<b>Decision of Note: </b>Trial Court Rules On 'Recording Commencement'

Artist Ashanti and her mother had asked Gerald Parker to help them find a major-label deal. Ashanti and Parker entered into two production agreements. But after a year, Ashanti asked to be released so that she could go after a deal with Noontime Music, one of Parker's competitors. Parker signed an agreement releasing Ashanti that, in addition to a royalty-percentage right, stated:

'You [Parker's company T.E.A.M.] shall have the right to produce two (2) masters for my [Ashanti's] first album recorded pursuant to the Noontime Agreement [i.e. Ashanti's record agreement with Noontime]. You should be paid an all-in recording fund in the amount of $25,000 for each said two (2) masters ($10,000 of which, per master shall be deemed to be a recoupable producer' fee advance) exclusive of mastering costs and fees or advances payable to Ashanti Douglas or us for recording. Said advance shall be payable to you one half (1/2) upon the commencement of recording and the balance upon the delivery to and acceptance of the masters by Noontime Music, Inc.'

Parker filed suit against Ashanti and her mother after he received no payments. The defendants claimed that the term 'commencement of recording' was a term of art that the drafting lawyer testified meant 'when you have songs, the songs are approved, you submit a budget, and then you begin the recording process.' Parker testified, however: 'I commenced [recording] by ' continuing to embellish the recordings that we had with previously worked on, that I thought ' not that I thought ' that I knew that I was told that this new company had taken some sort of a liking to, with the hope that maybe they would use these, one of these songs, and I continued to commence by creating new material that I felt would be suitable for the project. ' As far as the new ' recordings that I was ' would hope to be used by Ashanti, I would create from the starting with the
creative sessions and editing sessions.'