Michael Fitzgerald

John Gordon has several other albums under his own name: No Tricks, No Gimmicks (Beam International) Trombones Unlimited Live In Concert (Mons) Erotica Suite (Strata East) Details on the first two are on my website (see Kenny Barron; Slide Hampton). Mike

I think you've got the wrong Jack. Kerouac, not Off.

Gee, guys - lighten up. First I had to read the books to find the answer. Then I had a nap. And a shower. (And I'll never tell about the girl in the shower) Mike

Doctor Sax, The Town And The City, Maggie Cassidy, Vanity of Duluoz, Visions Of Gerard. Mike

That's one I *do* like (not sure if it's worthy of its rank, though). The point is that to a "New Yorker", anything west of the Hudson isn't really all that important. Mike

Irving Reid wrote a lot of stuff - 191 tunes in BMI and another 14 in ASCAP. http://repertoire.bmi.com/writer.asp?page=...rytype=WriterID http://www.ascap.com/ace/search.cfm?reques...s_pp=20&start=1 Mike

What year?

Never Been In Love is a very common tune title (see BMI or ASCAP). Can you verify that the Wyatt Ruther recording is the Dameron tune? I'm Never Happy is on Benny Bailey: I Remember Love Another Dameron/Reid tune is "Take A Chance On Spring" recorded by Sherri Roberts and by Husby. Jim - have you already seen this? <http://www.jazzinchicago.org/Internal/Articles/tabid/43/articleType/ArticleView/articleId/385/InSearchofTaddDameron.aspx> Mike

I gotta say, most of those choices are complete crap, in my opinion. But I'm not a magazine editor (thank God). Mike

Hey, I'm just happy they didn't get the day correct or else it would be more readily accepted as authentic. Mike And yes, Bird was scheduled to play in Boston, MA in a quartet that included Lennie Tristano.

I found this particularly chilling: “Most favored nation” clauses in license agreements, meaning that all rights holders get the highest price negotiated by any, are often demanded by rights holders afraid that another rights holder will get a better deal. They introduce more ambiguity and tension into the rights process. As Kenn Rabin notes, “not only do you not know where you stand, the music you pick really gets determined by who’s going to set a quote that knocks everybody else out of the water. And you can’t even know what your music budget is until you get all of your quotes in.” Jeffrey Tuchman analogizes, “It’s like going to go the grocery store and pinching your pennies and using your coupons and then the last thing you buy is a steak for $20 and then every soda and bag of M&Ms you bought suddenly costs $20.” I cannot see why this shouldn't be run like publishing rights for recording tunes - compulsory licensing with a set rate that is the same whether it's a tune by Lennon & McCartney or by Joe Schmoe. 'Pull a number out of the air' is what it appears to be. Mike

Here's the more detailed essay on the subject that is referenced in the article (many of the same examples): http://www.centerforsocialmedia.org/rock/finalreport.htm Mike

"I'll play drums until Mother Nature tells me different. I'll retire when I'm six foot under." Art Blakey left us 15 years ago yesterday. Mike

Great! Can you supply timings for the tracks on that LP and also, is there a first tune "Time Will Tell"? Who is composer? Some sources don't list that track and it's a very common tune title. Lastly, I don't suppose there's any info as to personnel specifics (there's a whole lot of tenor players on that album who probably don't play all together). This info for Walter Benton discography now online. Mike

Any old radio station can pay their annual fees and broadcast ANY music that's out there - but a TV show *about* a radio station can't present snippets in a similar fashion? And what exactly do you replace the recording of Pink Floyd's "Pigs" with, anyway? Mike

Yes, they do - in fact, they have two copies. Mike

Product placement! Everything we see is planned - nothing is accidental. The onscreen can of Coke pays for the rights to that TV show that's playing in the background. If that fails, try merchandising (action figures and happy meals). Only partly kidding. Mike

I'm gonna write a tune "If Charlie Parker Were a Copyright Lawyer, There'd Be a Lot of Destitute Gunslingers" Mike

Quotes in solos - absolutely this is the next step if it ever gets onto someone's radar screen. There was an NPR show on sampling, etc. that mentioned the end of 1974's "The Lamb Lies Down On Broadway" by Genesis (two lines from "On Broadway") that would probably never been able to have been done 30 years later. Mike

