medjuck

Yes, he would. Much BN work is registered to one or other of BN's own publishing companies. The percentage split of the publishing royalty (between BN and the composer) was negotiated on a case by case basis, as I understand it. Musicians with enough clout to insist that their work was published by their own publishing companies were not under the obligation to negotiate, of course. But that obviously disadvantaged the labels, which is why composers were compelled to pool their work with the label's company if they wanted to record a tune. Variations of this are still standard practice. There are complexities that others will be better placed to explain. On top of publishing royalty the musicians would receive a royalty for copies sold. But thereby hangs another tale. There are some books about this Chewy, including on various Blue Note artists ... I believe that the publisher gets half the income from broadcast rights but the composer always gets half and can't negotiate that away. (I may be wrong about this but I think it's what I've been told.)

Don't feel guilty. This is something most of us will have to face and our kids will have to face with us. You did the right thing.

Thanks for reminding me. Just did it.

So if we hear someone say "let's lynch the nigger" we should meditate? Personally I'd rather say "fuck you" to the speaker and to anyone who defends his rights to say it--even if it leads to charges that I'm a silencer. I've been in that situation, actually, and more than once (the oil fields of East Texas in the 1970s, where I had a summer job for three years) were full of..."talkative" people). You respond according to the level of real danger. If it's some old fat drunk cracker who's blowing off impotent steam, you just roll your eyes and figure he'll be dead soon enough. If it's a younger guy who's just gotten riled up, you talk sense to him, at least as much as you can.. If you think it's real danger, you proceed accordingly, up to and including calling the police (and where I lived then, that was by no means a guarantee of anything good happening, but...you took your chances). And if you're lucky, you can get into a conversation where the real cause of the anger is coming from. Swear to god, I was working with a lady one time who told me point blank, "I don't like black people." "Oh really, why is that?" "they're so loud all the time. "Do you like loud white people?" "No, I don't". "Do you know any quiet black people?" "Yeah, a few." "Do you like them?" "Yeah, they're fine". "So it sounds like what you really don't like is loud people." looooonnnngggg pause "Yeah, I suppose you're right. I never thought of it that way before." I swear to god, it was that easy. I have no illusions about how long or how deep it went, but if you can leave a situation better than you found it, if you can plant even a seed of discombobulation into those ignunt racist heads, you've done about all you can do at any given moment, short of slitting their throats and killing their babies, which, I think we'll all agree, is not a particularly good idea. And I don't think that saying "fuck you" plants seeds of anything too much more than determination to keep on keepin' on, which in the case of gut-level (or otherwise) racists is also not a particularly good idea. Now, if you need to feel better, go buy some new shoes. I'm loving my new Vans. Better support and more comfort than shoes costing many times more. Or you could make the speaker of such shit the poet laureate and put him in Warren Beatty movies. But your attitude is probably smarter than mine in that over the last 70 years I've probably been in more fist fights than you have, some of them because someone called someone a "jew boy" or a "nigger". And on a more important note i do indeed have the new "Yo Gabba Gabba" Vans for adults.

So if we hear someone say "let's lynch the nigger" we should meditate? Personally I'd rather say "fuck you" to the speaker and to anyone who defends his rights to say it--even if it leads to charges that I'm a silencer.

I don't claim to speak for all Jews but speaking for myself fuck him and fuck you.

Thanks for the reminder. I just ordered it from Amazon. I remember seeing Lonnie play at Meat & Potatoes across the street from the University of Toronto. To be honest at the time I didn't really understand his importance. (Just as I didn't really know who Willie the Lion Smith was when I interviewed him at about the same time.) A friend of mine paid her way through college working as a teller in a bank. Lonnie chose her as his favorite teller and would come to her to withdraw money from an account she thinks was set up by fans. One day after his withdrawal he commented on the small amount left but said not to worry, he wouldn't need much more. A few weeks later he was dead. BTW She's now principal (president) of McGill University.

Just checked the discography in the Lewis Porter Prez book. He lists a shit load of airchecks! I've only been able to find a couple of them. He also lists some Benny Goodman sides for RCA. Does Prez solo on them? BTW Fiesta in Blue can be downloaded from iTunes. They have it from several sources.

Worth noting is that per here: http://lists.jazzwee...rch/002849.html Burns unstead used a slip of juggler Rudy Cardenas, who was not even on thee show that night, but who was on the following werk, 3/19/55 http://www.imdb.com/title/tt1855000/ So what Burns is showing you that Bird was watching, Bird was already dead by then - and it wasn't evne the same act. So much for meticulous research... That sort of thing is what I have against Burns. Then, again , most (though not all) documentarians seem to think this sort of thing is ok.

Happy B'day and many more!!

They would have paid composers' fees. Hard for a bog company to et away with not doing so. It's mandated by law.

Just about to start it myself, Medjuck. Remember, it's FICTION. Of course, but she seems to have researched it pretty well and to make a passing statement like that suggests to me that she must have read it somewhere.

I've just started Half Blood Blues by Esi Edugayan in which Louis Armstrong, John Hammond and Bill Coleman are minor characters. The book makes reference to Pops hating Hammond. I can think of why he might Hammond wrote several despairing things about Armstrong's latter day playing but is Pops on record anywhere about hating Hammond? Seems to me Pops hardly bad-mouthed anyone. I'll write more about the book when I finish it. It's a bit of a sensation in Canada.

I do remember when "funk" as personified by the Jazz Messengers was considered to be not hip. (I admit that when I first saw Wayne with Miles I wrote that he had "recently escaped the confines of The Jazz Messengers" or something like that.)

They're all on The Complete Count Basie Decca Recordings box set put out by GRP in 1992.

The set begins with an into by George Wein in which he explains the the festival lost a lot of money but they were going to to keep it going anyway. Sure glad they did. One of the best latter day EKE sets too.

Welcome back! While you were gone Berrigan had an epiphany and became a socialist.

Thanks guys! No big jazz presents this year (I would have asked for the Mosaic Hawkins if it were available) but A Study in Frustration did arrive last night.

Hmmm I've got one that's just Hawkins & Young. Put out by Columbia Special Products but on the Signature label.

"The Greatest Love at All" IIRC it was originally written for a bio-pic of Ali which starred the man himself and was called "The Greatest". The words state the the greatest love you can have is for yourself. Always found that strange. I lived across the street from one of the writers who of course was thrilled when Houston's version took off.

Now it says $25.95 and temporary our of stock.

If you want an overview, the Hippo Select "Ultimate Collection" covers her entire career and also has a DVD with her best film/tv performances.

Well maybe someday they'll be an ad for some re-issue we didn't know about. I'm often surprised by Amazon suggestions for things I didn't know existed but which I want when I do know about them.

I think that's where I saw Art Pepper (though it may have been Carmello's-- they were both still around when I moved to LA in 1980.)

of "Red Rubber Ball" fame Also "Turn-Down Day"! You mean they actually recorded more than one song. I have a vague memory that they were managed by Brian Epstein and were one of the acts opening for the Beatles during the '66 tour of America.