Duke Ellington by PirateJazzRadio
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Contents Articles Duke Ellington Duke Ellington discography
1 18
Albums
29
1938
30
Braggin' in Brass: The Immortal 1938 Year
1939 The Blanton–Webster Band
1940 Duke Ellington at Fargo, 1940 Live
1942 Never No Lament: The Blanton-Webster Band
1943 The Carnegie Hall Concerts: January 1943
1944 The Carnegie Hall Concerts: December 1944
1946 The Carnegie Hall Concerts: January 1946
1947
30 32 32 36 36 42 42 47 47 50 50 53 53 56
The Carnegie Hall Concerts: December 1947
56
Liberian Suite
59
1950 Great Times!
1951 Masterpieces by Ellington
1952
61 61 63 63 66
Ellington Uptown
1953
66 69
Premiered by Ellington
69
The Duke Plays Ellington
71
1954
73
Ellington ‘55
73
Dance to the Duke!
75
1955 Ellington Showcase
1956
77 77 79
Blue Rose (Rosemary Clooney album)
79
Historically Speaking (Duke Ellington album)
82
Duke Ellington Presents...
84
Ellington at Newport
86
The Complete Porgy and Bess
92
A Drum Is a Woman
94
1957
97
Studio Sessions, Chicago 1956
97
Such Sweet Thunder
99
Ella Fitzgerald Sings the Duke Ellington Songbook
1958
102 106
Black, Brown and Beige (album)
106
Dance Concerts, California 1958
108
Dance Dates, California 1958
110
Duke Ellington at the Bal Masque
112
The Cosmic Scene
114
Happy Reunion
116
Ellington Indigos
118
Newport 1958
122
Jazz at the Plaza Vol. II
125
Duke Ellington at the Alhambra
127
1959 Jazz Party
129 129
Back to Back: Duke Ellington and Johnny Hodges Play the Blues
132
Side by Side (album)
134
Anatomy of a Murder
136
Live at the Blue Note (Duke Ellington album)
146
Festival Session
148
Blues in Orbit
151
1960
154
The Nutcracker Suite (Duke Ellington album)
154
Piano in the Background
156
Swinging Suites by Edward E. and Edward G.
158
Unknown Session
160
1961
162
Piano in the Foreground
162
The Great Summit
164
Paris Blues
167
First Time! The Count Meets the Duke
171
1962
174
Featuring Paul Gonsalves
174
Studio Sessions 1957 & 1962
176
Midnight in Paris (album)
178
Duke Ellington Meets Coleman Hawkins
180
Money Jungle
183
Duke Ellington & John Coltrane
186
Studio Sessions, New York 1962
188
Recollections of the Big Band Era
190
1963
193
Afro-Bossa
193
The Great Paris Concert
195
The Symphonic Ellington
198
Duke Ellington's Jazz Violin Session
200
Serenade to Sweden
202
Studio Sessions New York 1963
204
My People (Duke Ellington album)
206
1964
208
Ellington '65
208
Duke Ellington Plays Mary Poppins
210
1965
212
Ellington '66
212
Concert in the Virgin Islands
215
Ella at Duke's Place
217
Duke Ellington's Sacred Concerts
219
1966
225
The Stockholm Concert, 1966
225
The Popular Duke Ellington
227
In the Uncommon Market
229
Soul Call
231
Ella and Duke at the Cote D'Azur
233
The Far East Suite
239
1967
242
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York
242
The Jaywalker
245
...And His Mother Called Him Bill
247
Francis A. & Edward K.
250
1968
252
Yale Concert
252
Studio Sessions New York, 1968
254
1969 70th Birthday Concert (Duke Ellington album)
1970
256 256 259
Latin American Suite
259
The Pianist (album)
261
New Orleans Suite
263
Orchestral Works
265
The Suites, New York 1968 & 1970
267
The Intimacy of the Blues
270
1971 The Afro-Eurasian Eclipse
272 272
Studio Sessions New York & Chicago, 1965, 1966 & 1971
274
The Intimate Ellington
276
Togo Brava Suite
278
1972
280
Live at the Whitney
280
The Ellington Suites
282
This One's for Blanton!
285
Up in Duke’s Workshop
287
1973
289
Duke's Big 4
289
It Don't Mean a Thing If It Ain't Got That Swing (Duke Ellington & Teresa Brewer album)
291
1974 Eastbourne Performance
Singles
294 294 296
It Don't Mean a Thing (If It Ain't Got That Swing)
296
Cocktails for Two
297
Diminuendo and Crescendo in Blue
298
Take the "A" Train
300
Mood Indigo
302
Films
304
Black and Tan (The Movie)
304
Check and Double Check
309
Murder at the Vanities
311
Belle of the Nineties
313
Cabin in the Sky
314
Timon of Athens
316
Beggar's Holiday
325
Sophisticated Ladies
327
References Article Sources and Contributors
329
Image Sources, Licenses and Contributors
333
Article Licenses
License
336
Duke Ellington
1
Duke Ellington Edward Ellington
Frankfurt am Main, February 6, 1965 Background information Birth name
Edward Kennedy Ellington
Born
April 29, 1899 Washington, D.C., U.S.
Died
May 24, 1974 (aged 75) New York City, New York, U.S.
