Page That’s Gershwin’s I Got Rhythm. The chord sequence became such a standard progression in jazz that it’s called Rhythm Changes.” “The Who wrote songs based on those chords? Who didn’t? There’s Dizzy Gillespie, Charlie Parker and Duke Ellington the chords were the base. And no one … thought that Gershwin was entitled to royalties … Or control. … See what they are building A new tune be put on top contrafact, we call it and then the musicians …? – – would layer improvisation on that quoting fragments from other songs in solos, referring back to other … musicians … Louis Gates calls it showing you know your place in the tradition, but showing your “signifyin’” – virtuosity, too. But I thought you said they didn’t always like it when others borrowed from them? Page Sometimes they didn’t! When Gillespie’s Dizzy Crawl was recorded by Count Basie as Rock-a-Bye Basie, Dizzy was quite upset. didn’t copyright it; it was a head arrangement anytime you write something, copyright it or look out a “I … … lotta tunes got stolen by the bandleaders too that way. I probably did it myself a couple of times, but not completely ….” Nowadays if recorded it, or wrote it down, it would be copyrighted automatically. That’s great. And you say the same if all those musicians started claiming copyright infringement for each solo …? But at the same time, can’t steal a gift.’ “… ‘you ” Let’s change the subject! What was the audience like for these songs? Page That was the enormous change. Patronage gave us music designed for the cathedral and the court …
Page That’s Gershwin’s I Got Rhythm. The chord sequence became such a standard progression in jazz that it’s called “The Rhythm Changes.” Who wrote songs based on those chords? Who didn’t? There’s Dizzy Gillespie, Charlie Parker and Duke Ellington … the chords were the base. And no one thought that Gershwin was entitled to royalties … … Or control. See what they are building …? A new tune be put on top – contrafact, we call it – and then the musicians would layer improvisation on that … quoting fragments from other songs in solos, referring back to other musicians … Louis Gates calls it “signifyin’” – showing you know your place in the tradition, but showing your virtuosity, too. But I thought you said they didn’t always like it when others borrowed from them? Page Sometimes they didn’t! When Gillespie’s Dizzy Crawl was recorded by Count Basie as Rock-a-Bye Basie, Dizzy was quite upset. “I didn’t copyright it; it was a head arrangement … anytime you write something, copyright it or look out … a lotta tunes got stolen by the bandleaders too that way. I probably did it myself a couple of times, but not completely ….” Nowadays if recorded it, or wrote it down, it would be copyrighted automatically. That’s great. And you say the same if all those musicians started claiming copyright infringement for each solo …? “… But at the same time, ‘you can’t steal a gift.’ ” Let’s change the subject! What was the audience like for these songs? Page That was the enormous change. Patronage gave us music designed for the cathedral and the court …
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