Klarinet Archive - Posting 000268.txt from 2000/08

From: Bill Hausmann <bhausmann1@-----.com>
Subj: RE: [kl] My memory did not deceive me after all
Date: Fri, 11 Aug 2000 19:08:55 -0400

At 09:31 AM 8/11/2000 -0700, Kevin Fay wrote:
>I've often wondered why this happens. On the one hand, I completely
>understand the record companies' reluctance -- they are in the business of
>making money, not preserving cultural artifacts. The conductor of my
>orchestra recently related an anecdote of a recent recording by the Berlin
>Philharmonic that sold less than a thousand copies worldwide; when you
>contrast that with the considerable success of, say, Britney Spears, there's
>no economic wonder as to why these companies do what they do.
>
One of the interesting things about pop music these days, which was NOT the
case in the 1930's and 40's, the Golden Age of pop music, is that
artists/groups record and perform almost ENTIRELY their own original
"works." Not only does this insistence upon originals create keep
exclusivity (You want that particular song? You can ONLY get if from US!),
but it also means all royalties stay home and don't have to be shared with
an outside composer. I think the record companies like this system, or the
exclusivity part anyway. Back when pop music was performed by actual
MUSICIANS, they had the good sense and taste to realize that there were
many songs out there, written by trained composers, that were far better
than what they could write themselves. Of course, many bands could each
record their own versions of the tunes, so, while exclusivity of artist and
arrangement could be maintained, the song was readily available in
competing versions. (Dismount soapbox -- sorry.) Anyway, the same lack of
exclusivity exists in the classical field. EVERY label has a version of
"Bolero" (to choose a random example) and maybe even MORE than one! This,
of course, dilutes the potential market for any given release.

>. . . but there is some hope. First, anyone can come in and re-release old
>recordings, as long as they pay the statutory royalty to the copyright
>holders. Summit recordings is releasing all kinds of cool old stuff in this
>manner. (Unfortunately, they're a bunch of brass players . . . ) Perhaps
>someday they or one of their ilk will release the gems.
>
>Of course, the big record companies could help this out by providing the
>folks like Summit with the original master tapes, which would greatly
>enhance our enjoyment. But they typically won't -- but won't release the
>good stuff either.
>
Again, I think dilution of the potential market is what keeps them holding
the masters close to the vest. Why should they let the competition release
the Gigliotti version of whatever when they have the Drucker (or whoever)
version in their current catalogue, especially since they barely sell
enough of the latter to cover the nut? This attitude has a long history.
(RCA) Victor Records (way back in the 78 rpm era) wouldn't even let Larry
Clinton record his own composition and theme song "Dipsey Doodle" because
they had already recorded the tune with Tommy Dorsey's Orchestra (when
Clinton was in that group) and they did not want to compete with another
record in their OWN catalogue.

>Sigh.
>
Ditto. Fortunately, quite a bit of classic jazz HAS made it to CD re-release.

Bill Hausmann NEW ADDRESS: bhausmann1@-----.com
451 Old Orchard Drive http://homepages.go.com/~zoot14/zoot14.html
Essexville, MI 48732 ICQ UIN 4862265

If you have to mic a saxophone, the rest of the band is too loud.

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