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monkboughtlunch

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  1. Here's an interesting news article about Essential Media Group LLC: https://norcalrecord.com/stories/511220537-recordings-owner-accuses-florida-company-of-copyright-infringement Recordings owner accuses Florida company of copyright infringement By Wadi Reformado | Sep 25, 2017 LOS ANGELES — A New York producer of sound recordings is suing a Florida company, alleging copyright infringement. 43 North Broadway LLC filed a complaint Sept. 12 in U.S. District Court for the Central District of California against Essential Media Group LLC, and Does 1 through 10, alleging the defendants wrongly claim ownership of plaintiff's songs "Baby (I'm Gonna Love You)" and "Do Me" and sells them without authorization. According to the complaint, 43 North Broadway LLC suffered damages from having its work copied without its consent. The plaintiff alleges the defendants illegally use and sell the sound recording. 43 North Broadway seeks trial by jury, profits, injunction against the defendant, legal fees and any other relief the court deems just. It is represented by attorneys Robert S. Besser of Law Offices of Robert S. Besser in Pacific Palisades, California, and by Christopher Chapin of Law Offices of Christopher Chapin in San Rafael, California. U.S. District Court for the Central District of California case number 2:17-cv-06698-SJO-JC
  2. If you Google Essential Media Group LLC, it appears they are being sued, alleging they unlawfully and without permission used and claimed ownership of a copyrighted song. While this lawsuit pertains to another artist, note that on Apple iTunes, Essential Media Group LLC claims copyright ownership of Jack Wilson's album "The Jazz Organs." Is Essential Media Group legit? Do they really own rights to some of Jack's albums? Or are they stealing from the actual rights holders (presumed to be Vault/Warner/Rhino) and Jack Wilson family/estate as well as the other artists on the album? Here's an excerpt of the lawsuit being brought against Essential Media Group LLC: https://www.leagle.com/decision/infdco20180612891 43 NORTH BROADWAY LLC v. ESSENTIAL MEDIA GROUP LLC I. FACTUAL BACKGROUND Plaintiff initially filed suit in the District Court for the Central District of California. [D.E. 1]. The Complaint names as the defendant ESSENTIAL MEDIA GROUP, LLC ("Defendant," "Essential Media," or "EMG"), a limited liability company organized and operating in the State of Florida. Id., ¶ 2. Plaintiff 43 NORTH BROADWAY, LLC ("Plaintiff"), a New York corporation, brought suit under the provisions of the Copyright Act of 1976, 17 U.S.C. §§ 101 et seq., claiming that Defendant unlawfully and without Plaintiff's permission used and claimed ownership of the copyrighted song "Baby, I'm Gonna Love You." Id. ¶¶ 1, 7. The Complaint asserts a single cause of action, seeking damages from Essential Media for direct infringement of the copyrighted work. [D.E. 1, p. 3]. Based on the parties' stipulation, the Central District of California transferred the case to this Court on December 14, 2017. [D.E. 15]. Defendant answered the Complaint on January 8, 2018. [D.E. 25]. On March 13, 2018, Plaintiff sought to amend its Complaint and add certain parties to the lawsuit, and that matter is now before this Court. [D.E. 34]. Plaintiff seeks to add Paul Klein, Rama Barwick, and Sharon Klein, individuals allegedly managing Defendant's operation at the time the infringing conduct took place. Id., ¶ 4-5. According to the Motion, the individuals to be added had knowledge, profited, and internally induced EMG's direct infringement. Id. Plaintiff therefore also asks that a second cause of action for secondary copyright infringement against those same individuals be added to the Complaint. Id. Defendant opposes the Motion, arguing that amendment would be futile because the Amended Complaint fails to plead the necessary elements of a secondary liability claim under the Copyright Act — namely, that the individual officers not only profited from the alleged infringement, but also had the right to and ability to supervise the direct infringer. Id., p. 2. For the reasons stated below, we will allow Plaintiff to amend the Complaint to add the individuals to Count I, but deny the request to add a second count to the Complaint.
