"Mopy" by Tony Weiss

Barengero

Hi all,
I'd be curious to know when (and IF!) Tony Weiss recorded this tune. In the liner notes of his 2005 Album "Jazz Manouche" he claims to be the composer of this tune. I wonder if the recording was made before or after Titi Wintersteins "Djinee kowa ziro" LP in 1985.

https://www.amazon.de/gp/product/B001VKB8WC?ie=UTF8&*Version*=1&*entries*=0

Can anybody tell me when the first release of "Mopy" took place?

Best regards

Barengero

tarantoga

If is the right word, I suppose.
The CD looks like the biggest fake ever. When I first listened to it couple of years ago, I recognized immediately Titi Wintersteins Quintett "For Babs" aka Mopy, the last track ( Csardas) seems to be also played by Titi, Tchan Tchous 'La Gitane' aka Romani Tchaji. Jericho sounds like some Ferret-Jo Privat stuff, but I'm not sure.
Back to your question. I think, the first(I hope the last) release of Mopy is exactly the release date of this CD . If he even a composer of For Babs(which I think was written by Ziroli Winterstein), what is about La Gitane? You can make a record sound older( For Babs, La Gitane), but is still plagiarism.
Maybe I'm wrong.

Barengero

Thank you, tarantoga, for your comment. The unscrupulousness of this action is really staggering.

Barengero

stuart, I know that "stealing" of credits in Jazz is not unusual. Schnuckenack Reinhardt claimed to be the composer of some tunes he knew from poland, but there were other composers of "his" tunes such as Jerzy Petersburski for example. But in this case Tony Weiss not only claimed to be the composer of three tunes he didn't invent and changed their titles, but even did not record them by himself! He took the original recordings of Titi Winterstein and Tchan Tchou, manipulated the sound a little bit to make them sounding "old" and published them on his CD. This is outstanding!

spatzo

We have always to be attentive as "Tuxedo Junction" for exemple isn't a composition of Glenn Miller but a composition of 1939 by DASH JULIAN, HAWKINS ERSKINE, JOHNSON WILLIAM LUTHER. The riff that Django recorded is, in the first part at least, identical to Tuxedo Junction...

Now when Django first recorded the tune with the Noël Chiboust Orchestra in 1944 (with a Chiboust arrangement?) renamed DJANGO'S MUSIC for the occasion I do guess that Django could hardly remember the author's names and by the way it is most probable that the song was directly attribuited to him by the SWING company just to be able to publish the record and so without any volontary acting from Django.

It is known that Django didn't even always knew the names of many tunes according to what guitarist Franco Cerri told about his gig with Django in Milan in1949. Django asked him the tunes he knew or wanted to play and only said "Do you know this one? and this one?" and played him the melodies. So probably he didn't remembered the exact name of each tune. According to Charles Delaunay's Journal, Django wanted to name it (Tuxedo Junction) "Panzer Swing" (Ref Dregni) but at the Studio Pelouze they finally titled it "Artillerie Lourde". The composition is now attribuited to Jean Reinhardt at the SACEM.

"Echoes of France" is for exemple also attribuited as composed by Jean Reinhardt but I do not think that Django ever wanted to stole skyfully "La Marseillaise" to France...

So I ask Django to be dismissed here

For Tony Weiss it is of course different as it is a direct copy of a previously published record (1985 I think) so we cannot even think of an interpretation or arrangement of a known tune.

cjl

I come from musical background where appropriating, borrowing, stealing and renaming tunes has been more or less standard practice for the last 50 odd years, so none of this surprises me..... in fact, I'm amazed that it hasn't occurred more often.

I think the only tune that I've spotted in the last couple of years (and I'm sure everyone else knows this) is Cesar Swing ..... a very obvious steal of 'Recado Bossa Nova' aka The Gift Of Love (Djalma Ferreira). I'm sure there must be others ....

... and if you really want to delve into the murky world of music publishing and the crooks who have made fortunes then I recommend the slightly wordy but fascinating 'It's One For The Money' by Clinton Heylin.... see how the pros did it!