GA Russell

You bet! And I certainly feel a moral duty to buy the issues of his recordings which will result in his getting paid.

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. Joe and Michael, I'm confident that Concord is paying somebody. But I doubt that they are paying the musicians and the composers because I suspect that for most of those great '50s jazz albums, the musicians and the composers are dead. So Concord is paying "the heirs and assigns." You will recall that I assumed that I have a moral duty to certain people such as the musicians. Did they have a right to transfer my moral duty? It's not obvious to me that they did.

Michael, I am happy to consider the songs' composers among those involved with the making of the record. 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. But Concord did not pay "the original owners of Fantasy." They paid Saul Zaentz, who acquired the company in 1967, 18 years after Dave Brubeck's first recordings, which Fantasy obtained from Coronet Records. http://en.wikipedia.org/wiki/Fantasy_Records Should I have a moral duty toward the current owner of tapes (which have changed hands many times) after the musicians, producer and engineer are dead? In regard to the US, the Constitution states that copyright shall be for a limited time. ( Article 1, Section 8, Clause 8) To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries; Does that make the Constitutional immoral?

In my view, I have a moral duty toward the people involved with the making of the recording. "Copyright holder" is a legal concept, a creation of the local government. I don't recognize a government to have the ability to create moral duties, and without knowing anything else about a situation, I would not feel a moral duty toward a copyright holder. Anyone want to persuade me otherwise?

I received this press release from ECM this morning. Keith Jarrett at iTunes To coincide with the celebration of his 70th birthday today (May 8th), a destination has been created on iTunes featuring Keith Jarrett's mighty discography which incorporates two new ECM releases, a collection of Mastered for iTunes titles and two digital bundles https://itunes.apple.com/us/artist/keith-jarrett/id72348 In addition to the two new Keith Jarrett recordings ECM is releasing, Creation (music selected and sequenced by the artist from improvised solo concerts in 2014) and piano concertos by Samuel Barber and Béla Bartók with Jarrett as soloist (see below for further details), the destination features Jarrett’s extensive ECM catalog of over 70 titles. Ten of the earliest titles from the analog era are also being made available digitally, Mastered for iTunes. These are: the solo piano albums Facing You and The Köln Concert (recorded 40 years ago in 1975); Arbour Zena, Jarrett’s music for strings and piano with guest soloists Jan Garbarek and Charlie Haden; The Survivors’ Suite and Eyes of the Heart with the American Quartet with Dewey Redman, Charlie Haden and Paul Motian; Belonging and My Song with the European Quartet with Jan Garbarek, Palle Danielsson and Jon Christensen; Standards Vol. 1, Changes and Standards Vol. 2 with Gary Peacock and Jack DeJohnette. The Mastered for iTunes titles are available either individually or as a digital bundle headlined Keith Jarrett: A Jazz Collection. There is also a Jarrett Classical Collection download bundle with Bach’s French Suites and (with Kim Kashkashian) the Sonatas for Viola da Gamba and Harpsichord, Handel’s Suites for Keyboard, Mozart’s Piano Concertos and Shostakovich’s 24 Preludes and Fugues. Several Keith Jarrett tracks can be heard on ECM’s dedicated iTunes Radio channel which was launched in March with a curated program of tracks from the label’s recently released and up and coming jazz and improvising artists. https://itunes.apple.com/us/station/idra.972238008 Classical tracks will be added to the mix in the Autumn. Further Information: Creation signals a departure from the ‘traditions’ of Keith Jarrett’s many ECM recordings of solo improvised piano. Earlier concert recordings have reflected the flow of musical ideas and inspirations as developed in the course of an evening (as on The Köln Concert, Paris Concert, Vienna Concert, Rio etc.) or several evenings (Bremen-Lausanne, Sun Bear Concerts, Testament etc.) Creation - drawn from concert recordings made in Japan, Canada and Europe in 2014 - is different: After reviewing all the music from his 2014 performances, Keith Jarrett honed in on the most revelatory episodes from six concerts in Toronto, Tokyo, Paris and Rome and sequenced them, effectively creating a new concert, a new suite of pieces with its own inner logic and momentum. The concept opens up fresh possibilities, extending the improviser’s art to include an intuitive reassembling of material. The resultant album is perhaps the most strongly lyrical of Jarrett’s recent solo releases, the choice of music emphasizing pieces in which there is a sense of song being born, voices striving to be heard. Creation also offers the most up-to-the minute account of Jarrett’s uncanny capacity to construct compelling music in real-time: his melodic-harmonic imagination as an improviser and his ability to consistently find and shape new forms remain, after all these years of solo concerts, remarkable. Barber/Bartók/Jarrett Keith Jarrett plays Samuel Barber’s Piano Concerto op. 38 and Béla Bartók’s Piano Concerto no. 3. These recordings, made in 1984 and 1985 in Saarbrücken and Tokyo, make a significant addition to the pianist’s discography as an interpreter of notated music. Jarrett’s recordings of classical repertoire for ECM have focused primarily on Bach and Mozart, though there are also exemplary albums of Handel’s keyboard music, and Shostakovich’s Bach-inspired Preludes and Fugues as well as a crucially important contribution to Arvo Pärt’s Tabula Rasa. Playing Fratres alongside Gidon Kremer, Jarrett’s participation would help to bring a then little-known Estonian composer to world attention. It was a richly creative period. Jarrett had just launched the jazz group with Gary Peacock and Jack DeJohnette that would become known as the Standards Trio and in parallel was giving classical recitals, and continuing with his solo piano improvisations. Splitting his time between jazz standards, the vast literature of classical music and free playing, Jarrett was juggling three different musical disciplines. After the Bartók performance in Tokyo, Jarrett returned to the stage to play an improvised solo piece, now titled “Tokyo Encore – Nothing But A Dream” and included as the album closer. These two albums mark the first time Keith’s work in two genres has been released simultaneously since 1992 when both Vienna Concert and the Shostakovich 24 Preludes and Fugues came out. In addition, ECM has developed a microsite http://www.keithjarrettecm.com/ which focuses exclusively on Keith Jarrett’s ECM discography. And I too wish Keith Jarrett a happy birthday!