  3. I don't own Brazilian Mancini. From the online sound samples, the 2010 Essential Media Group digital release of Brazilian Mancini is a needle drop. That one appears to run at correct speed, but the vinyl transfer sounds awful. Candidly, I wouldn't buy any digital release from Essential Media Group. Not only are their vinyl transfers awful (and can run at the wrong speed), it's questionable if these are even legal releases and if Jack's Estate / widow even gets a cent. Better to track down an original used 1960s vinyl LP pressing until it gets a proper digital release. Poor Jack. The following Jack Wilson digital reissues are sourced from vinyl LP sources. Most if not all of these are published on digital by dubious record labels which may be pirating Jack's music for profit. Does anyone know if Essential Media Group LLC is operating legally with Jack's music? BELOW: Digital releases dubbed from vinyl records by questionable record labels 1. Ramblin' (bootleg label: Fresh Sound Spain). This originally was published on Vault circa 1966, and the masters are owned by Warner / Rhino. No legal CD has ever been published to my knowledge. 2. The Jazz Organs (Essential Media Group LLC) This originally was published on Vault circa 1964 and the masters are owned by Warner / Rhino. No legal CD has ever been published by Warner/Rhino to my knowledge. Essential Media Group dubbed an LP at the wrong speed (causing it to run 29.8% fast) and put it up for sale on iTunes and Amazon. 3. Brazilian Mancini (Essential Media Group LLC) This originally was published on Vault circa 1965 and the masters are owned by Warner / Rhino. No legal CD has ever been published Warner/Rhino to my knowledge. 4. Live at the Pied Piper (Interplay Records). This 1967 live gig was apparently published years later on vinyl under the name of bassist Ike Isaacs. I'm not sure what label originally released this or owns it. Unclear if the 2011 Japanese CD is a bootleg, but it is certainly a needle drop.
  4. As a follow on to my earlier post about the album "The Jazz Organs," here are comparisons of the correct track times on my 1960s Vault original vinyl pressing vs the digital (and possibly a bootleg) version published in 2010 by Essential Media Group that errantly sped up the entire album. For example, on the original 1960s Vault LP, the song Street Scene has a correct run time of 7:47. But on the 2010 digital releases of this album published by the mysterious company Essential Media Group LLC, the run time is only 5:43 for the song Street Scene. The entire 2010 digital release of the album The Jazz Organs available on iTunes and Amazon runs fast because Essential Media Group played a vinyl LP at 45 RPM instead of 33 RPM when they made their (is this a bootleg?) digital transfer. BELOW: ORIGINAL LP BACK COVER WITH CORRECT TRACK TIMES And for comparison, below are the sped up track times on Apple iTunes for the album The Jazz Organs published by the company Essential Media Group. Note the shorter track times than the original LP release. That's because Essential Media Group sourced their transfer by playing a 33 RPM record at an incorrect speed of 45 RPM. BELOW: APPLE ITUNES TRACK TIMES FROM LABEL "ESSENTIAL MEDIA GROUP LLC" WHICH SPED UP ALL SONGS BY ERRANTLY PLAYING A VINYL RECORD AT 45 RPM INSTEAD OF 33 RPM, CAUSING ALL SONGS TO RUN 29.8% FAST.
  5. This is from another thread on this forum. Forum member Ted O'Reilly's 1987 recording of Jack Wilson was recently published on digital. Links are below. It's great that unreleased recordings of Jack such as this date and the forthcoming 1966 live Penthouse date are being legally released! Track Listing • 1
 Oblivion 2:22


