You Be The Judge Verbal Agreement Recording Studio Blues

Unlike Chiefs I and II (which depend on the rights of Bessie Smith, allegedly acquired and violated between 1923 and 1933), Earl IV alleges a plea based on rights acquired between 1923-33 but violated only in the early 1950s and again in the early 1970s. the two times Columbia released long-running re-recordings of Smith`s songs. And unlike Count III (which depends on Bessie Smith`s rights to the songs she composed), Count IV is based on rights allegedly acquired through Smith`s artistic achievements both in recording sessions with Columbia and in recordings released as a result of those recording sessions. According to the plaintiffs, these rights are not based on the fact that Bessie Smith composed a particular song, but stem from her style and way of singing the blues. From 1923 until his death in 1937, Smith was the exclusive recording artist for the Columbia Phonograph Company, whose successor, Columbia Records, Inc. and its parent company CBS, Inc., were the defendants. Some of the plaintiffs` claims relate to the Columbia Phonograph Company in the 1920s and 1930s, and others to the actions of its corporate successors in the 1950s and 1970s. For the sake of simplicity, defendants are simply called “Columbia.” Smith died on September 26, 1937, in a tragic car accident near Clarksdale, Mississippi. She is survived by her husband Jack Gee Sr., who died in 1975.[2] His executor, William D.

Harris, is one of the plaintiffs in this case. The other plaintiff is a Jack Gee, Jr., who claims to be the adopted son of Smith and Jack Gee, Sr. [3] The plaintiffs` claim is that Bessie Smith recorded about 180 songs for Columbia between 1923 and 1931 and was paid for about 160 of them. These songs were re-recorded for the 1951 series of albums and again for the 1970-72 series of albums. The plaintiffs allege that the defendant`s method of re-recording and packaging infringed Bessie Smith`s original acquired rights because of her style and manner of playing. .

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