RDK

I suspect that this wasn't one of those sentences meant to "punish" her as much as it was meant to send a messege to Society that it isn't the right thing to do...

...and many more!

One of the greats - though I gotta admit I thought he had left us long ago.

Great link, Claude! This section answers (or at least tries to answer) some of the very questions asked here in this thread... Today there are dedicated individuals involved in the restoration and remastering of public domain material from both the popular and classical recorded repertoire. Sophisticated audio restoration equipment and software now exist that can work near-miracles in removing the result of years of wear and tear to the original disc copies. The question is often asked whether a new copyright can arise in a restored or remastered version of a sound recording which is now in the public domain. Since the CDPA clearly states that no copyright can subsist in a sound recording which "is (or to the extent that it is) a copy taking from a previous sound recording", it means that copyright can subsist only in the original master, and not in any copy (such as a pressing) made directly (or indirectly) from that master. Because of this, many legal commentators are of the opinion that no new copyright can arise in any re-recording once the original copyright has expired. This may well be the case if the re-recording is merely a slavish transfer. But what if time and skill is expended, utilising the facilities of modern computer technology? Might the results justify a new copyright claim in respect of the restored material? It is debatable as to whether merely removing "clicks and crackle" from an old record would qualify, as these artifacts are not usually part of the original recording but are most likely the result of manufacturing defects and/or subsequent wear and tear. It is possible, however, that the creative use of equalisation or special effects (such as reverberation or pseudo-stereo) in the audio chain to improve or embellish an original recording might well be sufficient to establish a new copyright in such a version. In a recent copyright-related U.S. legal case, a British photographic agency, owner of a substantial library of photographic images of artistic works in the public domain, brought a breach of copyright action against a company who were reproducing some of these same images, without consent, for sale on a CD-ROM. In a controversial decision it was held that there was no breach of copyright, since the photographic images were mere slavish copies of works that were in the public domain (seemingly regardless of any skill involved in the making of those photographic copies). On the other hand, the U.S. Copyright Office has publicly accepted that there can be a new copyright in a "colorised" version of a black and white movie. Currently there is evidence that some commercial re-issues of restored public domain sound recordings are being openly pirated, perhaps on the assumption that no copyright can exist in these copies. The validity of such an assumption has yet to be tested in the courts.

While discussing Bacharach, please don't forget Hal David. He wrote a bunch of them words, you know...

Hmmm. Did anyone mention Monk and Mingus? On the early end of that 50 year period but nevertheless....

I'll second (fifth?) Dylan. To add to those aleady mentioned: Lieber/Stoller, Van Morrison, Ray Davies

And if this stuff wasn't thrown out, much of it would be common and not worth much, and some folks don't collect stuff if it isn't rare and "collectible" and... Hey look! There's a snake eating its own tail...

????? Details, please!

It's all Chaney's fault! (It's gotta be, right?)

I'm not sure if this is related/relevent or not, but what was Monk's last original composition? I think the last recordings of his that I have are the Black Lions, and aren't those all covers of standards or his older compositions?

Funny stuff there!

I don't know Charlie either, but I understand he don't surf...

The Holy Jazz Trinity to me is Duke, Monk, and Mingus. I'm curious: are there any bad Ellington albums?

If you dislike Sonny so much, why bother even reading a thread devoted to him? And then to make a confusing joke about it... ?

Thanks Lon. These, then, are "musts" for me. I love Duke's trio sessions (and the other stuff ain't bad either )

If it comes out on DVD (or DVD-A) then one of the alternate audio tracks can be used to translate Aric's posts...

Is the trio album ("Piano Foreground") the one included on the first Ellington Mosaic box?

I just picked up that disc a few weeks back. Had to Ebay it as I've never seen a copy in the stores. Strong date. I can only hope that we'd someday hear the duet track.

I'm kinda bummed. I bought this disc a couple of weeks back, promptly spun it once, then seemed to misplace it. I mean, I know it's here somewhere, but we recently undertook a "spring cleaning" and lots of stuff was moved around and this was lost in the shuffle. Anyway, my expectations for this were very high, and I wouldn't be honest if I didn't say I was a tad disappointed upon a single listen. But it is highly personal music that I'm sure grows with repeated listenings. My first impulse was to compare it to Jarrett's "Spirits," which I happen to love but I know many dislike.

From the description it sounds like a lot of processing and noise reduction was done. Not usually a good thing, but perhaps in this case...?

obviously not...

Fuckin' Industrial Films... http://homepage.mac.com/stevelyon/vacation/imovie.html

klil Joy!