Chuck Nessa

Not sure what Jim is saying. I'm saying I'm thankful for the stuff Lubinsky recorded. Nobody else was doing this at the time and as a result he was able to make deals "very much in his favor" with artists no one else cared about. BUT the artists made the deal and as a result you have all those Savoy reissues. I might have done things different, but..... Like I said..................

Jim! You need to know our son will be 34 in 3 weeks and or daughter turned 30 about a week ago. NOW, I lose more sleep now than when they were babies.

Please see my recent message in the "Blue Harlem" thread. AND thank god for Herman.

Can anyone, someone, please, including an English schoolteacher explain why real property can be protected forever and intellectual property has limits? My cynical answer is MONEY! So why the whining when someone with money (Disney) finally exerts a defense of intellectual rights? Outfits like Proper and JSP can issue cheap sets 'cause they don't have to pay anyone and big "unfeeling" corps like BMG, EMI, etc. do. You may bitch about the amount paid to the artists at the time, but this is the deal the artist made to get the date. Contracts are contracts, but sometimes they are amended. I know Lundvall gave all BN leaders a royalty deal, whether the original contract called for it or not. Music publishing royalties are another thing. The song writer and/or the publisher gets money for each record sold. In the US the "statutory rate" is set by congress. It is currently $.085 for songs under 5 minutes and for songs longer $.0165 per minute. A Mosaic historical set with some thing like 25 tracks pays $2.12 per disc, per copy sold, just to the music publishers ( I used the Lang/Venuti set as an example). FYI, my original deal with the AEC guys in 1967 when they were not known by anyone, was union scale against a 5% royalty (based on recommended retail price). They also retained their own publishing rights. Over the the years this got bumped to 7%. When I cleared the "extra material" for the AE box, I bumped the future royalties to 10% AND agreed to pay them $25,000. To do this, I sold my record collection and borrowed $35,000 against my house. Now, in 13 years I get to look forward to the likes of Joop Visser issueing this stuff for free, EXCUSE ME.

ah yes! Ah yes, Zora the Red Menace. Must be a commie thing.

I heard bits of it on Fresh Air today. It sounded worth checking out.

It's one of those "vanity" labels.

Delmark, Uptown, Okka and NESSA!

Thanks for the pics. Maybe you otta keep Uncle Joe at a distance.

I think this town hosts the appointed head of our government.

BUT, you gotta tell me what you want to hear.

Black Fire ain't nothing like Passing Ships. It is a very fine recording. I bought it as a new release back in the '60s and still listen. Next time you are here I'll play it.

I have two memberships - one Classical. The Classical club is currently offering me all cds at 5.99, no shipping if you order 5. and double bonus points.

I'm sorry Moose didn't buy the Fred Anderson from me. But I bought a bunch of cds from the BMG classical site, where the deal is all discs for 5.99 and shipping is free if you buy 5.

He was a very interesting artist AND person. I feel he saved my life (and/or my wife's) once.

I have not read the last half dozen posts (yet) so if parts of this are irrelevent, forgive me. I have stated my concern about preservation of source material under PD laws, so I won’t go over that again. A couple of random thoughts before my main rant. Outfits like Proper and the current JSP do damage to operations like Mosaic no-matter the “intended audience. If I was not allergic to these kinds of operations, the various Bix, Mildred Bailey, Django, Patton packages would easily convince me to save money and skip the more complete and expensive Mosaic and Revenant packages. This is a very small market and if these packages reduce the “originators” sales by 5% it can make the difference between profit and loss. Lennie Tristano and/or his daughter issued private tapes on the Jazz label. These started coming out in the ‘80s and have been reissued on cd. Joop Visser has seen fit to “boot” some of this material for his Tristano box. In fact, more than 25% of the set is from this source. This is the end of random thoughts. Since we are operating in a capitalist system I object to the inequity in the treatment of physical vs. intellectual property. When my maternal grandfather died he left me some stocks in a local bank. In 1967 I cashed in these stocks ($1500), borrowed more from my parents and started a record company to record Roscoe Mitchell, Lester Bowie, Malachi Favors and Joseph Jarman. In turn, the musicians composed music, rehearsed it and recorded it for me. This music has been available (almost) continually since then and I pay both artist and publishing royalties to the musicians. In 2017 this music falls into the “50 year hole” and others will be able to manufacture and sell this music without compensating either the recording company or the musicians (or their heirs). After 2017 Nessa Records will still be obliged to pay both artist and publishing royalties, but my potential competition will not have this obligation. I not only lose control of something I helped create but I am at a disadvantage in the marketplace. If I had kept the bank stock I could pass it on to untold, subsequent generations. If my heirs have an original pressing of Lester Bowie’s “Numbers 1 & 2” it will probably be worth more to them than the original multi-track masters. Personally, I feel I should be able to pass on stuff to my grandchildren – probably the last generation I will have a “real” relationship. I think the rules could be reworked in the following way to compensate master owners, composers, performing artists AND help protect the “primary source” material. The timeframe can be shifted around but I think the basic idea works to most parties advantage. Full copyright lasts 35 years. From year 35 to year 70 full copyright is retained IF the company makes the material generally available (not continually, but say every 7 years). If the company fails to make it available they could be forced to issue a license to interested parties. The “interested party” would pay a licensing fee to compensate the company, the artist and the composers. From year 70 to year 100, the company is obligated to license the material to all interested parties. After year 100 all rights terminate.

Besides Malachi, Jaribu has been Roscoe's bass player of choice since we recorded Snurdy McGurdy in 1980. He's been a member of the Sound Ensemble and Roscoe's Note Factory since then. He has also had extensive work with James Carter among others. I first heard him in the Griot Galaxy band in the late '70s. An AMG search might help you.

I had a couple of experiences with "Fiddler" and he was a first class guy. He will be missed beyond the "musical evidence". Farewell.

String section placement has changed over the years. Some composers give directions in the score, but current style/habit generally rules the day. I prefer the divided string section of the (late)18/(early)1900s. Most current conductors are just happy to have a gig and take "whatever".

Fantasy has done Miles proud. Reissued them on lp, cd , have started a K2 series and now SACDs. They also licensed stuff to "audiophile" concerns. You messed up on this one. They also have a continuing involvement with the estate paying royalties as per the agreement with the artist. The EU copiers will use the last available Fantasy transfer for their "fee free" issues. What is Fantasy's incentive for preserving primary source material?

They have been on tour. I think this is the first performance after returning from Europe. They played in Europe a year ago too.

The Art Ensemble (plus guests) returns to Mandel Hall at 8 PM on Friday night. Earlier in the day George Lewis will keynote a symposium titled "Great Black Music: South-Side Aesthetics". Info available HERE.

OUTSTANDING! Ann sends her best wishes as well.

The important part is it will ONLY be digital.

This message from me is copied from another thread. Nobody ever addresses my major objection to the various copyright laws. Commercial concerns are the holders of the primary source materials. If they lose the incentive to protect these materials we have serious consequences. Why should BMG, Sony, etc (not to mention Delmark or Uptown) spend resources protecting these "artifacts" after 50 (or 75) years. These are our best sources of the art we supposedly love and are at risk because we want what we want NOW. An example: For the early Mingus project we found the owners of Fentone and bought the original metal parts. These (some alternates still unissued) are taking up space in a rented area. Why spend this money if "it belongs to the world"? The parts would not have survived if we had not found them (and there is unissued stuff). Since the Uptown cd came out there are at least 2 European companies selling the product. Much can be lost under this system. Fuck "legal". The rights of income for the artist's heirs is another rant. These stupid rules make intellectual creations less than "physical property". You can buy a house and pass it on forever. Why?