Genres
Orchestral jazz, swing, big band
Occupations Bandleader, pianist, composer Instruments Piano Years active 1914–1974 Website
Duke Ellington Legacy
[1]
Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was a composer, pianist, and big band leader. Ellington wrote over 1,000 compositions. In the words of Bob Blumenthal of the Boston Globe "In the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington."[2] A prominent figure in the history of jazz, Ellington's music stretched into various other genres, including blues, gospel, film scores, popular, and classical. His career spanned more than 50 years and included leading his orchestra, composing an inexhaustible songbook, scoring for movies, composing stage musicals, and world tours. Several of his instrumental works were adapted into songs that became standards. Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and extraordinary charisma, he is generally considered to have elevated the perception of jazz to an art form on a par with other traditional genres of music. His reputation increased after his death, the Pulitzer Prize Board bestowing a special posthumous honor in 1999.[3] Ellington called his music "American Music" rather than jazz, and liked to describe those who impressed him as "beyond category".[4] These included many of the musicians who were members of his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most well-known jazz orchestral units in the history of jazz. He often composed specifically for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams, which later became "Do Nothing Till You Hear from Me" with Bob Russell's lyrics, and "The Mooche" for Tricky Sam Nanton and Bubber Miley. He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan" and "Perdido" which brought the 'Spanish Tinge' to big-band jazz. Several members of the orchestra remained there for several decades. After 1941, he frequently collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his
Duke Ellington "writing and arranging companion."[5] Ellington recorded for many American record companies, and appeared in several films. Ellington led his band from 1923 until his death in 1974. His son Mercer Ellington, who had already been handling all administrative aspects of his father's business for several decades, led the band until his own death in 1996. At that point, the original band dissolved. Paul Ellington, Mercer's youngest son and executor of the Duke Ellington estate,[6] kept the Duke Ellington Orchestra going from Mercer's death onwards.[7]
Biography Early life Edward Kennedy Ellington was born on April 29, 1899 to James Edward Ellington and Daisy Kennedy Ellington. Daisy and J.E. were both pianists. She primarily played parlor songs and he operatic airs. They lived with his maternal grandparents at 2129 Ida Place (now Ward Place), NW in the West End neighborhood of Washington, D.C.[8] His father, James Edward Ellington was born in Lincolnton, North Carolina on April 15, 1879 and moved to Washington, D.C. in 1886 with his parents.[9] Daisy Kennedy, was born in Washington, D.C. on January 4, 1879, and was the daughter of a former American slave.[8] [10] James Ellington made blueprints for the United States Navy. He also worked as a butler for Dr. Middleton F. Cuthbert, a prominent white physician, and occasionally worked as a White House caterer.[11] At the age of seven Ellington began taking piano lessons from Marietta Clinkscales.[12] Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington’s childhood friends noticed that "his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman",[13] and began calling him Duke. Ellington credited his "chum" Edgar McEntree for the nickname. "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke."[14] Though Ellington took piano lessons, he was more interested in baseball. "President Roosevelt (Teddy) would come by on his horse sometimes, and stop and watch us play," he recalled.[15] Ellington went to Armstrong Technical High School in Washington, D.C. He got his first job selling peanuts at Washington Senators baseball games. In the summer of 1914, while working as a soda jerk at the Poodle Dog Cafe, he wrote his first composition, "Soda Fountain Rag" (also known as the "Poodle Dog Rag"). Ellington created "Soda Fountain Rag" by ear, because he had not yet learned to read and write music. "I would play the 'Soda Fountain Rag' as a one-step, two-step, waltz, tango, and fox trot," Ellington recalled. "Listeners never knew it was the same piece. I was established as having my own repertoire."[16] In his autobiography, Music is my Mistress (1973), Ellington said he missed more lessons than he attended, feeling at the time that playing the piano was not his talent. Ellington started sneaking into Frank Holiday's Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington's love for the instrument and he began to take his piano studies seriously. Among the many piano players he listened to, he listened to Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, and Harvey Brooks.[17] Ellington began listening to, watching, and imitating ragtime pianists, not only in Washington, D.C., but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months.[16] Dunbar High School music teacher Henry Lee Grant gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, and improve his technique. Ellington was also inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. Later in New York he took advice from Will Marion Cook, Fats Waller, and Sidney Bechet. Ellington started to play gigs in cafés and clubs in and around Washington, D.C. and his attachment grew to be so strong that he turned down an art scholarship to the Pratt Institute in Brooklyn in 1916. Three months before
2
Duke Ellington graduating he dropped out of Armstrong Manual Training School, where he was studying commercial art.[18] From 1917 through 1919, Ellington launched his musical career, painting commercial signs by day and playing piano by night. Through his day job, Duke's entrepreneurial side came out: when a customer would ask him to make a sign for a dance or party, he would ask them if they had musical entertainment; if not, Ellington would ask if he could play for them. He also had a messenger job with the U.S. Navy and State Departments. Ellington moved out of his parents' home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, "The Duke’s Serenaders" ("Colored Syncopators", his telephone directory advertising proclaimed).[18] He was not only a member, but also the booking agent. His first play date was at the True Reformer's Hall, where he took home 75 cents.[19] Ellington played throughout the Washington, D.C. area and into Virginia for private society balls and embassy parties. The band included Otto Hardwick, who switched from bass to saxophone; Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, a rarity during the racially divided times.[20]
Early career When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, becoming one of the figures of the Harlem Renaissance. New dance crazes like the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met Willie "The Lion" Smith who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months the young musicians returned to Washington, D.C., feeling discouraged. In June 1923 a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club – 49th and Broadway – and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was called Elmer Snowden and his Black Sox Orchestra and had seven members, including James "Bubber" Miley. They renamed themselves "The Washingtonians". Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire the club was re-opened as the Club Kentucky (often referred to as the "Kentucky Club"), an engagement which set the stage for the biggest opportunities in Ellington's life. Ellington made eight records in 1924, receiving composing credit on three including Choo Choo.[21] In 1925 Ellington contributed four songs to Chocolate Kiddies, an all-African-American revue which introduced European audiences to African-American styles and performers. "Duke Ellington and his Kentucky Club Orchestra" grew to a ten-piece organization; they developed their distinct sound by displaying the non-traditional expression of Ellington’s arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with the group, imparting his propulsive swing and superior musicianship to the young band members. This helped attract the attention of some of the biggest names of jazz, including Paul Whiteman. In 1927 King Oliver turned down a regular booking for his group as the house band at Harlem's Cotton Club; the offer passed to Ellington. With a weekly radio broadcast and famous white clientele nightly pouring in to see them, Ellington and his band thrived in the period from 1932 to 1942, a golden age for the band. Ellington was joined in New York City by his wife, Edna Thompson, and son Mercer in the late twenties, but the couple soon permanently separated.[22] According to her obituary in Jet magazine, she was "[h]omesick for Washington" and returned (she died in 1967).[23]
