Tag Archives: Dawoud Kringle

AI

Next-Level Criminality: Is Your Music Yours Anymore?

An Editorial by Dawoud Kringle

When you thought it couldn’t get worse, the corporate overlords took things to the next level. Music distributors have been sneaking clauses into their user agreements allowing them to use our music to train AI models.

This is how it works. Many distributors (e.g., DistroKid, TuneCore, etc.) include broad licensing terms in their contracts, granting themselves the right to use uploaded music to train AI models. They use terms such as “machine learning,” “data analysis,” or “service improvement” to describe this. Artists often unknowingly consent by agreeing to the terms. The user agreements frequently have no option to refuse to allow the distribution service to use their music for AI training. These clauses usually allow the unrestricted, perpetual use of music for AI without paying royalties or compensation to artists or rights holders. Some distributors sell or provide AI companies like OpenAI or Google DeepMind access to their music libraries to train generative models, including vocal clones, melody generators, etc. The raw audio is still used even if the artist removes the metadata from their uploaded files. This can easily replicate an artist’s unique styles without attribution.

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Single and LP Reviews: SADATO GROUP/ALEF – A Deeper Legacy

Reviews by Dawoud Kringle

Saxophonist/vocalist/bandleader SoSaLa (a.k.a. Sadato) has some history behind him.

Readers of doobeedoobeedoo.info will know that he has re-released some of his earlier music. 1993 is a recording he made in ’93 featuring Mark C (of Live Skull, Fuse, Spoiler and Int’l Shades) on guitar, Toshimaru Nakamura on guitar, David Motamed (formerly with Arthur Lee and Townes Van Zandt) on bass, James Lo (composer and sound designer) on drums, and Peter Gordon (composer, producer) on tenor saxophone and jaw harp. 1994 – Live at CBGB was a landmark recording he’d made of one of the two SADATO performances at the legendary club. He was joined by Masaki Shimizu (fretless bass and backing vocals), Ryo Kato (drums and backing vocals), and Toshimaru Nakamura (electric guitar). Legendary soundman Martin Bisi recorded it.

However, SoSaLa’s roots go much deeper. In 1984, he released a 7-inch flexi single with his Osaka band, SADATO GROUP, titled  Kafesho + Gohon Gahon.  With Sadato on sax, organ, and vocals, Mutsuhiko Izumi on guitar and recording engineer, Koji Ito on tenor sax, and Hitoshi Usami on drums) through the Osaka indie label Kang Gung Rec.

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CD Review: Chris Parker Quartet “Heart of Mine”

“Only a musician with Parker’s experience and mastery could have accomplished this.” – Dawoud 

An Album Review by Dawoud Kringle

Chris ParkerArtist: The Chris Parker Quartet
Title: Heart of Mine
Label: M’Bubba Music
Genre: Jazz
Stream here: https://soundcloud.com/chris-parker-294697926

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EDITORIAL: Trump and the Kennedy Center

By Dawoud Kringle

President Trump has once again damaged the arts in the US. This time, it was his takeover of the Kennedy Center last February.

In the first month of his second term, the president ousted the arts institution’s leadership, including chair David M. Rubenstein. He then filled the board of trustees with Trump loyalists and announced he had been elected chair. He appointed unqualified cronies, including Second Lady Usha Vance and White House Chief of Staff Susie Wiles.

In a statement to The Wall Street Journal, White House press secretary Karoline Leavitt said: “The Kennedy Center learned the hard way that if you go woke, you will go broke. President Trump and his newly appointed board members are devoted to rebuilding the Kennedy Center into a thriving and highly respected institution where all Americans and visitors from around the world can enjoy the arts with respect to America’s great history and traditions.”

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