At 11:30 AM -0600 11/28/06, Noel Stoutenburg wrote:
David Froom forwarded:
I co-arranged and recorded a piece (Nature Boy) with the late composer (Eden Ahbez) who left me the master, told me how he wanted it produced, asked me to finish it, and see to its distribution. He left his publishing to an aged freind who I am told has no interest.

Years have passed and I finally have a small budget to honor Eden's wishes. I suspect the market for the work is not large, however well it turns out.

I know nothing about negotiating a license. How would you advise I approach him to keep this all above board.
Keeping in mind that I am not an attorney, this is how I would approach the situation, Keep it simple. Approach the old friend, offer to host him to a meal, share some reminisences with the friend about Eden, including your work with him on Nature boy. If you have instructions from Eden in writing, it might be useful to have copies [Note: _not_ the originals] at the meal, indicate what you want to do, and attempt to secure his agreement. If you get it, both of you sign, in the presence of witnesses, ideally a Notary Public two copies of a memorandum of agreement, and each keep a copy.

Also, if it were me, and if Eden had other work deserving of preservation, after getting the memorandum of agreement on the present project, I would offer to assume the publishing of other materials on behalf of, and as agent and successor to Edens friend.

I was tempted to reply, but David's friend's message leaves too much out to get a clear picture of the situation. First, has the song been copyrighted and published, and if so, when? I certainly remember hearing a song called "Nature Boy," and if it is the same one that I remember it has been recorded at least once, perhaps back in the '40s or '50s.

...

OK, a quick Google search answered a lot of questions. Apparently it was at the top of the Hit Parade in 1948, and the artist most closely associated with the song was Nat "King" Cole. That's the recording I remember. And since Ahbe lived until 1995, the song is almost certainly still under copyright (if it was renewed in its 28th year) and was almost certainly published because it was a major song in the late '40s.

Therefore, who owns the copyright? What does "he left his publishing to an aged friend" actually mean, in terms of copyright? Who was the publisher, and was the copyright assigned to that publisher as was common?

As to how to proceed, that depends on the interpretation of quite a few different things. If Ahbe was involved with the arrangement and recording session cited, we can certainly assume that it was done with his permission, so in spite of the fact that time has passed since the session it may not be necessary to secure permission at all! (And like Noel I am not an attorney, and an attorney should be consulted on this question.)

So the key bit of information is this: who owns and/or controls the copyright? Find the answer to that question and you will know how to approach the Harry Fox Agency to secure a license, if that turns out to be necessary. (In fact, now that I think of it, they may have the answer in their database. It certainly wouldn't hurt to ask! No. 1 songs do not get swept under the table!)

Another question that needs to be answered is this: who owns the master recording? Legally, that is. And that often is not an easy question to answer! Ahbe may have personally handed the master to you, but that doesn't establish whether he actually owned it, or whether you now own it. Who paid for the session? (And of course, depending on when it was done, how much may that master have deteriorated?)

As an aside, if ahbe himself is on that recording, it would have historical value far beyond just another arrangement of the song itself, and might well be very attractive to a lot of people as a valuable historical artifact.

John


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John & Susie Howell
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