3
Duke Ellington Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington's sound.[24] An early exponent of growl trumpet, his style changed the "sweet" dance band sound of the group to one that was hotter, which contemporaries termed 'jungle' style. He also composed most of "Black and Tan Fantasy" and "Creole Love Call". An alcoholic, Miley had to leave the band before they gained wider fame. He died in 1932 at the age of twenty-nine. He was an important influence on Cootie Williams, who replaced him. In 1927 Ellington made a career-advancing agreement with agent-publisher Irving Mills, giving Mills a 45% interest in Ellington's future.[25] Mills had an eye for new talent and early on published compositions by Hoagy Carmichael, Dorothy Fields, and Harold Arlen. During the 1930s Ellington's popularity continued to increase – largely as a result of the promotional skills of Mills – who got more than his fair share of co-composer credits. Mills arranged recording sessions on the Brunswick, Victor, and Columbia labels which gave Ellington popular recognition. Mills lifted the management burden from Ellington's shoulders, allowing him to focus on his band's sound and his compositions. Ellington ended his association with Mills in 1937, although he continued to record under Mills' banner through to 1940. At the Cotton Club, Ellington's group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illegal alcohol. The musical numbers were composed by Jimmy McHugh and the lyrics by Dorothy Fields (later Harold Arlen and Ted Koehler), with some Ellington originals mixed in. Weekly radio broadcasts from the club gave Ellington national exposure. In 1929 Ellington appeared in his first movie, a nineteen-minute all-African-American RKO short, Black and Tan, in which he played the hero "Duke". In the same year, The Cotton Club Orchestra appeared on stage for several months in Florenz Ziegfeld's Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Al Jolson, Ruby Keeler, and with music and lyrics by George Gershwin and Gus Kahn. That feverish period also included numerous recordings, under the pseudonyms "Whoopee Makers", "The Jungle Band", "Harlem Footwarmers", and the "Ten Black Berries". In 1930 Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, "America's foremost ballroom". Noted composer Percy Grainger was also an early admirer and supporter. In 1929, when Ellington conducted the orchestra for Show Girl, he met Will Vodery, Ziegfeld’s musical supervisor. In his 1946 biography, Duke Ellington, Barry Ulanov wrote: From Vodery, as he (Ellington) says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources. It has become customary to ascribe the classical influences upon Duke - Delius, Debussy and Ravel - to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery.[26] As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933.[27] Ellington and his orchestra survived the hard times by taking to the road in a series of tours. Radio exposure also helped maintain popularity. Ivie Anderson was hired as their featured vocalist. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Ellington, however, later had many different vocalists, including Herb Jeffries (until 1943) and Al Hibbler (who replaced Jeffries in 1943 and continued until 1951). Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. As a bandleader Ellington was not a strict disciplinarian; he maintained control of his orchestra with a crafty combination of charm, humor, flattery, and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself. While the band's United States audience remained mainly African-American in this period, the Cotton Club had a near-exclusive white clientele and the Ellington orchestra had a huge following overseas, exemplified by the success of their trip to England in 1933 and their 1934 visit to the European mainland. The English visit saw Ellington win
4
Duke Ellington praise from members of the 'serious' music community, including composer Constant Lambert, which gave a boost to Ellington's aspiration to compose longer works. For agent Mills it was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South in 1934, they avoided some of the traveling difficulties of African-Americans by touring in private railcars. These provided easy accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities. The death of Ellington's mother in 1935 led to a temporary hiatus in his career. Competition was also intensifying, as African-American and white swing bands began to receive popular attention, including those of Benny Goodman, Tommy Dorsey, Jimmy Dorsey, Jimmie Lunceford, Benny Carter, Earl Hines, Chick Webb, and Count Basie. Swing dancing became a youth phenomenon, particularly with white college audiences, and "danceability" drove record sales and bookings. Jukeboxes proliferated nationwide, spreading the gospel of "swing". Ellington band could certainly swing, but Ellington's strengths were mood and nuance, and richness of composition; hence his statement "jazz is music; swing is business".[28] Ellington countered with two developments. He made recordings of smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937 Ellington returned to the Cotton Club which had relocated to the mid-town theater district. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight. Things improved in 1938 and he met and moved in with Cotton Club employee Beatrice "Evie" Ellis. After splitting with agent Irving Mills, he signed on with the William Morris Agency. The 1930s ended with a very successful European tour just as World War II loomed. Ellington delivered some huge hits during the 1930s, which greatly helped to build his overall reputation. Some of them include: "Mood Indigo" (1930), "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932), "Sophisticated Lady" (1933), "Solitude" (1934), "In a Sentimental Mood" (1935), "Caravan" (1937), "I Let A Song Go Out Of My Heart" (1938). "Take the "A" Train" which hit big in 1941, was written by Billy Strayhorn. Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939.[29] Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington Organization. Ellington showed great fondness kept the Duke Ellington Orchestra going for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine".[30] Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio.[31]
5
Duke Ellington
Duke in the 1940s The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.[32] Some of the musicians created a sensation in their own right. The short-lived Jimmy Blanton transformed the use of double bass in jazz, allowing it to function as a solo rather than a rhythm instrument alone. Ben Webster, the Orchestra's first regular tenor saxophonist, started a rivalry with Johnny Hodges as the Orchestra's foremost voice in the sax section. Ray Nance joined, replacing Cootie Williams (who had "defected", contemporary wags claimed, to Benny Goodman). Nance, however, added violin to the instrumental colors Ellington had at his disposal. Three-minute masterpieces flowed from the minds of Ellington, Billy Duke Ellington at the Hurricane Club in New Strayhorn, Ellington's son Mercer Ellington, Mary Lou Williams and York, May 1943 members of the Orchestra. "Cotton Tail", "Main Stem", "Harlem Airshaft", "Sidewalks of New York (East Side, West Side)", "Jack the bear", and dozens of others date from this period. Privately made recordings of Nance's first concert date, at Fargo, North Dakota, on November 7, 1940 by Jack Towers and Dick Burris, are probably the most effective display of the band during this period. These recordings, later released as Duke Ellington at Fargo, 1940 Live, are among the first of innumerable live performances which survive, made by enthusiasts or broadcasters, significantly expanding the Ellington discography. Ellington's long-term aim became to extend the jazz form from the three-minute limit of the 78 rpm record side, of which he was an acknowledged master.[33] He had composed and recorded Creole Rhapsody as early as 1931 (issued as both sides of 12" record for Victor and both sides of a 10" record for Brunswick), and his tribute to his mother, "Reminiscing in Tempo," had filled four 10" record sides in 1935; however, it was not until the 1940s that this became a regular feature of Ellington's work. In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington. The first of these, "Black, Brown, and Beige" (1943), was dedicated to telling the story of African-Americans, and the place of slavery and the church in their history. Ellington debuted Black, Brown and Beige in Carnegie Hall on January 23, 1943, beginning a series of concerts there suited to displaying Ellington's longer works. While some jazz musicians had played at Carnegie Hall before, few had performed anything as elaborate as Ellington’s work. Unfortunately, starting a regular pattern, Ellington's longer works were generally not well-received. Jump for Joy, a full-length musical based on themes of African-American identity, debuted on July 10, 1941 at the Mayan Theater in Los Angeles. Although it had the support of the Hollywood establishment, and received mostly positive reviews, its socio-political outlook provoked a negative reaction among some members of the public. It ran for 122 performances until September 29, 1941, with a brief revival in November of that year. Its subject matter did not make it appealing to Broadway, despite Ellington's plans to take it there.[34] The settlement of the first recording ban of 1942–43 had a serious effect on all the big bands because of the increase in royalty payments to musicians which resulted from it. The financial viability of Ellington's Orchestra came under threat, though Ellington's income as a songwriter ultimately subsidized it. Ellington always spent lavishly and although he drew a respectable income from the Orchestra's operations, the band's income often just covered expenses.[35]