 • 2
 The Bad and the Beautiful Theme 7:43


 • 3 
Jack Wilson Narrative #1 0:55


 • 4 
I Mean You 3:47


 • 5 
Lament 6:28


 • 6 
Jack Wilson Narrative #2 0:23


 • 7 
Daahoud 2:55


 • 8 
Indian Summer 6:55


 • 9
 I Didn't Know What Time It Was 6:06


 • 10 
Jack Wilson Narrative #3 1:48


 • 11
 Moon Mist / Day Dream / Lush Life / Take the "A" Train 10:39


 • 12
 Again 5:37


 • 13 
Just One of Those Things 4:03
 Recorded live by Organissimo forum member Ted O'Reilly on February 11, 1987 in Toronto, Canada.
  6. Thank you! Beautiful recording and wonderful playing.
  7. I figured out why the album "The Jazz Organs" is so short on the Essential Media Group digital release. It runs 29.8% fast!! I determined that Essential Media Group transferred the album from a vinyl record and played it back at 45 RPM instead of 33 RPM, thereby shortening the playback duration of the album on digital formats. I bought a first pressing on the Vault label on vinyl and played the record at 33 RPM and it sounds much better at the correct speed. Amazing that they played the vinyl album back at 45 RPM and couldn't hear that the performances sound like The Chipmunks instead of jazz. Essential Media Group then took their sloppy, crappy sped up digital transfer and published the album on iTunes and Amazon.com. So this is how the modern world hears "The Jazz Organs" in digital format. Sped up from a questionable label. There are several Jack Wilson titles that only exist in digital form as transfers from vinyl. Ramblin' is example of an apparently pirated recording published on CD by the bootleg Fresh Sounds label in Spain. It boggles the mind that a reputable producer/boutique label hasn't yet approached Warner Music and published Ramblin' on a CD from the original master tapes (and also added any outtakes/alternates as bonus tracks).
  8. Check out these sound samples!! ==>> https://www.juno.co.uk/products/jack-wilson-call-me-jazz-from-the/716768-01/ The mono recording appears to be of excellent sound quality. It appears the location radio engineer was mixing the sound direct-to-mono on the fly so the instrument balance is not always 100% perfect, but I think it sounds great nevertheless. On a couple of the tracks, it appears one of the piano strings is slightly out of tune. But no big deal. Those things happen in live performance (especially in a humid city like Seattle). And there are even several Blue Note live remote location recordings (i.e. not recorded in the Van Gelder studio) with slightly out of tune pianos. I have this on order and can't wait to listen in full. The performances in the clips sound phenomenal and it's really amazing to see some unreleased Jack Wilson / Roy Ayers be issued. I hope more previously unissued stuff will be issued by Jack. There has to be more unheard material out there. Wilson was awesome and very underrated.
  9. Here is a link to sound samples from the forthcoming Jack Wilson "Call Me" CD being released January 14, 2019. Note that this features Roy Ayers on vibes. Live recordings from 1966. ==>> https://www.juno.co.uk/products/jack-wilson-call-me-jazz-from-the/716768-01/ This appears to be a legal, legitimate release of live radio broadcast recordings in Seattle. The booklet has a forward by Ahmad Jamal. Track Listing Call Me Serenata Harbor Freeway 5 P.M. Here's that Rainy Day C.F.D. The Shadow of Your Smile Nirvanna Pensativa Stolen Moments ==== Release Notes All recordings previously unreleased, close to 1 hr of music Jack Wilson was a ubiquitous keyboardist in the LA studio scene of the sixties and recorded for Atlantic and Blue Note from 1962 – 1970 Features a young Roy Ayers on vibraphone Written appreciation of Jack Wilson by Ahmad Jamal 24 page booklet features several unpublished photographs Call Me: Jazz from the Penthouse presents previously unreleased live recordings of underrated jazz pianist Jack Wilson and his quartet, best known for his work on the Atlantic and Blue Note labels. Featuring a young Roy Ayers and recorded in Seattle at the Penthouse jazz club in July and August of 1966 when Wilson’s group was touring the west coast with Redd Foxx, these recordings feature a mix of standards, current pop hits of the day, and originals by Wilson himself. In addition to Roy Ayers on vibes, the group features Von Barlow on drums and Buddy Woodson on bass. The deluxe 24-page booklet features an appreciation by Ahmad Jamal, interviews with Roy Ayers and Von Barlow, producer’s notes, and previously unseen archival photographs. These recordings were made just two weeks before Wilson & Co. would enter the studio to record his classic Blue Note debut Something Personal.
