Ken Hatfield Speaking About Copyright – legally protecting your creations. Understanding, securing and defending the most fundamental of all artists’ rights.
Date: Tuesday, September 24th, 2019
Time: 7pm to 8:30pm
Venue: Wingspan Arts (Film Center Building, 630 9th Ave, between 44 & 45 St., Suite 602, NY, NY 10036)
Ticket: $15 (free for MFM members). No refund.
Seating: limited (up to 25 seats)
“What finally turned me into an activist for artists’ rights was the realization that no musician can afford to sit on the sidelines expecting others to fight for rights we ourselves are unwilling to defend.” Ken Hatfield
MFM Advisory Committee member Ken Hatfield will discuss what copyright is, its origins, its importance and why giant tech corporations are funding Astroturf campaigns to undermine it. He will also cover what individual artists need to do to secure and protect the ownership rights of their music under the recently passed Music Modernization Act (MMA).
About Ken Hatfield: the musician, author and activist
A leading proponent of jazz played on the classical guitar, composer KEN HATFIELD received ASCAP‘s prestigious Vanguard Award in 2006 for “innovative and distinctive music that is charting new directions in jazz.”
Ken’s the leader on 10 commercially released CDs, 9 featuring him performing his original compositions, as a soloist or with his ensembles. He’s published six books of his compositions. In 2005 Mel Bay published his comprehensive instructional book Jazz and the Classical Guitar: Theory and Application and in 2017 included two of his compositions in Contemporary Guitar Composers of the Americas.
Ken’s compositional experience ranges from jazz works for his own ensembles, to solo classical guitar works, choral works, and ballet scores for Judith Jamison, The Washington Ballet Company, and the Maurice Béjart Ballet Company, as well as scores for television and film, including Eugene Richards’ award-winning documentary but, the day came.
Ken continues to lead his own ensembles and be an in-demand sideman. In recent years he has also become an artist rights activist, serving as co-chair of the Artist Rights Caucus of Local 802 and as a member of the Advisory Committee of Musicians for Musicians (MFM). In April 2019 he participated in the United States Copyright Office’s fifth and final roundtable on reform of section 512 of the Digital Millennium Copyright Act.
MFM seeks to bring together musicians from all disciplines, styles, traditions and localities in the cause of their mutual self-betterment. Whether through education, networking or political action, MFM’s ultimate goal is to elevate the work of all musicians to the level of a true profession, one which is recognized and appropriately rewarded by the society in which they live and work. MFM additionally advocates for the creation and maintenance of a fair and sustainable musical ecosystem, one in which participants share equitably in all forms of revenue generated by their work product, whether composed, recorded, or performed live. In the final analysis, we seek to promote all conditions which benefit the musicians’ community and the music created by it, while opposing all those which do them harm.”
Tenor saxophonist Ray Blue enjoys his WORK, creating a straight-ahead jazz set filled with warm melodies.
A Well-Balanced Program Of Originals, Standards And Tunes By Nat Adderley, Jimmy Smith And George Coleman
The New York based tenor saxophonist and MFM member Ray Blue, who has a deep tone and a melodic style, is featured on WORK, a set of accessible yet quietly creative music. The program mixes together three of his originals with surprising versions of standards and lesser known but superior jazz songs. He and Randy Klein, head of Jazzheads Music Group, worked diligently to achieve the appealing Old School feel and sound that Blue’s listeners want to hear.
Blue teams up with three pianists (Sharp Radway, Kirk Lightsey and Benito Gonzalez), guitarist Jeff Barone, bassist Essiet Okon Essiet, drummer Steve Johns and, on three songs apiece, the rambunctious trombonist Ron Wilkins and percussionist Neil Clark. Starting with the exuberant “Work,” the program includes such surprises as an uptempo transformation of “Lift Every Voice And Sing,” two versions of “That’s All” (including a duet with pianist Lightsey), a playful rendition of “Don’t Know Why,” and a cooking “Everything Happens To Me” which is normally taken as a slow ballad. Blue, displaying a large tone that almost sounds like a baritone in spots, is heard at his best on his original ballad “My Friend And I Took A Walk” and “Our Day Will Come” which benefits from a shuffle rhythm. Trombonist Wilkins is quite boisterous on Nat Adderley’s soulful “Sweet Emma,” the Jimmy Smith minor blues “Mellow Mood,” and George Coleman’s “Amsterdam After Dark.” Another highpoint is Blue’s “Attitude” which, after an energized and surprising melody, becomes a hot swinger that features the composer.
Ray Blue has been an important saxophonist for the past 20 years, leading his own CDs on a regular basis since 2001. Among those who he has worked with through the years have been John Gilmore, Art Davis, Ted Curson, Benny Powell, Eddie Henderson, Steve Turre, Wycliff Gordon, Bernard Purdie, Harold Mabern, Kirk Lightsey and the Sun Ra Arkestra. The saxophonist, who has appeared at many international jazz festivals, has also been an influential educator and is the founder of Cross-Cultural Connection, Inc. a non-profit organization that promotes jazz culture, performance and education.
WORK is one of Ray Blue’s most enjoyable outings to date, a melodic set that will appeal to a large audience, especially those who enjoy the Old School swinging jazz style and sound.
RAY BLUE QUINTET:
Ray Blue – Saxophone
Sharp Radway – Piano
Santi DiBriano – Bass
Alvester Garnett – Drums
Neil Clarke – Percussion