6
Duke Ellington The music industry's focus shifted away from the Big Bands to the work of solo vocalists such as the young Frank Sinatra, Ella Fitzgerald, Billie Holliday and mainstream groups like The Andrews Sisters as World War II drew to a close. While Ellington had featured some of the most talented singers of the day fronting his orchestra, he and his band took a back seat to no one, which set him down a path that put him increasingly at odds with the growing recording industry which was profiting from celebrity singers who were cheaper to keep than a big band, and produced bigger revenues. By the mid 1940s artists were creatively changing. One of Ellington's composer-arrangers, Mary Lou Williams, left Ellington in 1943 and by 1945 was working with Dizzy Gillespie on a new form of jazz music, "Bebop." Bebop rebelled against mainstream jazz and the strict forms of which Ellington was perhaps its most well known standard-bearer. The music, which had redefined the American sound over 35 years, was about to be shaken up. It would take another ten years for Bebop to begin catching on with jazz aficionados world-wide, but it was an early hit with club owners of smaller venues who could draw the jazz form's growing audiences in New York City at a fraction of the cost of hosting a big band, particularly one of Ellington's caliber. Newer, smaller bands and splinter forms of music increasingly put pressure on the bigger clubs who paid out increasingly more to maintain their big bands. Ellington's elite band was a costly enterprise that, along with his excessive personal spending, always teetered on the brink of break-even. The new music trends eventually pushed it over the edge and put Ellington out on the road in search of venues that could afford to showcase his music. Bebop was also a huge shift for young talent, from Charlie Parker to John Coltrane to Thelonious Monk who did not embrace Big Band and sought out new creative frontiers, redefining "modern" jazz music forever. Ellington did not recruit or embrace these new artists and change with the times. In 1950 another emerging musical trend, the African-American popular music style known as Rhythm and Blues driven by a new generation of composers and musicians like Fats Domino drew away young audiences from both the African-American and white communities, and ultimately unified those audiences as R&B morphed into Rock & Roll which expanded the cults of the singers from the Big Band era to the singer/songwriters from Domino to Elvis Presley to Buddy Holly. Again, Ellington did not embrace the new musical form, leaving him further in the growing dust cloud of musical history. Ellington continued on his own course through these tectonic shifts in the music business. He did not wholly resist trends while trying to turn out major works. The Kay Davis vocal feature "Transblucency" was an attempt to cater to the singer-centric music world. He still performed major extended compositions such as Harlem (1950), whose score he presented to music-loving President Harry Truman, but these works were rapidly becoming reflections of his greatness in the 1930s and 1940s, and not ground-breaking works that rattled the music world back into the Big Band camp. In 1951, Ellington suffered a major loss of personnel, with Sonny Greer, Lawrence Brown, and most significantly Johnny Hodges, leaving to pursue other ventures. Lacking overseas opportunities and motion picture appearances, Ellington's Orchestra survived on "one-nighters" and whatever else came their way. By the summer of 1955 the band was performing for six weeks at the Aquacade in Flushing, New York, where Ellington is supposed to have "invented" a drink known as "The Tornado," the only alcoholic concoction that features his signature Coca-Cola and sugar. Ellington had hoped that television would provide a significant new outlet for his type of jazz was not fulfilled. Tastes and trends had moved on without him. The introduction of the 33 1/3 rpm LP record and hi-fi phonograph though, did give new life to many of his older compositions. However by 1955, after three years of recording for Capitol, Ellington no longer had a regular recording affiliation.
7
Duke Ellington
8
Career revival The music business' increasing factionization into specific forms of rock-and-roll, country, bluegrass, or jazz broke down into even more sub-sets, and opened the door for the second act in Duke Ellington's career. An international fascination with Jazz re-opened the door at record labels to artists like Ellington and Louis Armstrong who had found themselves out of step with the times for the last half-decade. The Ellington who was too big or too proud to change would now appear with a variety of artists from the different jazz forms. Ellington's appearance at the Newport Jazz Festival on July 7, 1956 returned him to wider prominence and exposed him to new audiences. The feature "Diminuendo and Crescendo in Blue", with saxophonist Paul Gonsalves's six-minute saxophone solo, had been in the band's book since 1937, but on this occasion nearly created a riot. The revived attention should not have surprised anyone – The August 20, 1956 cover of Time featured Ellington. Hodges had returned to the fold the previous year, and Ellington's collaboration with Strayhorn had been renewed around the same time, under terms more amenable to the younger man. Such Sweet Thunder (1957), based on Shakespeare's plays and characters, and The Queen's Suite, dedicated to Queen Elizabeth II, were products of the renewed impetus which the Newport appearance helped to create. A new record contract with Columbia produced Ellington's best-selling LP Ellington at Newport and yielded six years of recording stability under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.[36] In 1957, CBS (Columbia's parent corporation) aired a live television production of A Drum Is a Woman, an allegorical suite which received mixed reviews. Festival appearances at the new Monterey Jazz Festival and elsewhere provided venues for live exposure, and a European tour in 1958 was wildly received. After a 25-year gap, Ellington (with Strayhorn) returned to work on film scores, this time for Anatomy of a Murder (1959) and Paris Blues (1961). Ellington and Strayhorn, always looking for new musical territory, produced adaptations of John Steinbeck's novel Sweet Thursday, Tchaikovsky's Nutcracker Suite and Edvard Grieg's Peer Gynt. The late 1950s also saw Ella Fitzgerald record her Duke Ellington Songbook with Ellington and his orchestra—a recognition that Ellington's songs had now become part of the cultural canon known as the "Great American Songbook".
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Detroit Free Press music critic Mark Stryker concludes that the work of Billy Strayhorn and Ellington in Anatomy of a Murder, the trial court drama film directed by Otto Preminger in 1959, is "indispensable, [although] . . . too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal."[37] Film historians have recognized the soundtrack "as a landmark – the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band." The score avoided the cultural stereotypes which previously characterized jazz scores and rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the ’60s".[38] In the early 1960s, Ellington embraced recording with artists who had been fierce rivals of the past, or who had been young artists from the Bebop beginnings whom he did not associate with. The Ellington and Count Basie orchestras recorded together. During a period when he was between recording contracts he made a records with Louis Armstrong (Roulette), Coleman Hawkins, John Coltrane (both for Impulse) and participated in a session with Charles Mingus and Max Roach which produced the Money Jungle (United Artists) album.
