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Real Gone Jazz

69.125.117.66
Posted on February 7, 2017 at 08:25:15
rbolaw
 Anyone tried anything on this UK-based import label? I just got Art Blakey Eight Classic Albums (on 4 CDs) for less than $3 per disc. Similar collections for Bill Evans, MJQ, Horace Silver, Chet Baker, Sonny Rollins, Thelonius Monk, Ray Brown, Ellington, Coltrane, Blue Mitchell, Clifford Brown, Dexter Gordon, Lee Morgan, Stan Getz, etc., etc., all dirt cheap.
All digitally remastered. Blakey sounds great. Connoisseurs might carp at "unnatural" digital enhancement, but at these prices, I see no reason not to stock up.

 

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RE: Real Gone Jazz, posted on February 7, 2017 at 08:32:04
Mike K
Audiophile

Posts: 13976
Location: 97701
Joined: September 23, 1999
 The only problem with these Euro reissue houses is that they do not have
access to the original recording media; hence some of their product comes
from prior digital reissues or from LPs even. Some people think this is
piracy. I do not. 50 years is long enough for one entity to have
exclusive rights to issue/reissue a work.

Lack of skill dictates economy of style. - Joey Ramone

 

RE: Real Gone Jazz, posted on February 7, 2017 at 09:05:17
jec01
Audiophile

Posts: 1462
Location: Baltimore, Maryland
Joined: September 22, 2004
 I bought the Duke Ellington box in 2015. The sound quality exceeded my (admittedly low) expectations. And it's 8 discs of Ellington for under $14.

Happy listening,

Jim

"The passage of my life is measured out in shirts."
- Brian Eno

 

Agreed., posted on February 7, 2017 at 09:05:37
rbolaw
 The Art Blakey set clearly was not made from original LPs. More likely, it was made from previously released CDs, "reastered" and "digitally enhanced" so it would not be absolutely identical to those. This has been going on for quite some time.

I believe the EU has extended the period before sound recordings enter the public domain from 50 to 75 years, but I believe that applies to recordings from 1963 and later.

 

RE: Real Gone Jazz, posted on February 7, 2017 at 13:00:35
fantja
Audiophile

Posts: 15524
Location: Alabama
Joined: September 11, 2010
 I concur w/ Mike K.

 

Whats Gone is the copyright, posted on February 7, 2017 at 14:09:48
Awe-d-o-file
Dealer

Posts: 21037
Location: 50 miles west of DC
Joined: January 10, 2004
 Most jazz fans have heard this stuff years ago. Decades ago. I'm OK with these cheap re-releases. Too bad most of these guys were never properly paid for their work way back then.


ET

"If at first you don't succeed, keep on sucking till you do suck seed" - Curly Howard 1936

 

Here's what U.S. law says., posted on February 7, 2017 at 14:37:54
Rick W
 More than 50 years.

 

RE: Agreed., posted on February 8, 2017 at 01:14:55
PAR
 Small correction: 70 not 75. The extension from 50 to 70 years protection does indeed only apply to recordings communicated to the public (published) within 50 years prior to 1st November 2013. Those recordings whose period of copyright protection had already expired did not come back into copyright.

 

RE: Here's what U.S. law says., posted on February 8, 2017 at 01:27:08
PAR
 The circular refers to "works" . Although I am no expert on US copyright law, in most countries copyright "works" does not include sound recordings (which have their own separate copyright provisions), but are musical compositions, literary works etc. In fact the circular refers to the period of protection in relation to the author's death which supports this view.

It may be worth pointing out that where a sound recording has entered the public domain this does not necessarily mean that a subsequent re-issue is completely free of copyright as the copyright owner of the musical work may still require payment.

 

RE: Here's what U.S. law says., posted on February 8, 2017 at 06:06:25
rbolaw
 US copyright law for sound recordings, at least historical ones prior to 1972, is a mess imho, thanks to the terrible Capitol v, Naxos decision. We've discussed this here before. Below is a decent scholarly discussion.

 

Yes, that's right. Thanks. nt, posted on February 8, 2017 at 06:12:33
rbolaw

 

Cleverly timed to protect almost all of the Beatles catalog. nt, posted on February 8, 2017 at 13:53:45
jec01
Audiophile

Posts: 1462
Location: Baltimore, Maryland
Joined: September 22, 2004
 nt

Happy listening,

Jim

"The passage of my life is measured out in shirts."
- Brian Eno

 

Yes, not so coincidentally. ;-) nt, posted on February 8, 2017 at 15:19:53
rbolaw

 

RE: Agreed., posted on February 9, 2017 at 19:30:00
Ross
Audiophile

Posts: 1814
Joined: January 24, 2000
 2013 minus 50yrs...... 1963.......which group began to sell in large numbers in 1963 ?

3 guesses.

In the US there is the curious phenomena of very limited releases of rare material, coming out within a few months of going out of copywrite protection. "Release" is a reletive term. The material is available commercially through 1 or 2 vendors for only as long as required to establish the beginning of a new copywrite period. Recent examples include Beatles, Stones, Beach Boys concert regordings and other previously unreleased material that was sitting in vaults. Otherwise the material would enter into the public domain, and the various bootlegs in the market would become legitimate.

 

RE: Here's what U.S. law says., posted on February 10, 2017 at 03:29:41
PAR
 Many thanks for that fascinating link. From an outsider's perspective copyright law in the USA has always seemed out of step with the rest of the world and somewhat obtuse. One thinks of the journeys of Dickens or Gilbert and Sullivan to the USA during the 19th century that had, in part, the purpose of lobbying for the improved protection of their creative works. Dicken's comparative lack of success on his first trip may have influenced his generally rather sour view of the States in "American Notes".

The uniqueness of copyright law in the USA has certainly provided hazards for the protection of its own citizens' rights abroad. For example much of international copyright law depends to some extent upon reciprocity and/or international agreement. For just about all of my time working in the area of copyright in sound recordngs our lawyers had to rely upon the "doctrine of simultaneous publication" for USA originated recordings where the infringement of secondary rights was at issue. That is we needed to rely upon the fact that the same recording had been published in Canada at the same time with its protection in the UK arising from that event rather than from across the border.

 

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