This goes along with the discussion of why the big conglomerates want to own everything (and release nothing) that was discussed here: http://www.organissimo.org/forum/index.php...6&hl=tim+brooks I have been told by some filmmakers that clearance costs are absolutely exorbitant, but also that if the right person is asked, the fees can be waived - for example, Johnny Carson did this for some footage of Milt Hinton. But the problem is that the "good guys" like that are dying off and everything is being held hostage by corporations and their lawyers. Photographs, film, recordings, you name it. =================== http://www.nytimes.com/2005/10/16/movies/16rams.html October 16, 2005 The Hidden Cost of Documentaries By NANCY RAMSEY The moment seemed innocuous enough. Michael Vaccaro, a fourth grader, had just left P.S. 112 in Brooklyn and was headed home with his mother. Two filmmakers were in front of him, their camera capturing his every movement on video, when his mother's cellphone rang. "It was such an indicator of today's culture," said Amy Sewell, a producer of "Mad Hot Ballroom," the documentary that follows New York City children as they learn ballroom dancing and prepare for a citywide contest. "Michael's mom had just asked him how school was, her cellphone rings, she answers it, and the look on his face says, 'I don't get to tell my mom about my day.' " In addition, the ringtone was "Gonna Fly Now," the theme from "Rocky," and the neighborhood was Bensonhurst. "How perfect was that?" Ms. Sewell said. Perfect, but a problem. Had the ringtone been a common telephone ring, the scene could have dropped into the final edit without a hitch, the moment providing a quick bit of emotional texture to the film. But EMI Music Publishing, which owns the rights to "Gonna Fly Now," was asking the first-time producer for $10,000 to use those six seconds. Ms. Sewell considered relying on fair use, the aspect of copyright law that allows the unlicensed use of material when the public benefit significantly outweighs the costs or losses to the copyright owner. But her lawyer advised against it. "I'm a real Norma Rae-type personality," Ms. Sewell said, "but the lawyer said, 'Honestly, for your first film, you don't have enough money to fight the music industry.' " After four months of negotiating - "I begged and begged," Ms. Sewell said - she ended up paying EMI $2,500. (Total music clearance costs for "Mad Hot Ballroom," which featured songs of Frank Sinatra and Peggy Lee, came to $170,000; total costs over all were about $500,000.) Today, anyone armed with a video camera and movie-editing software can make a documentary. But can everyone afford to make it legally? Clearance costs - licensing fees paid to copyright holders for permission to use material like music, archival photographs and film and news clips - can send expenses for filmmakers soaring into the hundreds of thousands of dollars. Jonathan Caouette's "Tarnation," for instance - a portrait of a young man's relationship with his mentally ill mother that Mr. Caouette edited at home, on a laptop computer - was widely reported to have cost $218. In fact, after a distributor picked up "Tarnation," improved the quality with post-production editing and cleared music rights, the real cost came to more than $460,000. Clearance expenses were about half the total. Securing rights to music has long been a serious challenge. Ten years ago, for instance, the filmmaker Steve James paid $5,000 to include the song "Happy Birthday" in "Hoop Dreams," the 1994 documentary that followed two Chicago basketball players through high school. One memorable scene portrayed a young man's 18th birthday, as the family sang "and his mom baked him a cake," Mr. James said. "It was an important scene, there was some amazement that Arthur had made it to 18. Of course, we wanted that in." Scrutiny by rights holders has increased, Mr. James said, as the profit potential in documentaries has risen. "When I was starting out, documentaries were under the umbrella of journalism," he said. "Now, the more commercially successful documentaries have become and the more they're in the public eye, the more they're perceived as entertainment." In another change, said Peter Jaszi, a law professor at American University, "rights holders are slicing their bundle of rights in finer and finer ways and selling them off in smaller and smaller pieces." He asked: "Would music copyright owners 10 years ago have predicted they'd be making a substantial part of their money over ringtones on cellphones?" (It's now a reported $3 billion industry.) As a result, he said, there's been "a tremendous upsurge in intellectual property consciousness and anxiety on the part of all kinds of users." Mr. Jaszi is an author, with Patricia Aufderheide, the director of American University's Center for Social Media, of a report titled "Untold Stories: Creative Consequences of the Rights Clearance Culture for Documentary Filmmakers," for which 45 filmmakers were interviewed. Among the more striking examples he cites is "Eyes on the Prize," the series on the civil rights movement. Henry Louis Gates Jr., chairman of the department of African and African-American studies at Harvard, has called "Eyes" "the most sophisticated and most poignant documentary of African-American history ever made." But it was last broadcast in 1993, and while schools or libraries may have a copy, it is not legally available for sale or rent on DVD or video. "There's a whole generation out there who have not seen the program," said Sandy Forman, an entertainment lawyer heading a project to reclear the rights so that "Eyes" can be rebroadcast and distributed to the educational market. "When the rights were originally cleared, they were acquired for different terms. Some were in perpetuity, some were for 3 years, some for 7, some for 10." Once just one group of rights expired - and there are 272 still photographs and 492 minutes of scenes from more than 80 archives, plus the music - "we had to pull the film from distribution." In August, the project received $600,000 from the Ford Foundation and $250,000 from the New York philanthropist Richard Gilder. PBS's "American Experience" is considering a 2006 broadcast of "Eyes." "It's not clear that anyone could even make 'Eyes on the Prize' today because of rights clearances," Mr. Jaszi said. "What's really important here is that documentary commitment to telling the truth is being compromised by the need to accommodate perceived intellectual and copyright constraints." On occasion, storytelling takes a back seat to legal and financial considerations. When Jon Else was completing his film "Sing Faster: The Stagehands' Ring Cycle," a backstage look at an opera company that won a Filmmakers Trophy at the Sundance Film Festival in 1999, he wanted to use a scene in which the stagehands watched "The Simpsons" as Wagner roared overhead. "I felt it was a wonderful cultural moment to see two stagehands playing checkers while the gods are singing about destiny and free will and Marge and Homer are arguing on the television set," Mr. Else said. "We got permission from Matt Groening's company," which produces "The Simpsons," and then went to Fox. "The first response was $10,000 for four seconds," Mr. Else said. "When I explained this was for public television, they replied that was their public television minimum. We eventually worked our way down to $7,000, but it was at the end of production, we were exhausted and out of money." It became more complicated. "Fox said, Wait a minute, any chance you're going to sell this? It wasn't the case of Fox being intractable jerks; it's just this odd gray area. "At the last second, I replaced it with a shot of a film that I own," he said, adding, "I'll burn in journalistic hell for that." ============== Mike