Ellington in 1973
Ironically, the singer most responsible for setting off the changes that brought an end to the big band era became Ellington's salvation. He signed to Frank Sinatra's new Reprise label. Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Brown in 1960 and Cootie Williams in 1962. The international mania for jazz reinstated Ellington as one of the highest earning artists in jazz. He performed all over the world; a significant part of each year was now spent making overseas tours. He formed notable new working relationships with international artists from around the world, including the Swedish vocalist Alice Babs, and South African musicians Dollar Brand and Sathima Bea Benjamin (A Morning in Paris, 1963/1997). His earlier hits became big sellers in the rediscovery of the music world-wide, earning Ellington impressive royalties. "The writing and playing of music is a matter of intent.... You can't just throw a paint brush against the wall and call whatever happens art. My music fits the tonal personality of the player. I think too strongly in terms of altering my music to fit the performer to be impressed by accidental music. You can't take doodling seriously."[16]
Last years Ellington was nominated for a Pulitzer Prize in 1965, but was turned down.[39] His reaction at 67 years old: "Fate is being kind to me. Fate doesn't want me to be famous too young."[40] In September of the same year, the first of his Sacred Concerts was given its premiere. It was an attempt to fuse Christian liturgy with jazz, and even though it received mixed reviews, Ellington was proud of the composition and performed it dozens of times. This concert was followed by two others of the same type in 1968 and 1973, known as the Second and Third Sacred Concerts. This caused controversy in what was already a tumultuous time in the United States. Many saw the Sacred Music suites as an attempt to reinforce commercial support for organized religion, though Ellington simply said it was, "the most
Duke Ellington
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important thing I've done."[41] The Steinway piano upon which the Sacred Concerts were composed is part of the collection of the Smithsonian's National Museum of American History. Like Haydn and Mozart, Ellington conducted his orchestra from the piano - he always played the keyboard parts when the Sacred Concerts were performed.[42] Ellington continued to make vital and innovative recordings, including The Far East Suite (1966), the New Orleans Suite (1970), and The Afro-Eurasian Eclipse (1971), much of it inspired by his world tours. It was during this time that Ellington recorded his only album with Frank Sinatra, entitled Francis A. & Edward K. (1967). Ellington was awarded the Grammy Lifetime Achievement Award in 1966. He was later awarded several other prizes, the Presidential Medal of Freedom in 1969, an Honorary PhD from the Berklee College of Ellington receiving the Presidential Medal of Freedom from President Nixon, Music in 1971, and the Legion of Honor by 1969. France in 1973, the highest civilian honors [3] in each country. He died of lung cancer and pneumonia on May 24, 1974, a month after his 75th birthday, and was interred in the Woodlawn Cemetery, The Bronx, New York City.[43] At his funeral attended by over 12,000 people at the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion, "It's a very sad day. A genius has passed."[44] Mercer Ellington picked up the reins of the orchestra immediately after Duke's death. Ellington's last words were, "Music is how I live, why I live and how I will be remembered."
Work in films and the theater Ellington's film work began in 1929 with the short film Black and Tan.[45] Symphony in Black (1935) featured his extended piece 'A Rhapsody of Negro Life'. It introduced Billie Holiday, and won an Academy Award as the best musical short subject. He also appeared in the Amos 'n' Andy film Check and Double Check (1930). Ellington and his Orchestra continued to appear in films through the 1930s and 1940s, both in short films and in features such as Murder at the Vanities and Belle of the Nineties (1934), and Cabin in the Sky (1943). In the late 1950s, his work in films took the shape of scoring for soundtracks, notably Anatomy of a Murder (1959), with James Stewart, in which he appeared fronting a roadhouse combo, and Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians. He wrote an original score for director Michael Langham's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, 1963. Langham has used it for several subsequent productions, most recently in an adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works. Ellington composed the score for the musical Jump For Joy, which was performed in Los Angeles during 1941. Ellington's sole book musical, Beggar's Holiday, was staged on Broadway in 1946. Sophisticated Ladies, an award-winning 1981 musical revue, incorporated many tunes from his repertoire.
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Private life Ellington married his high school sweetheart, Edna Thompson, on July 2, 1918, when he was 19. Shortly after their marriage, on March 11, 1919 Edna gave birth to their only son, Mercer Kennedy Ellington. Mercer played trumpet, led his own band and worked as his father's business manager, eventually taking full control of the band after Duke's death. He was an important archivist of his father's musical life. Ellington's sister Ruth (1915–2004) later ran Tempo Music, Ellington's music publishing company. Ruth's second husband was the bass-baritone McHenry Boatwright, whom she met when he sang at her brother's funeral. Ellington's grandson Paul Ellington is a musician and maintains a small salaried band known as the Duke Ellington Legacy, which frequently comprises the core of the big band operated by The Duke Ellington Center for the Arts.
Legacy Duke Ellington's work has come to be recognized as a cornerstone of American culture and heritage. He is widely regarded as the most important composer in jazz; he was also a galvanizing bandleader who inspired many of his musicians to produce their best work, whilst himself being a significant exponent of jazz piano. His works have been revisited by artists and musicians around the world both as a source of inspiration and a bedrock of their own performing careers. Ellington's compositions are now the staple of the repertoire of music conservatories, and even high school band programs that have embraced his music continue to give it life and voice. His son, Mercer Ellington kept his big band alive after his passing. When Mercer died, Paul Ellington kept the Duke Ellington Orchestra going. It plays in concert halls around the world to this day.
Awards, honors and recognitions Memorials Numerous memorials have been dedicated to Duke Ellington, in cities from New York and Washington, DC to Los Angeles. In Ellington's birthplace of Washington, D.C., there is a school dedicated to his honor and memory as well as one of the bridges over Rock Creek Park. The Duke Ellington School of the Arts educates talented students, who are considering careers in the arts, by providing intensive arts instruction and strong academic programs that prepare students for post-secondary education and professional careers. The Calvert Street Bridge was renamed the Duke Ellington Bridge; built in 1935, it connects Woodley Park to Adams Morgan.
The grave of Duke Ellington
On February 24, 2009, the United States Mint launched a new coin featuring Duke Ellington, making him the first African-American to appear by himself on a circulating U.S. coin.[46] Ellington appears on the reverse ("tails") side of the District of Columbia quarter.[46] The coin is part of the U.S. Mint's program honoring the District and the U.S. territories[47] and celebrates Ellington's birthplace in the District of Columbia.[46] Ellington is depicted on the quarter
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seated at a piano, sheet music in hand, along with the inscription "Justice for All", which is the District's motto.[47] Ellington lived for years in a townhouse on the corner of Manhattan's Riverside Drive and West 106th Street. After his death, West 106th Street was officially renamed Duke Ellington Boulevard. A large memorial to Ellington, created by sculptor Robert Graham, was dedicated in 1997 in New York's Central Park, near Fifth Avenue and 110th Street, an intersection named Duke Ellington Circle. Although he made two more stage appearances before his death, Ellington performed what is considered his final "full" concert in a ballroom at Northern Illinois University on March 20, 1974.[48] The hall was renamed the Duke Ellington Ballroom in 1980. A statue of Ellington at a piano is featured at the entrance to UCLA's Schoenberg Hall. According to UCLA magazine, "When UCLA students were entranced by Duke Ellington's provocative tunes at a Culver City club in 1937, they asked the budding musical great to play a free concert in Royce Hall. 'I've been waiting for someone to ask us!' Ellington exclaimed".
