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August 21, 2011


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keith hedger

sorry Marc, but I have to respectfully disagree with your take on the copyright thing. It doesn't matter that the digital age has dawned, and that record companies are in trouble. The '76 law is clear and the artists who own those copyrights are entitled to their royalties. Record companies have been stealing from artists since the inception of recorded music, it's time they pay up and adhere to the law. Of course, as you point out, they will try not to, that's how they've always done business; lie, steal, coherce, cook the books, and delay with bogus court cases. That's the nature of criminals, and the recording companies were founded by, and run by criminals since their beginning. To suggest that now artists should sit down and make a settlement, instead of demanding that the record companies fullfill their obligations under the law is preposterous.

keith hedger

Bill Kirchner

Eddie Sauter told me in 1980 (for a 6-hour NEA Jazz Oral History interview) that he believed that he (Eddie) contracted TB from Christian when they were with Goodman and Charlie was hacking a cough in a recording studio control booth. Luckily, Eddie's wife was a nurse and took good care of him; he recovered after a long convalescence, during which time Goodman kept him on salary.

Frank Griffith is an old NYC friend and colleague who moved to England in the '90s and has done well for himself there.


I read recently that big label contracts now give the record company a cut of the artists' performance, merchandise, and endorsement fees. The old concept of touring to support an album has been replaced by recording to support the tour, and touring to support the clothing, jewelry, perfume sales, etc.


Griffith's live nonet recording from 2000 is distinguished especially by the presence of Henry Lowther, a great British trumpet player who spent a lot of time in the studios but was severely under-recorded as a jazz soloist.

John P. Cooper

They are asking 100K for the Harry James material. Wow! And there doesn't seem to be that much there.

They cited the high sale price of Charlie Parker's alto sax, but the fan base for James and Parker seems vastly different.

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  • Marc Myers writes regularly for The Wall Street Journal and is author of "Anatomy of a Song" (Grove) and "Why Jazz Happened." Founded in 2007, JazzWax is a two-time winner of the Jazz Journalists Association's best blog award.

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