Thanks bluesoul!

I received an email from All About Jazz today telling me that John Abercrombie will be in Durham on the 6th of next month with his trio/quartet. Might be fun! http://raleigh.jazznearyou.com/event_detail.php?id=560708

I see that Kobie Watkins and his group will be appearing in Durham on the 30th. I'll try to save up some money to go. http://raleigh.jazznearyou.com/event_detail.php?id=572696 I also see that this album is now up on Spotify.

Today is Orson Welles' 100th birthday! http://en.wikipedia.org/wiki/Orson_Welles Other than Citizen Kane, what would you say was his best movie? Or if not his "best," your favorite?

Thanks Scott! I had no idea.

Cardinals tight end John Carlson surprised the team and told them he has decided to retire. http://www.msn.com/en-us/sports/nfl/cardinals-lose-tight-end-john-carlson-to-surprise-retirement/ar-BBjezel?ocid=ansFOXsports11

This one is now up on Spotify. I like it. It's a little more "out" than I would normally go for, but these guys are good. I suspect that by the end of the year, my opinion of this album will change some, but I don't know whether I'll like it more or less!

can i bring my green sharpie? LOL! I'd forgotten about that!

Thanks for that suggestion TMG. I looked him up, and saw that he is the author of Deadball Stars of the American League which I was familiar with. John, in 1961 my dad took me to see Satchel Paige pitch for the Portland Beavers in Seattle against the Rainiers. This was in the Coast league. Paige started and pitched four innings. He did well, but obviously did not qualify for a win. He looked like he was made out of rubber! John, I am currently reading Turning the Black Sox White by Tim Hornbaker. Last night I read about the 1906 World Series. I recommend the book! http://www.amazon.com/Turning-Black-Sox-White-Misunderstood/dp/1613216386/

I have an opinion about the Negro Leagues that anyone is welcome to correct me on. My understanding is that the teams were, for the most part, barnstormers. There is no doubt in my mind that the best Negro League players deserve to be in the Hall of Fame. But I suspect that it is in the nature of barnstorming that the players did not develop their skills and their conditioning the way the Major Leaguers did. I suspect that most barnstormers (of any race) could not get much further than their natural ability could take them. Another thought occurs to me: I've never seen praise for the coaching of the Negro League players. I've seen interviews with the old players talk about how they played inside baseball, but I never once saw one praise a manager or coach for being wily, or winning games by cunning.

Here is a new Twitter address for you to follow. I think it started today. https://twitter.com/3DownNation

Wait! These responses have been about the morality of an American purchasing a European public domain compact disc. Barnaba is a European, a Pole, so the morality of American law is irrelevant. I think that those who know should be discussing which European labels have reputations for issuing high fidelity PD CDs, and which labels are known for poor quality PD CDs. Barnaba, the label of the Art Blakey release you cite is Real Gone, whose reputation is not particularly good. I'm sure that there are some here who can recommend companies which do a better job.

Jim, up until 1970 or so, Columbia, Reprise, A&M and London (British Decca) made quite a number of records for your dad's friends. In fact, I remember your linking me to a 1966 Billboard chart for adult music.

This report says that most people lose interest in new music at age 33. So I wonder...Could it be that most new music is made for the teen market, and therefore is of no interest to adults? http://skynetandebert.com/2015/04/22/music-was-better-back-then-when-do-we-stop-keeping-up-with-popular-music/

As you know, the NFL draft was held the past few days, so let's see how it affects the CFL. First, let's look again at the Scouting Bureau's Top 20 prospects. http://cfl.ca/article/final-scouting-bureau-rankings-released The #1 guy was Grover Covington's son Christian. He went to Rice, and was drafted in the sixth round by the Houston Texans. http://www.tsn.ca/texans-select-canadian-dt-covington-1.273437 #2 was Brett Boyko who was signed by the Philadelphia Eagles. http://www.tsn.ca/eagles-sign-canadian-ol-boyko-1.273608 #13 Jason Ruby has been invited to the mini-camp of the New York Giants. http://www.tsn.ca/giants-invite-canadian-ot-ruby-to-mini-camp-1.273619 #19 Brandon Bridge has been invited to the mini-camp of the Dallas Cowboys. http://www.tsn.ca/canadian-qb-bridge-to-try-out-for-cowboys-1.273692 ***** Here's an article about each CFL team's mini-camp this week. http://cfl.ca/article/recap-three-storylines-from-each-cfl-mini-camp

What are the odds of this happening? Remember, these two are today married to each other! http://www.thestar.com/life/2010/06/10/disney_world_photo_captures_couple_together_15_years_before_they_met.html

Now $10.33 + $3.99.

I think it was in '91 that Atlanta was a test market for Miller Reserve. I loved it. The following year, Miller reintroduced Miller Reserve to Atlanta, but it was clearly a different recipe, and I didn't like it nearly as much. The first microbrewery that I ever heard of was Sam Adams, and that was because my aunt lived in Boston, and she told me about it. That was probably in the mid-'80s. (I'm pretty sure that I had heard of Anchor Steam before then, but I don't think that that was ever considered a microbrewery.) Boston Brewing now claims to be the largest American brewery because the big ones have been sold to foreign corporations.

I'll trust your memory, Larry. I don't remember him ever being called Louis.

Happy Birthday Alexander!