Welcome
Fortunately within the EU, the 50 year period of copyright on material issued in and upto the 1st half of the 20th century is expiring, moving this material into the public domain.
In combination with electronic distribution, it is possible to share this culturally valuable material where it would not be commercially viable.
- it is therefore primarily intended to promote the appreciation, the preservation and aid research.
The modest intention of this blog is to allow me to highlight some of this material, to perhaps encourage others to discover and enjoy.
If it creates a valid awareness of our rights to access this material, which has often long out of print or available only in very limited numbers, then all the better.
Background
There is a strong difference in the interpretation and enforcement in different countries, particularly with recent legal cases on each side of the Atlantic highlighting these differences.Given the aggressive push by organisations and corporations within the United States, to enforce copyright laws (globally, often to their advantage and effectively erode our rights), it is particularly interesting given the attitude of the United States to others copyright during the 18th and early 19th Centuries.I recommend the article over at wikipedia, to get an overview of the situation, perhaps quite different than you might have thought from impressions given by the Music Industry and their lobbying organs - History of Copyright Law
"In Great Britain's North American colonies, reprinting British copyright works without permission had long happened episodically, but only became a major feature of colonial life after 1760. It became more commonplace to reprint British works in the colonies (mostly in the 13 American colonies). The impetus for this shift came from Irish and Scottish master printers and booksellers who had moved to the North American colonies in the mid 18th century.
They were already familiar with the practice of reprinting and selling British copyright works, and continued the practice in North America, and it became a major part of the North American printing and publishing trade.
Robert Bell was an example. He was originally Scottish, and had spent almost a decade in Dublin before he moved to British North America in 1768. His operations, and those of many other colonial printers and booksellers, ensured that the practice of reprinting was well-established by the time of the American Declaration of Independence in 1776. Weakened American ties to Britain coincided with the increase of reprinting outside British copyright controls.
The Irish also made a flourishing business of shipping reprints to North America in the 18th century. Ireland's ability to reprint freely ended in 1801 when Ireland's Parliament merged with Great Britain, and the Irish became subject to British copyright laws.
The printing of uncopyrighted English works for the English-language market also occurred in other European countries. The British government responded to this problem in two ways: 1) it amended its own copyright statutes in 1842, explicitly forbidding import of any foreign reprint of British copyrighted work into the UK or its colonies, and 2) it began the process of reciprocal agreements with other countries. The first reciprocal agreement was with Prussia in 1846. The US remained outside this arrangement for some decades. This was objected to by such authors as Dickens and Mark Twain."
I don't want to get into a fiery discussion regarding opinion on copyright, I'd like to discuss the actual legalities of copyright law and how they effect material now entering the public domain in some geographical areas and how this effects us, given our present communications inter-connected-ness.
Terms of Use
This space for intended to create a place for encouraging the enjoyment and awareness of older music, often long out of print or available in very limited numbers - it is therefore primarily intended to promote preservation and aid research.Obviously depending upon your present country of residence, downloading and keeping material, in areas other than the EU may breach your country's laws regarding copyright infringement. As a specific illustration, the United States enforces copyright, some 90 years from the date of publishing, whereas copyright in the EU expires after 50 years of either performance or first publication.I therefore ask you to exercise discretion, I must presume you are adults and part of that is exercising a little self-rule, where applicable
- do not download material if you know it is illegal to do so in your country.
This blog is based within the EU and is therefore entitled to discuss and publish material in order to further that discussion.
BLP 5031 Wade Legge - New Faces-New Sounds
Wade Legge (p) Lou Hackney (b) Al Jones (d) - Paris, France, February 27, 1953
This was originally a Vogue session, then licensed to Blue Note for US release.
From wikipedia;
"Legge played more bass than piano in his early years, and it was with the bass that he was first noticed by Milt Jackson, who recommended him to Dizzy Gillespie. Gillespie hired him and shortly thereafter moved him to piano; he remained a member of Gillespie's ensemble until 1954, and during that time recorded a date in France as a trio session leader."
So this, was recorded whilst still part of Gillespie's band.
