"Here we go again with the collectors 'owning' the people whose singing they recorded!"
You appear to be making an issue of this for some reason - what a pity you appear to have no other point to make
Far from being an attempt at "ownership", as you seem to in#fer, it is to show that the singer was established in her art
It iis common to talk about Sharp's singers (researchers like Roud do it all the time) or Grainger's, or Carpenters or Mike Yates's... it iw a way of establishing time and place
   
How did we meet her?
I have explained this elsewhere.
Four od us went on a motoring holiday in 1968 - John Faulkner, Sandra Kerr, Sandra's brother and me
We were giben the address of a broadcaster friend of MaCColl's, Charlie Couts, (hope that didn't give the impression that Ewan owned him) who was working for Budapest Radio, Charlie introduced us to people at the Folk Music Department - they took us to meet one of Kodaly's singers (please don't be silly) and brought their (yes - I think they did own it!)
While we were there, one of the team suggested we ask the singer dor ballads on themes that occurred in the British repertoire - Sandra ased here about "the one where the woman who murdered her illegitimate babies - and the lady obliged
Sandra asked the team to send her a copy of the recording - my own interests in field recording hadn't developed at that time

We had no itinerary - -it was a holiday which started with a stop in Vienna to meet another friend of MacColl's (he didn't own him, of course), went on to Budapest, where we were interviewed for English language radio, and then on to Yugoslavia and finally to the Island of Krk, where we swapped songs witn Bosnian fishermen
Jim Carroll