  10. I picked up the CDs. Observations: 1.) 1969 Roundhouse Concert (Green in a trio setting) is in superb fidelity. Even though it is in mono, it was very well engineered. Sounds like they added some slight post production reverb giving it a slight stereo ambience. But the original location audio engineer really captured this trio in wonderful resolution. If you are used to the low fidelity sound on the YouTube video, the sonic experience and upgrade heard here is revelatory. 2.) I really dig Green's playing on the 1969 Roundhouse concert - he really shows multiple aspects of his style: blues, funk, bebop, standards etc. 3.) I wish Resonance had included two additional tracks from this concert in which Green gets solo time with Burrell and Kessel. How Could You Do a Thing Like That To Me and Blue Mist. 4.) The 1970s Antibes jams are not as well recorded. The mono fidelity is good, but the mix is often times a little off (organ can be low in the mix). I'm really digging the jam on Hurt So Bad. 5.) I like Slick. On Now's the Time we hear Green play straight ahead jazz and solo over chord changes. It shows that even late in his career he still had his jazz chops and played bebop during his live gigs. I don't think the playing on this track is "too seventies." It's very much within a classic straight-ahead vein. 6.) The extended How Insensitive on Slick is also rewarding. Green must have loved this haunting Jobim bossa since he played it in both 1969 and 1975. 7.) Need more time to absorb the funk medley on Slick before rendering a verdict. In summary, the 1969 Roundhouse Concert is a gem, and Green's rendition of Charlie Parker's "Now's the Time" on Slick is also fantastic. Both bear repeated listenings. I think both CDs are a worthy addition to his catalog. "Now's The Time" on Slick is much better than anything that made it's way to the public around the same time on the commercial and over-produced The Main Attraction or Easy albums.
  11. Resonance published a couple of complete tracks for audition on Soundcloud, including the 31 minute medley on Slick! Links to listen on Soundcloud:
  12. Which songs are performed straight ahead on the "Slick!" release?
  13. I wonder if the Antibes sound quality will be improved on the Resonance release. The circulating recordings of Antibes sound kind of blurred and dry. I wonder how far the circulating recordings are removed from the master tape. Was French FM radio still mono in 1970 -- or were they stereo by that time? Circulating recording is mono.
  14. Resonance usually publishes a promo video on YouTube in advance of the release. So hopefully we will hear some excerpts soon. I'm really curious about the 1975 show and what Green's live gigs sounded like during that period. In March 1976, Green recorded a CTI album call The Main Attraction. That album hasn't aged too well. It's really overproduced with a ton of session players along for the ride. The 1975 gig has the potential to be a lot better as Green is with a small and hardened road band.
  15. I like the concept of Record Store Day, but I'm not a big fan of the Record Store Day retail experience. Last year I stood in line to buy some releases and they were already sold out. Store only got a few copies in. Plus you've got a bunch of record labels all pressing a bunch of LPs at the same time which stresses the pressing plants and lowers quality control. Some of the LPs I bought were very noisey, off center and had non-fill issues.
  16. From the liner notes, it sounds like at a minimum, "Now's the Time" may have chord changes and is in a more straight ahead style. Observation: they expunged the Burrell and Kessel solo features. That makes sense since Green didn't really add too much to those tracks. It would have been nice though to get Blue Mist -- as Green does solo with Barney and Kenny. I wonder if that will be a bonus track on the CD.