Star on the Hollywood Walk of Fame at 6535 Hollywood Blvd.
"On the day of the concert, Ellington accidentally mixed up the venues and drove to USC instead. He eventually arrived at the UCLA campus and, to apologize for his tardiness, played to the packed crowd for more than four hours. And so, "Sir Duke" and his group played the first-ever jazz performance in a concert venue."[49]
He is one of only five jazz musicians ever to have been featured on the cover of Time (the other four being Louis Armstrong, Thelonious Monk, Wynton Marsalis, and Dave Brubeck).[50] The Essentially Ellington High School Jazz Band Competition and Festival is a nationally renowned annual competition for prestigious high school bands. Started in 1996 at Jazz at Lincoln Center, the festival is named after Ellington because of the large focus that the festival places on his works.
Tributes • Sathima Bea Benjamin - the South African vocalist wrote "Gift of Love", in memory of Duke Ellington, for her 1987 album Love Light. • Dave Brubeck - dedicated "The Duke" (1954) to Ellington and it became a standard covered by others,[51] both during Ellington's lifetime (such as by Miles Davis on Miles Ahead, 1957) and posthumously (such as George Shearing on I Hear a Rhapsody: Live at the Blue Note, 1992). The album The Real Ambassadors has a vocal version of this piece, You Swing Baby (The Duke), with lyrics by Iola Brubeck, Dave's wife. It is performed as a duet between Louis Armstrong and Carmen McRae. It is also dedicated to Duke Ellington. • Tony Bennett frequently altered the lyrics to "Lullaby of Broadway" in live performance, to sing, "You rock-a-bye your baby 'round/to Ellington or Basie," as a personal tribute to the two jazz masters. • Judy Collins - wrote "Song For Duke" in 1975, and included it on her album Judith. • Miles Davis - one month after Ellington's death, created his half-hour dedicated dirge "He Loved Him Madly" (1974) collected on Get Up with It. • The jazz-influenced band Steely Dan recorded a note-for-note version of an early Ellington standard, "East St. Louis Toodle-oo," on their album Pretzel Logic, released in 1974, using treated slide guitars to re-create the plunger-muted "jungle sound" of the original Ellington horns. • Stevie Wonder - wrote the song "Sir Duke" as a tribute to Ellington in 1976. • Charles Mingus - composed "Open Letter to Duke" and "Duke Ellington's Sound of Love" • Lorraine Feather - has composed lyrics to many of Ellington's instrumental compositions,recorded on CD's including "Dooji Wooji" and "Such Sweet Thunder."
Duke Ellington
13
• The Modern Jazz Quartet composed two original Ellington tributes for their album For Ellington. There are hundreds of albums dedicated to the music of Duke Ellington and Billy Strayhorn by artists famous and obscure. The more notable artists include Sonny Stitt, Thelonious Monk, Dizzy Gillespie, Tony Bennett, Claude Bolling, Oscar Peterson, Toshiko Akiyoshi, Dick Hyman, Joe Pass, Milt Jackson, Earl Hines, André Previn, World Saxophone Quartet, Ben Webster, Zoot Sims, Kenny Burrell, Lambert, Hendricks and Ross, Martial Solal, Clark Terry and Randy Weston.
Homage from critics Gunther Schuller wrote, "Ellington composed incessantly to the very last days of his life. Music was indeed his mistress; it was his total life and his commitment to it was incomparable and unalterable. In jazz he was a giant among giants. And in twentieth century music, he may yet one day be recognized as one of the half-dozen greatest masters of our time."[52] Martin Williams said "Duke Ellington lived long enough to hear himself named among our best composers. And since his death in 1974, it has become not at all uncommon to see him named, along with Charles Ives, as the greatest composer we have produced, regardless of category."[53] In 2002, scholar Molefi Kete Asante listed Duke Ellington on his list of 100 Greatest African Americans.[54] Andre Previn said, "You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, ‘‘Oh, yes, that’s done like this.’’ But Duke merely lifts his finger, three horns make a sound, and I don’t know what it is!" [55]
Awards Grammy Awards Ellington earned 12 Grammy awards from 1959 to 2000, nine while he was alive. [56]
Duke Ellington Grammy Award History Year
Category
Title
Genre
Result
1999
Historical Album
The Duke Ellington Centennial Edition RCA Victor Recordings (1927–1973)
Jazz
Winner
1979
Best Jazz Instrumental Performance, Big Band
Duke Ellington At Fargo, 1940 Live
Jazz
Winner
1976
Best Jazz Performance By A Big Band
The Ellington Suites
Jazz
Winner
1972
Best Jazz Performance By A Big Band
Togo Brava Suite
Jazz
Winner
1971
Best Jazz Performance By A Big Band
New Orleans Suite
Jazz
Winner
1968
Best Instrumental Jazz Performance - Large Group Or Soloist With Large Group
...And His Mother Called Him Bill
Jazz
Winner
1967
Best Instrumental Jazz Performance, Large Group Or Soloist With Large Group
Far East Suite
Jazz
Winner
1966
Best Original Jazz Composition
"In The Beginning God"
Jazz
Winner
1965
Best Instrumental Jazz Performance Large Group Or Soloist With Large Group
Ellington '66
Jazz
Winner
1959
Best Performance By A Dance Band
Anatomy of a Murder
Pop
Winner
Duke Ellington
14
1959
Best Musical Composition First Recorded And Released In 1959 (More Than 5 Minutes Duration)
Anatomy of a Murder
Composing Winner
1959
Best Sound Track Album - Background Score From A Motion Picture Or Television
Anatomy of a Murder
Composing Winner
Grammy Hall of Fame Recordings of Duke Ellington were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance." [57] [58]
Duke Ellington: Grammy Hall of Fame Award Year Recorded 1932
Title
Genre
"It Don't Mean a Thing (If It Ain't Got That Swing)" Jazz (Single)
Label
Year Inducted
Brunswick
2008
1934
"Cocktails for Two"
Jazz (Single)
Victor
2007
1957
Ellington at Newport
Jazz (Album)
Columbia
2004
1956
"Diminuendo and Crescendo in Blue"
Jazz (Single)
Columbia
1999
1967
Far East Suite
Jazz (Album)
RCA
1999
1944
Black, Brown and Beige
Jazz (Single) RCA Victor
1990
1928
"Black and Tan Fantasy"
Jazz (Single)
Victor
1981
1941
"Take the "A" Train"
Jazz (Single)
Victor
1976
1931
"Mood Indigo"
Jazz (Single)
Brunswick
1975
Honors and inductions
Ellington on the Washington, D.C. quarter released in 2009.
