How is “Solar” based on “How High the Moon”? In the first post of this series, I gave some general information about why songs are sometimes credited to the wrong composer, and showed that when Miles is wrongly credited, one cannot assume that he “stole” the song. Then we started to explore “Solar.” That exploration
To elaborate, in order for Prestige Music, Inc. to claim ownership of a song by Miles Davis, they would have had to made a contract with Miles in which Miles ceded ownership of the song to them. And even though such contracts were highly weighted to benefit the publisher, it's likely that Miles would have at least received something, even if were only one cent per disc sold. Also, Miles could have sold publishing rights to Prestige Music, Inc. for a flat fee. If Prestige didn't want to pay Miles anything, they could have assigned authorship to anyone they chose; to Bob Weinstock, even. The fact that it was assigned to Miles must mean something, then.
Cliff--you missed some VERY important points in the first essay in this series. I explicitly said that the label would not LIE--crediting a non-musician like Weinstock would be an outright lie. And I said even if Miles said "I did not write it and I don't know who did," that would be enough for Prestige to say "Let's call it yours then." OF COURSE Miles received money--Prestige's idea was NOT to avoid paying money to Miles! I also said so in that first post, and I also said that Miles is not blameless. But it is Misleading and Meaningless to say "Miles stole" these tunes. Reread Part 1 again please. THANKS CLIFF
Thanks for clearing up the issues regarding Solar. I feel somewhat vindicated since I recall that when I was in your MA program at Rutgers, the issue of whether or not it was an altered blues came up and I recall insisting that it was not and being outvoted by you and some others. Of course this was before the comments from Chuck Wayne came to light. Another tune with a similar series of stepwise ll-V's is Tune Up, which ironically has also been the subject of some controvery regarding authorship.
Thanks Kenny! As I said in the article, I remember always hearing that it was based on How High, and in fact I have an email thread from the jazz-research listserve from around that same time you're referring to (about 20 years ago) where I said so and got shouted down by people insisting that it is a blues. In any case, you were right, for sure! I'm curious to see if anybody still insists it's a blues after reading my proof. As for Tune Up—as this series proceeds, we'll get to that of course, and many others. THANKS KENNY --and for your support as well !!
To elaborate, in order for Prestige Music, Inc. to claim ownership of a song by Miles Davis, they would have had to made a contract with Miles in which Miles ceded ownership of the song to them. And even though such contracts were highly weighted to benefit the publisher, it's likely that Miles would have at least received something, even if were only one cent per disc sold. Also, Miles could have sold publishing rights to Prestige Music, Inc. for a flat fee. If Prestige didn't want to pay Miles anything, they could have assigned authorship to anyone they chose; to Bob Weinstock, even. The fact that it was assigned to Miles must mean something, then.
Cliff--you missed some VERY important points in the first essay in this series. I explicitly said that the label would not LIE--crediting a non-musician like Weinstock would be an outright lie. And I said even if Miles said "I did not write it and I don't know who did," that would be enough for Prestige to say "Let's call it yours then." OF COURSE Miles received money--Prestige's idea was NOT to avoid paying money to Miles! I also said so in that first post, and I also said that Miles is not blameless. But it is Misleading and Meaningless to say "Miles stole" these tunes. Reread Part 1 again please. THANKS CLIFF
Thanks for clearing up the issues regarding Solar. I feel somewhat vindicated since I recall that when I was in your MA program at Rutgers, the issue of whether or not it was an altered blues came up and I recall insisting that it was not and being outvoted by you and some others. Of course this was before the comments from Chuck Wayne came to light. Another tune with a similar series of stepwise ll-V's is Tune Up, which ironically has also been the subject of some controvery regarding authorship.
Thanks Kenny! As I said in the article, I remember always hearing that it was based on How High, and in fact I have an email thread from the jazz-research listserve from around that same time you're referring to (about 20 years ago) where I said so and got shouted down by people insisting that it is a blues. In any case, you were right, for sure! I'm curious to see if anybody still insists it's a blues after reading my proof. As for Tune Up—as this series proceeds, we'll get to that of course, and many others. THANKS KENNY --and for your support as well !!
How about "Selim" (from "Live-Evil")? It is actually Hermeto Paschoal's "Nenhum Talvez"...
Yes, of course--I can't get to everything at once--that is on my list! THANK YOU
Thanks. That was helpful. I think I'll understand the tune better going forward.
THANK YOU