For specific tracklistings, have a look at the excellent Jazz Discography Project
or,
Wade Legge (ldr), Wade Legge (p), Lou Hackney (b), Al Jones (d)
a-01 Perdido - 3:08 (Juan Tizol, Ervin Drake, Hans Lengsfelder)
a-02 Dream A Little Dream Of Me - 3:16 (Fabian Andree, Gus Kahn, Wilbur Schwandt)
a-03 Wade Legge's Blues - 3:44 (Wade Legge)
a-04 Dear Old Stockholm [Ack Värmeland, Du Sköna] - 3:11 (Traditional)
b-01 Dance Of The Infidels - 3:14 (Bud Powell)
b-02 Aren't You Glad You're You - 3:15 (Jimmy Van Heusen, Johnny Burke)
b-03 These Foolish Things - 2:52 (Harry Link, Holt Marvell, Jack Strachey)
b-04 Why Don't You Believe Me - 2:52 (Lew Douglas, King Laney, Roy Rodde)
BN LP 5030 Lou Donaldson/Clifford Brown - New Faces/New Sounds
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Clifford Brown (tp) Lou Donaldson (as) Elmo Hope (p) Percy Heath (b) Philly Joe Jones (d)
WOR Studios, NYC, June 9, 1953
BN489-1 tk.2 Bellarosa
BN490-3 tk.6 Carvin' The Rock
BN491-1 tk.8 Cookin'
BN492-0 tk.9 Brownie Speaks
BN493-0 tk.10 De-Dah
BN494-0 tk.11 You Go To My Head
** also issued on Blue Note (J) BRP 8036.
For specific tracklistings, have a look at the excellent Jazz Discography Project
BN LP 5029 Elmo Hope - New Faces/New Sounds
Elmo Hope (p) Percy Heath (b) Philly Joe Jones (d)
Rudy Van Gelder Studio, Hackensack, NJ, June 18, 1953
BN495-1 tk.2 Happy Hour
BN496-2 tk.5 Freffie
BN497-2 tk.8 Carvin' The Rock
BN498-0 tk.9 Host Sauce
BN499-0 tk.10 Mo Is On
BN500-1 tk.13 Stars Over Marrakesh
BN501-1 tk.19 I Remember You
BN502-2 tk.23 Sweet And Lovely
** part of Blue Note (J) K18P 9271, CDP 7 84438-2.
For specific tracklistings, have a look at the excellent Jazz Discography Project
BN LP 5028 Jay Jay Johnson With Clifford Brown
Clifford Brown (tp -1/4,6) J.J. Johnson (tb) Jimmy Heath (ts, bars -1/4,6) John Lewis (p) Percy Heath (b) Kenny Clarke (d)
WOR Studios, NYC, June 22, 1953
1. BN503-3 tk.4 Capri
2. BN504-0 tk.5 Lover Man
3. BN505-0 tk.6 Turnpike
4. BN506-2 tk.11 Sketch One
5. BN507-0 tk.12 It Could Happen To You
6. BN508-0 tk.14 Get Happy
** also issued on Vogue (E) LDE 124; Jazz Selection (F) JSLP 50008 entitled "Jay Jay Johnson Sextet".
For specific tracklistings, have a look at the excellent Jazz Discography Project
BLP 5027 Various Artists - Swing Hi-Swing Lo
Benny Morton (tb) Barney Bigard (cl) Ben Webster (ts) Sammy Benskin (p) Israel Crosby (b) Eddie Dougherty (d)
WOR Studios, NYC, January 31, 1945
BN220-0 Conversing In Blue
BN222-0 Limehouse Blues
Buck Clayton (tp) Keg Johnson (tb) Ike Quebec (ts) Roger Ram Ramirez (p) Tiny Grimes (g) Grachan Moncur (b) J.C. Heard (d)
WOR Studios, NYC, July 17, 1945
BN246-1 I've Found A New Baby
Ray Nance (tp) Henderson Chambers (tb) Jimmy Hamilton (cl) Otto Hardwick (as, cl) Harry Carney (bars, cl) Jimmy Jones (p) Oscar Pettiford (b) Sidney Catlett (d)
WOR Studios, NYC, November 21, 1945
BN269-4 Blues For Clarinets
BN270-0 Slapstick
BN271-1 Blues In My Music Room
Shad Collins (tp) Keg Johnson (tb) Ike Quebec (ts) Roger Ram Ramirez (p) John Collins (g) Milt Hinton (b) J.C. Heard (d)
WOR Studios, NYC, September 23, 1946
BN293-2 Basically Blue
For specific tracklistings, have a look at the excellent Jazz Discography Project
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