Duke Ellington
15
Year
Category
2009
Commemorative U.S. quarter
2008
Gennett Records Walk of Fame
2004
Nesuhi Ertegün Jazz Hall of Fame at Jazz at Lincoln Center
1999
Pulitzer Prize
Special Citation
1986
22¢ commemorative U.S. stamp
Issued April 29, 1986
1978
Big Band and Jazz Hall of Fame
1973
Notes [59] [60]
D.C. and U.S. Territories Quarters Program.
[3]
[62]
French Legion of Honor
1973
Honorary Degree in Music from Columbia University
1971
Honorary Doctorate Degree from Berklee College of Music
1971
Songwriters Hall of Fame
1969
Presidential Medal of Freedom
1956
Down Beat Jazz Hall of Fame inductee
1968
Grammy Trustees Award
1966
Grammy Lifetime Achievement Award
1959
NAACP Spingarn Medal
[61]
July 6, 1973 May 16, 1973
Special Merit Award
Notes [1] [2] [3] [4]
http:/ / www. dukeellingtonlegacy. com Boston Globe, 25 April 1999 1999 Pulitzer Prize Winners Special Awards and Citations (http:/ / www. pulitzer. org/ citation/ 1999-Special-Awards-and-Citations) Tucker 1995, p. 6 writes "He tried to avoid the word 'jazz' preferring 'Negro' or 'American' music. He claimed there were only two types of music, 'good' and 'bad' ... And he embraced a phrase coined by his colleague Billy Strayhorn – 'beyond category' – as a liberating principle." [5] Hajdu, David (1996), Lush Life: A Biography of Billy Strayhorn, New York: Farrar, Strauss & Giroux, ISBN 978-0-86547-512-0, page 170 [6] DukeEllington.com "Paul Ellington." (http:/ / www. dukeellington. com/ paulvideo. html) Retrieved on September 18, 2009. [7] Entertainment Booking Agency "The Duke Ellington Orchestra." (http:/ / www. bookingentertainment. com/ artists/ jazz/ booking-the-duke-ellington-orchestra. php) Retrieved on September 18, 2009. [8] Lawrence 2001, p. 1 [9] Lawrence 2001, p. 2. [10] Hasse 1995, p. 21. [11] Hasse 1993, p. 23. [12] Clinkscales lived at 1212 T Street NW, an address sometimes erroneously given as Ellington childhood home. [13] Terkel 2002 [14] Ellington 1976, p. 20. [15] Ellington 1976, p. 10. [16] "Ellington, Duke". Current Biography. H.W. Wilson Company, 1970. [17] Smith, Willie the Lion (1964). Music on My Mind: The Memoirs of an American Pianist, Foreword by Duke Ellington. New York City: Doubleday & Company Inc.. pp. ix. [18] Simmonds, Yussuf (September 11, 2008). "Duke Ellington" (http:/ / www. lasentinel. net/ Duke-Ellington. html). Los Angeles Sentinel. . Retrieved 2009-07-14. [19] Hasse 1993, p. 45. [20] Cohen, Harvey G. (Autumn 2004). "The Marketing of Duke Ellington: Setting the Strategy for an African American Maestro" (http:/ / www. jstor. org/ stable/ 4134056). The Journal of African-American History (Association for the Study of African-American Life and History, Inc.) 89 (4): 291–315. . Retrieved 2009-07-14. [21] Hasse 1993, p. 79. [22] Susan Robinson "Duke Ellington" (http:/ / gibbsmagazine. com/ Duke Ellington. htm), Gibbs magazine, n.d.
Duke Ellington [23] "Obituary: Edna Thompson Ellington" (http:/ / books. google. com/ books?id=s7gDAAAAMBAJ& pg=PA46), Jet, 31:17, February 2, 1967, p46–47 [24] Schuller, Gunther (October 1992). "Jazz and Composition: The Many Sides of Duke Ellington, the Music's Greatest Composer" (http:/ / jstor. org/ stable/ 3824163). Bulletin of the American Academy of Arts and Sciences (American Academy of Arts & Sciences) 46 (1): 36–51. doi:10.2307/3824163. . [25] Hasse 1993, p. 90. [26] Ulanov, Barry. Duke Ellington, Creative Age Press, 1946. [27] Hasse 1993, p. 166. [28] Hasse 1993, p. 203. [29] Stone, Sonjia (ed) (1983). "WILLIAM THOMAS STRAYHORN" (http:/ / www. billystrayhorn. com/ biography. htm). Billy Strayhorn Songs. University of North Carolina - Chapel Hill. . Retrieved 2009-07-14. [30] Ellington 1976, p. 156. [31] http:/ / www. allaboutjazz. com/ php/ article_print. php?id=31974 [32] "Jazz Musicians - Duke Ellington" (http:/ / theoryjazz. com/ artists/ ellington. html). Theory Jazz. . Retrieved 2009-07-14. [33] Crawford, Richard (1993). The American Musical Landscape. Berkeley: University of California Press. [34] http:/ / indianapublicmedia. org/ nightlights/ jump-for-joy-duke-ellingtons-celebratory-musical/ [35] Hasse 1993, p. 274. [36] Wein, George (2003). Myself Among Others: A Life in Music. Da Capo Press. [37] Stryker, Mark, Music Critic, Ellington's score still celebrated, January 20, 2009 (http:/ / www. freep. com/ apps/ pbcs. dll/ article?AID=200990120016) Detroit Free Press [38] Mark Stryker "Ellington's score still celebrated", Detroit Free Press, 20 January 2009; Mervyn Cooke History of Film Music, 2008, Cambridge University Press [39] Gary Giddins, "How Come Jazz Isn't Dead", p. 39–55 in Weisbard 2004, pp. 41–42. Giddins remarks that in 1965, Ellington was denied the Pulitzer because the Pulitzer jury commended him for his body of work rather than for a particular composition, but his posthumous Pulitzer was granted precisely for that life-long body of work. [40] Tucker, Mark; Duke Ellington (1995). The Duke Ellington reader. Oxford University Press. [41] Ellington 1976, p. 269. [42] "Ellington's Steinway Grand" (http:/ / www. piano300. si. edu/ collectn. htm). National Museum of American History, Smithsonian Institution. . Retrieved 2008-08-26. [43] "Duke Ellington" (http:/ / www. findagrave. com/ cgi-bin/ fg. cgi?page=gr& GRid=318). Find a Grave. . Retrieved September 2, 2010. [44] Hasse 1993, p. 385. [45] Stratemann, Dr. Klaus. Duke Ellington: Day by Day and Film by Film, 1992. ISBN 87-88043-34-7 [46] Staff reporter (2009-02-24). "Jazz man is first African-American to solo on U.S. circulating coin" (http:/ / www. cnn. com/ 2009/ US/ 02/ 24/ duke. ellington. coin/ index. html). CNN. . Retrieved 2009-10-03. "The