster that is slowly devouring the world. Scott Robinson’s baritone truly brings space imagery to life with his sound and melodicism. The title track “Data Lords,” originally commissioned by the Library of Congress, is the culmination of this doomsday, where all freedom has been stripped from not only musicians but humanity as the artificial intelligence developed by the data lords turns on us. It reminds me of the movies I, Robot or Terminator, and I shudder to think that it may happen at some point in the future! The truly remarkable aspect of this first disc is that no matter how mesmerizing the music sounds, there is this digital presence always below the surface that gives the listener an uneasiness when listening. I must say I am glad that the album starts out this way as I like happy endings!
The second disc, Our Natural World, is more light-hearted and explores a world that I can say I was privileged to have experienced. “Sanzenin” is a tribute to the natural gardens north of the city of Kyoto in Japan. Having had the experience of being to Kyoto, and Japan in general, on several occasions, I can honestly say hearing this music truly captures the essence of not only the area but of Japanese nature and culture. “Stone Song” is playful and childlike. I love the story behind this tune as well where a stone is waiting to get kicked, bumped, or rolled, but has to wait indefinitely for years or centuries. The optimism of this natural world can be heard in “Look Up” and it serves as a reminder to take time to look at the sky, the world around us, and most importantly, to look at each other. Trombonist Marshall Gilkes displays virtuosic musicianship on all levels and brings this piece to life in an unimaginable way.
“Braided together” showcases alto saxophonist Dave Pietro, and again calls for us to be brothers and sisters in arms. Based on a Ted Kooser poem, the tune is very simple, in complete contrast to the complexities that are inherent in the digital world. I have also noticed this as well with all the compositions on this second disc- they are shorter in length and are less complex, and while I will not pretend to know the mind of Maria Schneider I wonder if this may have been done intentionally to highlight the juxtaposition of the two worlds even more! Being a bird lover of many years, Schneider’s tune “BlueBird” is such an interesting tune as it undergoes many color and mood changes, much like a bird in flight changing speed and direction in an improvisatory fashion. Steven Wilson and Gary Versace are the perfect soloists for this selection, which shows Schneider knows each player in her ensemble very well and seems to write parts just for them. “The sun waited for me” is based on another Kooser poem, and the feeling is one of the end of a journey, but the listener understands that it’s just the start of a new one. Donny McCaslin’s tenor is powerful and surging, singing with so much expression and Mike Gilkes plays the melody so spectacularly. I think it’s the perfect end to this extraordinary project that is sure to take listeners on an unforgettable journey through many musical landscapes, and conscientious landscapes as well. And I definitely got my happy ending with this tune!
This album has the power to transform not only the way musicians explore the parameters of composition, but more importantly, it has the power to change how musicians view their creative work in the sense that they will want to take more ownership. For too long, industries of all sorts have profited off of the creative works of musicians, and have gladly pushed the narrative that it’s a noble cause to be a starving artist and one should be a starving artist to create these works that are full of emotion. I for one have never believed in that nonsense, and I am glad to see Maria Schneider is using her platform to try and bring about change in the music world that will benefit all musicians. It is something I can relate with as a member of Occhi Magazine as we are a magazine comprised of artists who want to support artists as well. And there are other parts of the business doing the same such as Bandzoogle, a website building site designed by musicians for musicians; Bandcamp whom distribute the music for musicians with taking a very small portion in comparison to iTunes or Amazon; and there’s Artistshare, whom Ms. Schneider has worked with for many years, and they essentially invented crowdfunding before it was called crowdfunding.
In closing, I hope musicians, consumers of music, and even other art disciplines and other business disciplines will take the message of this album to heart. Musicians are entitled to own what is theirs- period! And I also hope everyone will take time away from the screen and go out and spend time with their friends and family and truly appreciate the existence of the people closest to them. Technology is a gift and a curse. I believe that it has caused major damage to the personal fabric of society, and I hope there will be a great awakening where we will once again see each other clearly, naturally, and honestly. Many thanks to Maria Schneider for this thoughtful work, and I sincerely wish it will reach everyone.
Illustration by Aaron Horkey
Graphic Design by Cheri Dorr
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