JSngry

Gracias, Amazon! ¿Tenemos una fuga de datos ?

Leon Breeden Pat Boone Sylvester Stewart

I get that there's a per-song flat fee, but doing research, it looks like there's also (or is it instead of?) a per-copy charge based on, I guess, planned manufacturing run. So let's say that I wanted to cover Bob Lob's "Throw It In There Easy" and it's owned by Mraeros Music and it's with ASCAP and I want to make up a run of 500 copies of an otherwise all-original album that will also include Maestro Lob's magnum opus. I know I need to get a mechanical license first. But more than that, I am confused, and have questions. The questions now are: Harry Fox first, right? Or someplace similar. What am I going to pay, exactly, and for what exactly? A flat fee plus a per-copy rate? If my 500 copies exceed expectations and I need 50,000 more copies made STAT, do I need to go through the process again? The mechanical license only covers front-end, right? Any and all royalties on sales go through different channels? Mr. Lob and I want to know these things. Can you all help us? Please? Thank you!

I'm really not sure how the per-copy thing works, I'm sure Jim A. or Chuck is, but it seems like it's a fee, up front. And then when it sells, there's royalties? Starting a separate thread to deal with this, the emphasis here should be on the band and its music....sorry for the detour.

Bobby Womack Gabor Szabo George Benson

Bud Collier William and Florence Stemm Sky Saxon

That was weird...

What I'm talking about is called a "mechanical license", which is legal permission to record the song for commercial use. That's not anything I've had experience in, but it looks like you do it per song, and there's a flat processing fee + some kind of other fee based on how many copies will be manufactured/distributed/whatever, and that it's all paid in advance. Not sure if that is a "royalty" as I generally think of it (as payment after the fact) or just an upfront permission fee, but either way, you do need to pay somebody something before you release it, not just after. Because, you know, the smart people always make sure to get something up front.

Not the exact same band as far as I can tell, but from roughly the same time: Arrangements not by Pomeroy either (Al Cohn & Ernie Wilkins instead), but...it's there.

Three Gentlemen From Chikago The Gentleman Dopey

and...ooops...amazon is offline right now? Really?

This is grey-market at its most useful, if somewhat archaic.

Not even.

Whole thing in a nutshell, eventually:

Well, there's Mel Powell.

Check out Ernestine with Gene Harris backing her, When The Sun Goes Down, on Concord. Gene, of course, brings Gene, but Ernestine is strong enough to hang, and to my ears, that's a matter of pocket, of timing. Gene might be heavy in his touch, but he's loose in his feel, looser than Alexander, imo. So that's just one more thing to think about when supporting a singer, not just for the pianist, but for the whole section - are you gonna lay down a carpet for them to walk barefoot on, or even glide across, or are you gonna make them put on heels to go walk through muddy asphalt? Every singer's gonna have their own pocket, and it really does come down to micromilliseconds, so don't bother with counting to find it, you're gonna have to feel that one.

Cat Anderson Ray Nance Kitty!

I've pre-ordered, and those excerpts certainly excite, but whoever wrote that narration is trying way to hard to gild the lily, is that the expression?

Thanks. Seems like the whole thing could be streamlined, but that's true of so many things these days. And people do need to get paid. But that per-minute thing over 7 minutes, yeah, that is especially stupid. Also not sure about the per/disc fee being paid on manufactured copy basis...seems like a flat fee for volumes X-through-Y etc. would get everybody to about the same place without all the math...but maybe not.

god DAMN, Michelle Lee...I had no idea...not about the hotness, but about the skills...talk about making you want to get up in the morning to go to work and then coming home to get up to go to work in the evening...whew... Ok, yeah, Nelson Riddle...HAD to be! http://www.imdb.com/title/tt0061791/fullcredits?ref_=tt_cl_sm#cast

Hey, I tend to love me some Charles McPherson of any vintage! "The Chill Of Death", good god people, listen to that! What didn't jump out at me right away but not did soon enough was that his "vocal" inflections tend to be not straight from Bird, but rather Bird through Dolphy (if such a line is to be mapped, though, let it be figurative instead of literal out of respect for anybody's individual voice). I wonder who the "foreign pianist who has been living here for a few years" who dubbed the band :ghosts" (and that line has stuck with me over the years, read the liner notes way back when but never bought the album until now, not because of that, though).The most obvious(?) guess would be Zawinul, but who knows, who that could have been...Paul Bley maybe...anyway, that comment is what made the recent-ness of the standards included jump out to me.If they were truly ghosts, it would all be pre-WWII stuff, things that were already getting played out, not "I Believe In You" for crying out loud, which is not necessarily the best/easiest blowing vehicle in terms of symmetricality, but geez, what a great song, and bill Evans, Sinatra, and who else was bringing ito any kind of anybody's vernacular at taht time?

So you just pay the flat fee per song plus the per-copy estimate? Or just the flat fee upfront? Doing an all cover song project like this, how much does that run? Just curious...but feel free to answer privately or not at all if it's too nosy.

Try playing "Smoke Gets In Your Eyes" It's a few chromatics short, but oh my god, what a sound!

Got lucky with the McPherson at DG and have had it as car music for over a week now. Don't know if I'm awed by it or anything, but it is very enjoyable. The two things that jumped out at me right away and have yet to jump back are A) how many of the standards played are, apart from "I Can't Get Started", of then-recent vintage, none even yet 15 years old; and B) am I the only one who hears Lonnie Hillyer here ending up sounding like Don Cherry in spots? Not in intent but in result?

What do you mean by "hip-hop", that's the question that will drive the answer, I suppose. Not being snarky, but that term means so many things to so many different people. If you mean "loud rap music that goes booming out of cars driving by my house at all hours", that's one thing, but there are other people who look at it waaaay past that into an entire cultural aesthetic, Afro-Centric (but not exclusively in an exclusionary way), self-aware, users of samples and other appropriations of the past as signifiers of current awarenesses and understandings, etcetcetc. Definitely organic, not learned, with the whole notion of cut-and-paste at all levels. There are, of course, no wrong answers because you know what you mean, but like I said, depending on what you mean, different answers. I'm tempted to suggest Ursula Rucker, but that's very much "hip-hop" in ALL sorts of ways, yet it's got the righteous political-spiritual powerpunch of the best 70s stuff, only current. And she's a Philly product (and still resident?), so there's that as well. From what I can tell, generally more effective as a recording artist than as a live performing artist, but the nature of her backings almost guarantees that, until she has a hit and gets that money going to get past that. And the beauty of her is that I don't see that happening any time soon, nor of her going for that. At Times NSFW Language Alert: