The Missing Artie Shaw: Retraction and Clarification

"Time is All You've Got," the famed documentary on Artie Shaw, is protected under copyright and will not be available from

Sometimes enthusiasm gets the better of me. I'm one of the multitudes out there--and I'm presuming there are multitudes--who have wanted to view the 1987 Academy Award-winner for Best Documentary film, "TIme is All You've Got," the project that focused on that enigmatic jazz genius, Artie Shaw.

A lot of material, said not to exist, said to be lost or said to be pulled from distribution, has surfaced over the years, including the Krupa./Rich drum battle on the Sammy Davis, Jr. television program of 1966, the meeting of Rich and no less than Jerry Lewis on The Colgate Comedy Hour of 1955, and other gems.

Imagine my glee when I thought I might actually see a copy of "Time is All You've Got." Because it seemingly disappeared from view so long ago, I figured it had been hung up in litigation, fallen into the public domain, was never copyrighted and/or simply vanished. On top of everything, I had the audacity to say that if I got a copy of it, I would do everything possible to make it available to visitors.

The fact is, I cannot, and will not, and never will.

Bottom line is, producer/director Brigitte Berman owns the copyright and all rights to the documentary. I hereby acknowledge that I hold no rights whatsoever to the film, and that I had no right to post an article recently on this and other blogs, offering to make available the film to third parties.

My goal, as most of you know, was, is and always will be, to make these discoveries available to the general public. Sad to say, "Time is All You've Got" is one item you won't be able to get from Ever.

However, and I have nothing definitive to report at this juncture, but I'm getting the sense that the film may be available in the not-too-distant future via standard, legal commercial channels.

When and if that happens, I'll be first in line to purchase a copy and report on what I know is a remarkable work.

I am still, at heart, a fan and a jazz lover, and many of you who have seen me at work behind the drums in Naples, Philadelphia, Atlantic City and Las Vegas know this very well. In this case, however, I failed to realize the ramifications of my enthusiasm. Again, my apologies to Ms. Berman and all involved in this matter.

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Bruce Klauber