Strata-East: The Legacy begins

[felser]

54 minutes ago, bertrand said:

The reply was very nice but does not address my burning question. I really want to hear the 3 Bill Lee titles and Harold Vick ASAP. Not sure I can wait for a potential CD.

Mack Avenue has posted the entire albums on Youtube:

Vick  

 

[Tom in RI]

Is Keno Duke’s Sense of Values a candidate for this reissue series?

[felser]

1 hour ago, Tom in RI said:

Is Keno Duke’s Sense of Values a candidate for this reissue series?

Good question.  I'm not overly hopeful for the Keno Duke albums since they did not make the initial mass downloads.

[howard.zinman]

Are there any updates about the next round of physical releases? Thanks!

[felser]

25 minutes ago, howard.zinman said:

Are there any updates about the next round of physical releases? Thanks!

Not until the fall is my understanding.

[JSngry]

I will be in Detroit for the festival over Labor Day weekend. They always have a booth/ tent. Sometimes the staff can be asked serious questions, sometimes not. Depends on who's there at the time. But I'll drop by and tell them thank you, ask what future plans are, and maybe buy some stuff.

If I get good info, I'll pass it on.

[bertrand]

A very interesting conundrum has arisen related to this.

For those of you who were fortunate to hear the rejected tune from the Grant Green Solid date: it was supposedly called Spanish Dancer, and was credited to Duke Pearson (who plays trumpet on the tune!) Although there is no copyright or BMI registration.

Well, the song Spanish Dancer from the Brass Company Colors album seems to be the same tune, in a very different arrangement. I assume it is credited to Bill Lee.

So what is the story? I see two options.

1) It is a Pearson tune that Bill Lee somehow appropriated.

2) It is a Bill Lee piece, but then how did it make it to a Blue Note date from 10 years before? Bill Lee was not part of the Blue Note family.

A mystery that will probably never be solved.

Edited 16 hours ago by bertrand

[Daniel A]

I have never heard the rejected tune from 'Solid', and I had never heard the Bill Lee album until i listened to "Spanish Dancer" on YouTube a couple of minutes ago. However, to me - as someone who has heard just about everything that has been issued with Pearson as a composer or arranger - there is something "Pearsonish" about the chromatic voicings in the intro (or maybe it's an A section). A similar device is used on "Chili Peppers" on 'The Right Touch'.

[bertrand]

48 minutes ago, Daniel A said:

I have never heard the rejected tune from 'Solid', and I had never heard the Bill Lee album until i listened to "Spanish Dancer" on YouTube a couple of minutes ago. However, to me - as someone who has heard just about everything that has been issued with Pearson as a composer or arranger - there is something "Pearsonish" about the chromatic voicings in the intro (or maybe it's an A section). A similar device is used on "Chili Peppers" on 'The Right Touch'.

Please message me your email address.

[bertrand]

4 hours ago, Daniel A said:

I have never heard the rejected tune from 'Solid', and I had never heard the Bill Lee album until i listened to "Spanish Dancer" on YouTube a couple of minutes ago. However, to me - as someone who has heard just about everything that has been issued with Pearson as a composer or arranger - there is something "Pearsonish" about the chromatic voicings in the intro (or maybe it's an A section). A similar device is used on "Chili Peppers" on 'The Right Touch'.

Please message me your email address.

So the New York Bass Violin Choir is from multiple sessions, but the Tom Lord Discography has it wrong, claiming all 7 tunes were done at one time, plus 4 extra tunes done live. Only 3 tunes were at the studio session, the other 4 live:

 

https://www.jazzdisco.org/the-new-york-bass-violin-choir/discography/