Jazzrights.com and the Jazz Improvisation Library project are publishing initiatives of J Music sas. Its concept is based on musicological reflections and research that have been applied to copyright.
“Each individual has the right to protection of moral and material interests derived from every scientific, literary, and artistic production of which he is author. Art 27 Universal Declaration of Human Rights (1948)
The heart of the system is the Library, aimed at creating a large unique archive of the immense patrimony created from improvisations by great musicians who have shaped jazz music history using transcriptions composed by every academic and every instrument of this music.
Jazz has been passed down through discs, which are auditory documents constituting the actual “text” of the piece, creators of new text, in their own right, through listening and assimilation.
Together with the past improvisations, we'd like to publish contemporary productions, in hopes of help develop a new and stronger authorial sensibility in musicians, regarding their impromptu creations, as well as writing original orchestral arrangements of famous songs.
Most improvisations, if not recorded with phonographic support and then diffused, die in the same moment they are created. The elusiveness and uniqueness of the jazz solo are an obvious part of the intrinsic nature of improvised music. In light of this prerogative, however, a clear inequality regarding remuneration has been perpetuated between the author of the melody (standards, Broadway songs, pop songs, etc, whether beautiful and complex or trivial and easy to grasp), and the improvising musicians.
The absence of a written and repeatable text, and the objective technical difficulty of setting and storing such special intellectual property, has made it so that jazz musicians were almost always instruments of producing wealth by copyright for famous songwriters' heirs or multinational publishers, instead of themselves. Whoever believes to be expressing the values of freedom by improvising on a pre-existing theme, in reality, based on the consolidated system of copyright, makes himself a “medium” in some way to others' economics.