Reservoir Media has acquired the publishing catalog of Billy Strayhorn, the composer and arranger behind some of the best known pieces in the Duke Ellington repertoire. The deal, announced on October 19, 2026, also gives the Nasdaq-listed company a participation in Strayhorn's name, image and likeness (NIL) rights. Financial terms were not disclosed, and the announcements do not explicitly name the selling party, although the estate (Billy Strayhorn Songs, Inc.) is described as Reservoir's long-standing partner.
What changes hands
- Rights: the Strayhorn music publishing catalog.
- NIL: a participation in name, image and likeness opportunities, alongside the estate.
- Price: not disclosed.
- Masters: none mentioned; this is a songwriting and legacy deal, not a recordings deal.
The transaction deepens an existing relationship. Reservoir has worked with the estate since 2014, when it picked up Strayhorn works as part of a larger catalog purchase, and it backed the composer's centennial celebrations in 2015. The company has not explained how the newly acquired rights differ from the interest it already held.
The catalog
Strayhorn (1915 to 1967) joined Ellington's orchestra in 1939 and worked with him for nearly three decades. The catalog includes:
- "Take the 'A' Train"
- "Lush Life"
- "Chelsea Bridge"
- "Satin Doll"
He entered the Songwriters Hall of Fame in 1984, received a posthumous Grammy Lifetime Achievement Award in 1992 and joined the North Carolina Music Hall of Fame this month. His songs keep finding new life: "Lush Life" appeared on Tony Bennett and Lady Gaga's Grammy-winning album Cheek to Cheek, and the New York Philharmonic performed "Take the 'A' Train" at its gala in September 2026. Reservoir says it plans to keep promoting the music to new audiences.
What it means if you are thinking of selling
The first lesson is that buyers keep paying attention to standards: songs that are recorded again and again, used in film and TV, and taught in schools. That kind of catalog produces income from many small sources (covers, performance royalties, sync, print) instead of depending on one viral track. If your songs have been covered by other artists or licensed repeatedly over the years, document every one of those uses. A buyer will value a long, stable royalty history far more than a single good year.
The second lesson is about structure. Reservoir paired the publishing purchase with a share in NIL rights, the same approach it used with the Miles Davis estate in 2025. For heirs and estates, this model means you do not have to choose between selling everything and keeping everything: you can sell an economic interest while staying involved in how the legacy is managed. It also shows that a relationship with a publisher or administrator can turn into an acquisition later, so the partner you choose today may be your buyer tomorrow.
The third lesson is preparation. Legacy deals depend on clean chain of title: who wrote what, which shares were already assigned, and what earlier sales or administration agreements still apply. Before talking to buyers, gather your royalty statements (ideally three or more years), registration data with your collecting society and any old contracts. If you want to understand how these elements affect price, read our guide on how music catalogs are valued.