  17. Agreed. I'm going to wait for the CD. Approx 18 minutes is optimal for a single LP side to maintain best sound quality. To squeeze 27 minutes on one side of an LP requires sonic compromises.
  18. Tracklistings: Funk in France: From Paris to Antibes (1969-1970) SIDE A: 1. I Don't Want Nobody to Give Me Nothing (Open Up the Door I'll Get It Myself) (4:34) 2. Oleo (4:24) 3. How Insensitive (Insensatez) (7:18) 4. Untitled Blues (8:09) SIDE B: 1. Sonnymoon for Two (7:00) 2. I Wish You Love (7:06)* SIDE C: 1. Upshot - Live at the Antibes Jazz Festival on July 18, 1970 (18:02) SIDE D: 1. Hurt So Bad - Live at the Antibes Jazz Festival on July 18, 1970 (14:35) SIDE E: 1. Upshot - Live at the Antibes Jazz Festival on July 20, 1970 (19:46) SIDE F: 1. Hi-Heel Sneakers - Live at the Antibes Jazz Festival on July 20, 1970 (27:13) Personnel (SIDE A/B): Grant Green - guitar Larry Ridley - bass Don Lamond - drums *Barney Kessel - guitar Recorded at Maison de la Radio, Studio 104 in Paris, France on October 26, 1969 Personnel (SIDE C/D & E/F): Grant Green - guitar Claude Bartee - tenor saxophone Clarence Palmer - organ Billy Wilson - drums ============================ SLICK! - Live at Oil Can Harry's SIDE A: 1. Now's the Time (8:16) SIDE B: 1. How Insensitive (Insensatez) (26:02) SIDE C: 1. Medley (Part One): Vulcan Princess / Skin Tight / Woman's Gotta Have It (14:20) SIDE D: 1. Medley (Part Two): Boogie On Reggae Woman / For the Love of Money (17:36) Personnel: Grant Green - guitar Emmanuel Riggins - electric piano Ronnie Ware - bass Greg Williams - drums Gerald Izzard - percussion
  19. Found more info: Grant Green (1) - Funk in France: From Paris to Antibes (1969-1970) Format: 3LP - Gatefold In partnership with the French National Audiovisual Institute (INA), Funk in France: From Paris to Antibes (1969-1970) is the first official, previously unissued live recordings of legendary guitarist Grant Green in over a decade. This deluxe 3LP set brings together a collection of recordings of Green captured at the ORTF studios in Paris on October 26, 1969 with bassist Larry Ridley and drummer Don Lamond, also including jazz guitar legend Barney Kessel comping behind Green on the beautiful I Wish You Love; plus full concert recordings from June 18 and 20, 1970 at the Antibes Jazz Festival featuring saxophonist Claude Bartee and organist Clarence Palmer, who both played on Green's classic 1969 Blue Note album Carryin' On, and drummer Billy Wilson. The ORTF studio session was taped for a radio broadcast produced by legendary French producer André Francis, and the Antibes recording was taped less than a month before Green's first live release Alive! on Blue Note Records. Both performances showcase Green's early transition to a heavier, funkier sound as he entered the 1970s. This is the first time any of these songs from the Carryin' On and Iron City albums are being made available as live performances, and represent his earliest live recording as a leader. Available exclusively for Record Store Day on April 21, 2018, the hand-numbered, limited-edition of 2,000 3LP gatefold are mastered at the legendary Bernie Grundman Mastering Studios and pressed on 180-gram vinyl at 33 1/3 RPM by Record Technology Inc. (RTI) Grant Green - Slick! Live at Oil Can Harry's Format: 2LP - Gatefold Slick! - Live at Oil Can Harry's is a never-before-released recording from soul-jazz guitar great Grant Green captured live on September 5, 1975 in at a popular club in Vancouver, BC Canada called Oil Can Harry's. Featuring a primarily Detroit-based band with Emmanuel Riggins (father of drummer Kariem Riggins) on electric piano, Ronnie Ware on bass, drummer Greg Vibrations Williams (Jack McDuff, Lou Donaldson) and Gerald Izzard on percussion, Slick!'s centerpiece is the over 30 minute funk exploration medley of Stanley Clarke's Vulcan Princess, Skin Tight by the Ohio Players, Bobby Womack's The Woman's Gotta Have It, Boogie on Reggae Woman by Stevie Wonder and For the Love of Money by the O'Jays. This recording was originally broadcast on CHQM-FM and has been transferred from the original 10 reels to reveal a sterling sonic experience. Aside from Resonance's companion piece, Funk in France, being released simultaneously with this recording, this is only the 4th live recording released of the underappreciated soul-jazz guitar hero. Captured 3 years after the classic Live at the Lighthouse album released on Blue Note in 1972, this marks the latest known official live Grant Green recording on CD and LP. Available exclusively for Record Store Day on April 21, 2018, the hand-numbered, limited-edition of 2,000 2LP gatefold are mastered at the legendary Bernie Grundman Mastering Studios and pressed on 180-gram vinyl at 33 1/3 RPM by Record Technology Inc. (RTI)