I'm Never Happy is on Rouse & Shihab: Soul Mates. Mike

I gotta say, it does look like it is the Columbia stuff. I can't come up with any other known live recording of "There Is No Greater Love", for example. It says "New York" and it says these are all from "1964" - the only NYC 1964 stuff is the Philharmonic Hall concert. And if you really must - why pay 12 when it's selling for 6.95? http://www.jazzmessengers.com/ProductInfo.asp?ref=79463 Mike

See - http://www.jazzdiscography.com/Brian/Brian.html http://www.jazzdiscography.com/Brian/BrianDL.htm http://www.jazzdiscography.com/Brian/BrianWho.htm Let me know if you are interested - I have other things like a PowerPoint presentation that might be of use. Mike

Managed to find this from the Alabama Jazz Hall of Fame site: http://www.digitrends.com/jazz/inductees/JohnAnderson.asp ======================================= John H. Anderson At an early age John decided to be a musician and he prepared himself to become a complete musician. He attended Alabama A&H College, leaving Birmingham in 1942 to play in the newly formed Navy Negro Band. He loved music especially the trumpet which he began playing at the age of nine. Upon the completion of 44 months in service, he decided to make Los Angeles, California his home. He studied Alto Horn and Trumpet in elementary and high school as well as the Los Angeles Conservatory of Music and Westlake College in Los Angeles. Boot settled in California where he struck music gold. He teamed up with some of California's best musicians, Ernie Freeman, Buddy Collette and Chico Hamilton in the 40's and 50's - Recorded also "Tanganyika" in 1956. Then he joined Count Basie during 1959-60 where he served as arranger and trumpeter. He worked with Ray Charles in 1963-64, toured with Ike and Tina Turner during the 70's. His last album, "Time Will Tell" was recorded in 1970 for Tangerine Records owned by Ray Charles. Anderson led him own combos and big bands in the Los Angeles area, also arranging and conducting studio music. As his career progressed, Morgenstern in an article in Down Beat Magazine said, "John Anderson wears many hats, and unlike the proberbial 'Jack of all trades' he wears them all exceedingly well. He is a gifted arranger-composer, a leader, as well as an accomplished instrumentalist. His Latin musical influence came from Perez Prado, Tito Puente and Tito Rodriquez. He died in 1974. Henry Van Dyke gives us words to think on as we remember John: Let me live life from year to year With forward face and un-reluctant soul... Still seeking what I sought when but a boy I shall grow old, but never lose life's zest Because the road's last turn will be the best. He was inducted into the Alabama Jazz Hall of Fame in 1981. ================= So that answers some questions, but not all. Mike

Can someone confirm two (or more?) John Andersons and help clarify which participates on these: 1. trumpeter with Stan Kenton in 1945-47 (some touring) 2. trumpeter with Gerald Wilson in 1946, 1954 3. trumpeter with Count Basie in 1959 (some touring) 4. trumpeter with Stan Kenton in 1960 5. trumpeter with Johnny Mandel in 1961 6. arranger/leader on Ray Charles's Tangerine label in 1966 There are plenty more I could list. Basically, only active on the west coast for the two decades following WWII except touring noted above. Sometimes studio, sometimes serious jazz big band, sometimes smaller groups. I'm thinking there are at least two because Kenton and Basie alumni usually don't intersect and someone who was in LA in the 1940s probably wouldn't have been able to play with both Kenton and Gerald Wilson because there were segregated locals of the AFM. So, I'm thinking #1 is white and #2 is the guy from Birmingham, AL that Buddy Collette talks about quite a bit in his book. Did #1 come back and make three studio dates as #4? Or was that #2 doing a studio session? At this point, I'm most concerned with #6 - is that #2? Thanks for any assistance - Mike It gets worse - just found that "James Anderson" is credited on some 1940s Gerald Wilson......