medjuck

Bu† I doubt if they do. I knew the owner of a record that did a lot of avant-garde and traditional records and he told me they tried to avoid paying composers' royalties. And his was legit operation.

Sonny Rollins, for example, is still alive.

I'll give it a shot. This has little to do with government. It's not clear whether songwriters, for example, are paid for the use of their compositions. Moreover, Concord (to use one example) paid the original owners of Fantasy for the recording masters. Given the timing of their purchase (at the start of the record industry's decline), it's hard to say it was a wise purchase. Surely they have the right to make money off these masters. These cheap sets make it harder for them to do so. My assumption is that Concord still pays royalties to the musicians (at least the leaders) and for sure to composers.

Wow did I get that wrong. It looks like nothing recorded in the US is going to enter the public domain in my lifetime: https://copyright.cornell.edu/resources/publicdomain.cfm

But I think (don't really know) that until now The JSP was "grey" in the US. BTW I have both because they each have cuts not on the other. JSP sounds better.

Well things could get interesting. I believe that the earliest Hot 5 recordings are about to become p.d. worldwide. (I'm not sure-- there were some strange wrinkles in the newest US copyright laws. )

Miles also plays with john Lee Hooker on the soundtrack to the film The Hot Spot.

Just listening to one of his versions of When I Paint My Masterpiece. Does he ever sing "Oh to back in the land of Coca Cola" which I think I remember from The Band's version?

You can see Too Much Johnson here. Long lost,never completed early film. I wish they'd edited it but still wroth seeing: http://www.filmpreservation.org/preserved-films/screening-room/too-much-johnson-work-print

I use You Tube when I want to find individual cuts. Does anyone know whether composers or record companies get paid for you Tube plays?

I've got to admit I've got a soft spot for The Lady from Shanghai.

On the night of the last broadcast Jason Reitman is doing one of his "live readings" of the script for the last show followed by a screening of the episode and an appearance by Weiner at The Ace Hotel theater (the former United Artists) in downtown LA. I managed to get 2 tickets though it does seem like a strange idea. The theater holds 1600 people and apparently the event is sold out with almost no advertising.

Actually the copyright laws in the US are now amongst the most restrictive in the world. Even under the old copyright laws very few recordings have gone into teh public domain in the US. Almost none of these reissues are from the US and even their sale here is problematic.

Happy B'day!

With the NYT/Steve Coleman thread veering into a discussion of Byas I thought this might be of interest to board members: http://nepr.net/music/2015/04/28/duke-ellington-welcomes-don-byas-and-archie-shepp/

I was also underwhelmed by Newport '55 and 'Round Midnight. Maybe because I'd read so much about it and so eagerly awaited hearing it. Also agree that he recorded a lot of great stuff in '54-- including (and especially) on Xmas Eve.

I was surprised by how many people in Shanghai spoke English.

Sounds like a great show. I wish I'd seen that one, too! He brought them together on Sunday: Charles Lloyd saxophones, flute Bill Frisell guitar Greg Leisz lap steel guitar, dobro Reuben Rogers bass Eric Harland drums Where? I see he's using his new quartet at Jazz Fest.

I posted this elsewhere but it seems relevant here too. Hope I'm not breaking any rules. Just saw Charles Lloyd with Bill Frisell, Greg Leisz (pedal steel and lap guitars), Reuben Rogers (electric bass) and Eric Harland (from Lloyd's new quartet on drums). Though Lloyd was front and center, because of the instrumentation and the song selection it seemed like a Bill Frisell concert with guest star Charles Lloyd. Numbers included Shenandoah, Red River, The Strangest Dream and (I think-- I'm not up on Christian hymns) Abide with Me, interspersed with what I think were some Lloyd originals. The encores were a searing, raucous Masters of War and I'm So Lonesome I Could Cry. I'd seen each of them twice before at the same small theater but this was the first time I'd seen them together. In fact I think it may be the only tie they're playing together. I loved it.

Just saw Charles Lloyd with Bill Frisell, Greg Leisz (pedal steel and lap guitars), Reuben Rogers (electric bass) and Eric Harland (f on drums). The last 2 are in Lloyd's "new quartet". Though Lloyd was front and center, because of the instrumentation and the song selection it seemed like a Bill Frisell concert with guest star Charles Lloyd. Numbers included Shenandoah, Red River, The Strangest Dream and (I think-- I'm not up on Christian hymns) Abide with Me interspersed with what I presume were some Lloyd originals. The encores were a searing, raucous Masters of War and I'm So Lonesome I Could Cry. I'd seen each of them twice before at the same small theater but this was the first time I'd seen them together. In fact I think it may be the only time they're playing together. I loved it.

Great post. Last year I saw a version of the Preservation Hall Band with Alan Toussant (sp?) as their guest artist. Weird but fun.

Seeing him tomorrow night with a different group. (Includes Bill Frissell.)

Easy to find cheaply on Amazon US. I got it because I'd just heard pianist John Mayer and read that he had played on the cd (on the Jubliee sessions- though his bio didn't mention that he used different name (John Maher) on the session. Which may explain why Michael Cuscuna give no info on him in the notes.

I'm listening to "Like Sony" cd and reading the liner notes: Cuscuna just says he recorded half an album for Roulette. I know anything was possible when Morris Levy was involved. Do any of the Trane bios explain it? (I admit I haven't read any.)

Yes he does. Zalman was a friend of mine.