Songbyrd, Inc v. Bearsville Records

CourtCourt of Appeals for the Fifth Circuit
DecidedJune 2, 1997
Docket96-30670
StatusPublished

This text of Songbyrd, Inc v. Bearsville Records (Songbyrd, Inc v. Bearsville Records) is published on Counsel Stack Legal Research, covering Court of Appeals for the Fifth Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Songbyrd, Inc v. Bearsville Records, (5th Cir. 1997).

Opinion

REVISED United States Court of Appeals,

Fifth Circuit.

No. 96-30670

Summary Calendar.

SONGBYRD, INC., Plaintiff-Appellant,

v.

BEARSVILLE RECORDS, INC.; Albert B. Grossman, Estate of, erroneously sued as Bearsville Records, Inc., doing business as Bearsville Records, Defendants-Appellees.

Feb. 4, 1997.

Appeal From the U.S. District Court for the Eastern District of Louisiana.

Before HIGGINBOTHAM, DAVIS and WIENER, Circuit Judges.

WIENER, Circuit Judge:

Plaintiff-Appellant SongByrd, Inc. (SongByrd) appeals from the

district court's dismissal of its action seeking to recover from

Defendant-Appellee the Estate of Albert B. Grossman d/b/a

Bearsville Records (Bearsville), several master tapes recorded by

a legendary New Orleans musician. Concluding that (1) the district court improperly classified SongByrd's suit as a personal rather

than a real action, (2) real actions are imprescriptible under

Louisiana law, and (3) Bearsville has yet to establish that it gave

SongByrd's predecessors-in-interest actual notice of Bearsville's

intent to possess the tapes for itself, we reverse the district

court's summary judgment ruling and remand for further proceedings

consistent with this opinion.

I FACTS AND PROCEEDINGS

The late Henry Roeland Byrd, also known as "Professor

Longhair," was an influential New Orleans rhythm-and-blues pianist

and composer, and is widely regarded as one of the primary

inspirations for the renaissance of New Orleans popular music over

the last thirty years. His numerous hits included original

compositions such as "Tipitina" and "Go to the Mardi Gras," as well

as his famous renditions of Earl King's "Big Chief." After

achieving modest commercial success as a local performer and

recording artist in the 1940's and 1950's, Byrd fell on hard times

during the 1960's. His fortunes began to change for the better in

1970, however, when New Orleans music aficionado Arthur "Quint"

Davis, along with others, founded the New Orleans Jazz and Heritage

Festival ("JazzFest"). Needing talented performers for JazzFest,

Davis located Byrd in 1971 working in an obscure record store in

New Orleans and transformed him into a perennial star attraction of

the JazzFest and other venues from that time until his death in

1980.1

Soon after Byrd's first performance at JazzFest, Davis, acting

as the pianist's manager, and Parker Dinkins, an attorney, arranged

for Byrd to make several "master recordings" at a Baton Rouge

recording studio known as Deep South Recorders. These master

recordings consist of four reels of 8-track tape which could be

"mixed" to produce either demonstration tapes or final recordings

1 These uncontroverted background facts are recounted in the liner notes to the album, Professor Longhair, Houseparty New Orleans Style: The Lost Sessions 1971-72, Rounder Records (1987), which SongByrd submitted as an exhibit in response to Bearsville's motion to dismiss. suitable for the production of records, cassettes, and compact

discs. According to SongByrd, several demonstration tapes produced

from these master recordings found their way to Bearsville Records,

Inc., a recording studio and record company located in Woodstock,

New York and operated by Grossman. Impressed by the demonstration

tapes, Grossman apparently arranged with Davis and Dinkins for Byrd

and another New Orleans musician to travel to Bearsville's studio

for a recording session.

For reasons that are unclear but not material to this appeal,

the Bearsville recording sessions proved unsatisfactory. For

equally unclear reasons, Davis and Dinkins wanted Grossman to be

able either to listen to or play for others the full version of the

Baton Rouge master recordings. In furtherance of this desire,

Davis and Dinkins caused the four "master recording" tapes to be

delivered to Grossman in New York. According to the as yet

unrefuted affidavit of Davis, these tapes were delivered to

Grossman, "as demonstration tapes only, without any intent for

either Albert Grossman or Bearsville Records, Inc. to possess these

aforementioned tapes as owner." Also for reasons as yet not

explained by either party, the tapes remained in Grossman's

possession for many years thereafter.

Acting on behalf of Davis and Byrd in 1975, Dinkins wrote two

letters to Bearsville—the first addressed to a George James, the

second to Grossman himself—requesting that Bearsville return the

master recording tapes. Bearsville made no response whatsoever to

Dinkins' letters (or at least has not introduced any evidence of a

response). Dinkins, for reasons as yet unknown, did not press his request any further.

After Albert Grossman's death in the mid 1980's, Bearsville

Records, Inc. was dissolved, but Grossman's estate continued to do

business as "Bearsville Records." Even though it no longer signs

artists or promotes their products, Bearsville Records still

operates a recording studio which it leases to record labels and

third parties; it also licenses a catalog of recordings by artists

originally under contract with Bearsville Records, Inc. Acting in

this latter capacity, Bearsville licensed certain of the Byrd

master recordings to Rounder Records Corporation of Cambridge,

Massachusetts (Rounder) for an advance against royalties.

In 1987, Rounder released Professor Longhair, Houseparty New

Orleans Style: The Lost Sessions, an album that contained 11 songs

or "tracks" made from Byrd's original Baton Rouge master

recordings. This release garnered Byrd a posthumous Grammy Award

for Best Traditional Blues Album of 1987. The liner notes of the

Rounder album make hardly any reference to Bearsville and no

reference whatsoever to the contractual agreement between Rounder

and Bearsville.2 Bearsville Records also licensed certain of the

master recordings to another record company, Rhino Records (Rhino).

According to SongByrd's petition, Rhino released an album, titled

"Mardi Gras in Baton Rouge," featuring seven tracks from the Baton

Rouge master recordings.

2 The only oblique reference to Bearsville is found in the third section of the liner notes authored by "The Rounder Folks" and states: "Sadly these tapes [the Baton Rouge master recordings] were not released, but instead languished at Bearsville, their absence unremarked and unnoticed except among collectors and a few cognoscenti." In 1993, SongByrd, Inc. was incorporated and commenced

business as successor-in-interest to the intellectual property

rights of Byrd and his deceased widow, Alice Walton Byrd. In 1995,

SongByrd filed this lawsuit in state court in New Orleans against

Bearsville Records, Inc. SongByrd's "Petition in Revindication"

sought a judgment (1) recognizing its ownership of the master

recordings, (2) ordering return of the recordings, and (3) awarding

damages. Bearsville timely removed the suit to federal court and

subsequently filed a motion to dismiss pursuant to Fed.R.Civ.P.

12(b)(2) and (6), asserting (a) lack of personal jurisdiction over

Bearsville and (b) failure of SongByrd to state a cause of action

because SongByrd's claims were barred by liberative prescription

under Louisiana law.

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