MEMORANDUM #1 -- FOR SERIOUS COLLECTORS OF BILL DIXON'S MUSICIt is being respectfully requested that you do not purchase or circulate in any manner, form or shape CADENCE RECORDS/CIMP's "new release", the 2-CD recording 1024/25, fraudulently and misleadingly entitled BILL DIXON COLLECTION. For those of you who may own it, this IS NOT the CD version of COLLECTION: BILL DIXON, the 2-LP box set that included a 27 page booklet of drawings and writings issued in a signed (by Bill Dixon) limited edition of 500 that was for sale by CADENCE for $55 in the mid-1980s. The current 2-CD set (that sells for $15)is a cheap, shoddy attempt at semi-replication of the original, ostensibly aimed at the pocket books of the "grassroots cultural movement". Is this what you were talking about, Bill Shoemaker and Milo Fine? (See: BILL DIXON COLLECTION / by Bill Shoemaker; CODA, April/May 1986, p.14 [and] RECORD REVIEWS: BILL DIXON COLLECTION / by Milo Fine; CADENCE: the American Review of Jazz & Blues, September 1985, p.175. Just for the record, BILL DIXON tm is a trademarked name, and the issuance of this, what Bill Dixon, Inc. and its attornies are interpreting as a bootlegged and pirated "edition", is a trademark violation and gross infringement artistically, legally and morally concerning Bill Dixon's work and name. CADENCE and its subsidiary PIMP Records with this knowledge aforethought has gone ahead with this violation and and artistic traversty despite warnings issued in 1997 form Bill Dixon Inc.'s trademark and patent attorney not to do so. Again, this is an UNAUTHORIZED, pirated and bootlegged attempt at duplication of Bill Dixon's work with the primary reason for its issuance by this dispicable "company" being an attempt to effect some kind of monetary or other gain by an illegal use of Bill Dixon's name and music (BILL DIXON is a trademarked name and cannot be used for the sale or the promotion of any commodity without the explicit authorization of Bill Dixon) ignoring and bypassing all forms of decency and respect towards the work and integrity of a living artist. Until this sickening, sleazy attempt at being "clever", only the dead had been the "beneficiaries" of such "business ethics". --CAVEAT EMPTOR-- --Radio Stations (that program this music): DO NOT PLAY THIS "RECORDING" ON YOUR STATIONS!!! --Jazz and music critics, writers and journalists; magazines and reviews featuring this music: DO NOT REVIEW THIS RECORDING!!! --To other areas of the music listening public: DO NOT PURCHASE CADENCE RECORDS CJR 1024/25. IT IS AN UNAUTHORIZED SEMI-COPY!!! NOTE: For documentation re: CADENCE's all too often eagerly adopted position as devil's advocate, sometimes to the degree that their defensiveness reflects in bas relief, revealing a tacitedly agreed upon, supportive attitude towards the highly regretable situation that bootlegged, pirated and unauthorized record releases begets the artist, kindly consult the following published accounts in CADENCE RECORDS own journal CADENCE: the American Review of Jazz & Blues: September 1981, p. 54 (exchange between Michael Cuscuna and Bob Rusch); January 1983, p. 8, paras. 7-10 (John Hendricks Interview); July 1981, p. 35-36 (J.W. Hardy, Revelation Records); September 1985, p. 26-28 (Michael Smith Interview.
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