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.
This is another of those Vogue sessions licensed for US release, it was originally Vogue (F) LD 21.
Session List;
Roger Guerin (tp, tu) Nat Peck (tb) Jean Aldegon (bcl) Bobby Jaspar (ts) Fats Sadi (vib) Maurice Vander (p) Jean-Marie Ingrand or Pierre Michelot (b) Jean-Louis Viale (d)
Paris, France, May 8, 1954
You'll perhaps notice Pierre Michelot and Jean-Louis Viale, a bass and drum section often cropping up on these Vogue sessions - look back at BN LP 5005 for comparison.
I'm not hyper-aware of Fats Sadi, other than the fact that he came from Belgium and played vibes, but if you look through his discography, you can see he played with Don Byas Quintet: Don Byas, André Hodeir, Bobby Jaspar, Henri Renaud, Django Reinhardt, Zoot Sims in Paris during 1950-61. He was also later a member of The Kenny Clarke-Francy Boland Big Band.
For specific tracklistings, have a look at the excellent
Jazz Discography Project
-Never Released on Blue Note-
featuring Clifford Brown
There are 3 volumes listed by Blue Note, but Volume 3 was never issued. However for complete-ism, I have assembled the tracks together.
Again Vogue. Lionel Hampton at this point is, 'More and More Crazy'.
For specific tracklistings, have a look at the excellent Jazz Discography Project
featuring Clifford Brown
featuring Clifford Brown
Again Vogue. Lionel Hampton must have been, 'Real Crazy'.
There are 3 volumes listed by Blue Note, but Volume 3 was never issued.
For specific tracklistings, have a look at the excellent Jazz Discography Project
This is again a Vogue session - recorded during the same Lionel Hampton Big Band European Tour of 1953. Licensed by Blue Note for release in the US. In fact from jazzdisco, it would seem licensed by many!
* Gigi Gryce/Clifford Brown/Art Farmer - The Many Faces Of Jazz, Vol. 8 (Mode (F) CMDINT 9560)
* Clifford Brown - The Complete Paris Collection, Vol. 3: Jazz Legacy 52 (Jazz Legacy (F) 500102)
* The Clifford Brown Big Band In Paris (Prestige PR 7840; Fantasy OJC 359, OJCCD 359-2)
* Clifford Brown In Paris (Prestige PR 24020)
* Gigi Gryce And His Orchestra Featuring Clifford Brown - Jazz Time Paris, Vol. 10 (Vogue (F) LD 173)
= Gigi Gryce/Clifford Brown - Gigi Gryce And His Big Band, Vol. 1 (Blue Note BLP 5049)
For specific tracklistings, have a look at the excellent Jazz Discography Project
Again this was originally a Vogue session licensed by Blue Note for US release.
Quoted from Don Waterhouse,
"On the strength of what he was putting down, Blue Note gave him the first session under his own name on 28 August 1953. By this time Brownie had signed up with Lionel Hampton, who was about to set off for europe with a heavy-weight big band comprising such talents as Art Farmer, Quincy Jones, Jimmy Cleveland and Gigi Gryce. Hamp had forbidden his men to undertake any recording work during the tour, although he himself did not hesitate."
"But such trivial constraints failed to dull the enthusiasm of Hamp's young crew, and, following a memorable jam session in Paris' Tabou Club, pianist Renaud was immediately entrusted with assembling the rhythm section for a series of recording sessions featuring this exciting new trumpet phenomenon."
For specific tracklistings, have a look at the excellent
Jazz Discography Project
James Moody With Strings
Loving You The Way I Do - french title (Aimer Comme Je t'aime)
So Very Pretty - french title (Si Jolie)
Autumn Leaves -french title (Les Feuilles Mortes)
Singing For You - french title (Chanter Pour Toi)
Bedella - as listed on BN, Bedelia as listed by Vogue
Shade of Blond - french title(Une Boucle Blonde)
September Serenade
Jackie My Little Cat
In need of rest and recuperation after suffering under the twin scourges of alcoholism and Benzedrine addiction, saxophonist James Moody backed away from the US scene in 1948 and took off to stay with his uncle in Paris for a couple of weeks, only to remain overseas for three years. During that time he was recorded in various settings settings, if you like his style it's worth tracking down his efforts with Frank Foster and Lars Gullin.
This was originally a session for Vogue under the direction of Andre Hodeir, using alto and tenor saxophones, Moody navigates well even when the ensemble sometimes threatens to engulf him - Blue Note licensed it for release in the US.
For specific tracklistings, have a look at the excellent Jazz Discography Project