  20. Yeah, the 1975 live date is a real mystery. Hope he at least played one blues or standard -- or anything straighahead with some chord changes. Unclear if he was still in his boogaloo phase in 1975. But still, this is a pro-recorded gig for FM radio broadcast so the sound should be excellent
  21. Posted by Zev Feldman: CELEBRATING GRANT GREEN FOR RECORD STORE DAY! I'd like to ecstatically announce Resonance's TWO Record Store Day releases - "Funk in France: From Paris to Antibes (1969-1970)" and "Slick! - Live at Oil Can Harry's" - by guitar legend Grant Green. These are the first official new releases of previously unissued material by the guitarist in over 10 years. Available exclusively for Record Store Day on April 21, 2018. Mastered at the legendary Bernie Grundman Mastering Studios and pressed on 180-gram vinyl at 33 1/3 RPM by Record Technology Inc. (RTI). As a lifelong record collector, I've always been drawn to the incredible artwork that graces some of my favorite LPs. I really pushed to recreate those titillating experiences I would have with the artwork on these Grant Green packages. I must say, our long-time designer Burton Yount really outdid himself with these! They are two of the most striking releases we've ever assembled. "Funk in France" is actually two albums in one (with 2 additional covers on the inside!) capturing Grant at the ORTF studios in Paris in 1969, and at the Antibes Jazz Festival in 1970. Deluxe, limited edition 3LP gatefold set includes a 12-page insert with rare photos by Chuck Stewart, Jean-Pierre Leloir and Christian Rose; essays by myself, executive producer Michael Cuscuna, and Pascal Rozat of Ina in France; interviews with organ legend Dr. Lonnie Smith, Soulive guitarist Eric Krasno, Antibes organist Clarence Palmer and Grant's son Greg Green (aka guitarist Grant Green Jr.). "Slick!" was recorded at Oil Can Harry's in Vancouver, Canada on September 5, 1975 and captures a jaw-dropping 33-minute funk/R&B medley covering Stevie Wonder to Bobby Womack to Ohio Players. It also marks the latest known official live Grant Green recording on CD/LP. Deluxe, limited edition gatefold LP includes a 12-page insert with previously unpublished photos taken at the club by photographer Gerry Nairn; essays by noted music journalist A. Scott Galloway, Vancouver DJ Gary Barclay and producer Zev Feldman; interviews with Detroit guitarist Perry Hughes (in conversation with fellow guitarist Jacques Lesure), Greg Green and drummer Greg "Vibrations" Williams. I'd like to thank everyone that was involved in the project, and of course you and our friends at Record Store Day for your support. We simply could not do this type of work without you all!
  22. The bassist, Masayuki Kume, posted this comment about the video, suggesting the video was apparently made in the late 1980s or early 1990s. "Thank you so much ! I was playing with Jack,by drummer.I'm very happy to see playing with Jack.Almost 30 years ago.I learned a lot of musical things from him.I was touring with him three times in hokaido . I thnk this video is 3rd tour. Masayuki Kume." This setlist was posted on YouTube with the video: 1.Unknown(incomplete) 2.Autumn sunset 3.Unknown 4.Evidence 5.Unknown 6.Our Waltz 7.Recorda me 8.Milestones 9.invitation 10.Margo's Theme 11.Unknown 12.Razão De Viver(A Little Tear) 13.Waltz for Ahmad 14.Gingerbread Boy 15.Unknown 16.Autumn leaves 17.Milestones 18.Unknown
  23. Check this out! Two and a half hours of live video footage of Jack Wilson performing in Japan:
  24. When is the Talkin About XRCD coming out? Seems like it's been on pre-order for 10 years?
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