medjuck

Let me clarify lest purchases be made in vain - it's the Bluebird CD of There Comes A Time that contains more music. Though IIRC it doesn't contain 'Aftermath of the 4th Movement..." which was on the Lp but if you want it on a cd you have to buy a strange hybrid from RCA called "Battle of the Bands: Charlie Mingus and Gil Evans".

And there's an alt rock singer who calls himself Kurt Vile. He's pretty good.

There's a Gil Evans record there I've never even heard of. How do you order these?

I ordered a cd from Amazon via UPS (not USPS) that I tracked to Fort Worth where it seemed to stay. After a week or so I informed Amazon and they immediately sent me a replacement. Maybe someone in Fort Worth was a Kurt Weil fan.

And it's really good.

Released today!

No, you are not correct. Michael Jackson owns most of Lennon-McCartney's publishing. Paul owns Buddy Holly's publishing. Morris Levy owned some Chuck Berry. I doubt if any one company owns the publishing on even 20% of songs written in the last 70 years but given the rate of mergers taking place who knows. A recently deceased friend of mine once tried to arrange fro Ruth Ellington to sell the Ellington/Strayhorn publishing company (Tempo Music?) to Quincy Jones and Lionel Richie. The deal fell through when too many lawyers got involved and Paramount (Famous Music) ended up buying the company. There are thousands (maybe hundreds of thousands) of publishing companies and most new composers know to start their own.

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.