United States Mint launched a new coin Tuesday featuring jazz legend Duke Ellington, making him the first African American to appear by himself on a circulating U.S. coin. [...] The coin was issued to celebrate Ellington's birthplace, the District of Columbia." (Archived by WebCite at http:/ / www. webcitation. org/ 5kGOH7EZS) [47] United States Mint. Coins and Medals. District of Columbia. (http:/ / www. usmint. gov/ mint_programs/ DCAndTerritories/ index. cfm?action=dcterritories& local=DC) [48] McGowan, Mark (November 3, 2003). "NIU to rededicate Duke Ellington Ballroom during Nov. 6 NIU Jazz Ensemble concert" (http:/ / www. niu. edu/ PubAffairs/ RELEASES/ 2003/ nov/ ellington. shtml). Northern Illinois University. . Retrieved 2009-07-14. [49] Maya Parmer, Curtain Up: Two Days of the Duke (http:/ / www. magazine. ucla. edu/ depts/ happenings/ two_days_of_the_duke/ ), UCLA Magazine, April 1, 2009 [50] Time.com (http:/ / www. time. com/ time/ covers/ 0,16641,19560820,00. html) [51] ""The Duke" by Dave Brubeck: song review, recordings, covers" (http:/ / www. allmusic. com/ song/ t933027). Allmusic. . Retrieved 2007-03-21. [52] Schuller, Gunther, The Swing Era, Oxford University Press, 1989, ISBN 0-19-504312-X. p. 157. [53] Martin Williams, liner notes, Duke Ellington's Symphony in Black,The Smithsonian Jazz Repertory Ensemble conducted by Gunther Schuller, The Smithsonian Collections recording, 1980. [54] Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8. [55] Ralph J. Gleason, ‘‘Duke Excites, Mystifies Without Any Pretension,’’ Down Beat, November 5, l952, reprinted in Jazz Perspectives Vol. 2, No. 2, July 2008, pp. 215–49. [56] Grammy Awards Database (http:/ / theenvelope. latimes. com/ factsheets/ awardsdb/ env-awards-db-search,0,7169155. htmlstory?searchtype=all& query=Duke+ Ellington& x=8& y=6) [57] Grammy Hall of Fame Award Database (http:/ / www. grammy. com/ Recording_Academy/ Awards/ Hall_Of_Fame/ ) [58] 2008 Grammy Hall of Fame List (http:/ / www. grammy. com/ PressReleases/ 443_466_Hall of Fame release FINAL. pdf) [59] 2009 D.C. and U.S. Territories Quarters Program (http:/ / www. usmint. gov/ mint_programs/ DCAndTerritories/ ) from the United States Mint website
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Duke Ellington [60] Sheridan, Mary Beth (2008-06-20). "Ellington Comes Out Ahead in Coin Tossup" (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2008/ 06/ 19/ AR2008061904090. html). Washington Post. . Retrieved 2009-10-03. [61] Duke Ellington: 22 cents Commemorative stamp (http:/ / www. centerforjazzarts. org/ usps_exhibition2. html#ellington) from the Center for Jazz Arts website [62] American History: Duke Ellington (http:/ / americanhistory. si. edu/ archives/ d5301c13. htm)
Bibliography (further reading) • Cohen, Harvey G. Duke Ellington's America. Chicago: University of Chicago Press, 2010. ISBN 978-0-226-11263-3 • Collier, James Lincoln. Duke Ellington. New York & Oxford: Oxford University Press, 1987. ISBN 0-19-503770-7 • Dailey, Raleigh. "Ellington as a Composer for the Piano," in Jazz Research Proceedings Yearbook, #31 (Jan.2001), pp. 151–156. • Dance, Stanley. The World Of Duke Ellington. New York: Simon & Schuster, 1970. ISBN 0-306-80136-1 • Ellington, Duke. Music Is My Mistress. New York: Da Capo, 1976 ISBN 0-7043-3090-3 • Ellington, Mercer. Duke Ellington In Person. Boston: Houghton Mifflin, 1978. ISBN 0-395-27511-5. • Hajdu, David, Lush Life: A Biography of Billy Strayhorn. New York: Farrar, Strauss & Giroux, 1996. ISBN 978-0-86547-512-0. • Hasse, John Edward. Beyond Category: The Life and Genius of Duke Ellington. New York: Da Capo, 1995. ISBN 0-306-80614-2 • Lawrence, A. H. Duke Ellington and His World: A Biography. New York: Routledge, 2001. ISBN 0-415-93012-X • Schuller, Gunther. Early Jazz: Its Roots and Musical Development. New York: Oxford University Press, 1986. ISBN 978-0-19-504043-2. Especially pp. 318–357. • Schuller, Gunther. The Swing Era: The Development Of Jazz, 1930-1945. New York: Oxford University Press, 2005. ISBN 9780195072405. Esp. pp. 46–157. • (French) Gilles Tordjman, François Billard, Duke Ellington, Le Seuil, Paris, 1994. ISBN 978-2-02-013700-3 • Terkel, Studs (2002), Giants of Jazz (2nd ed.), New York: The New Press, ISBN 978-1-56584-769-9. • Tucker, Mark. Ellington, The Early Years, University of Illinois Press, 1991. ISBN 0-252-01425-1 • Tucker, Mark. The Duke Ellington Reader. New York: Oxford University Press, 1993 ISBN 978-0-19-509391-9 . • Ulanov, Barry. Duke Ellington, Creative Age Press, 1946. • Weisbard, Eric, ed.. This Is Pop: In Search of the Elusive at Experience Music Project. Cambridge: Harvard University Press, 2004. ISBN 0-674-01344-1.
Reference works (discographies, filmographies, etc.) • Massagli, Luciano and Volonté, Giovanni. The New Desor: Duke Ellington's Story on Records Parts One and Two, 1999, Milan, Italy. Privately published two part discography with no ISBN number. The most comprehensive Ellington discography for sessions and record issues. • Stratemann, Dr. Klaus. Duke Ellington: Day by Day and Film by Film. Copenhagen: JazzMedia, 1992. ISBN 87-88043-34-7 Covers all of Duke's travels and films from the 1929 short film Black and Tan onwards • Timner, W.E.. Ellingtonia: The Recorded Music of Duke Ellington and His Sidemen. 5th ed. Lanham, Md. & Toronto: Scarecrow Press, 2007. ISBN 0-8108-5889-4 Has a unique discography of Ellington's sidemen.
17
Duke Ellington
18
External links • • • • • • • • • • • •
Official website (http://www.dukeellington.com/) Official family website (http://www.dukeellingtonlegacy.com/) Symphony In Black (discussion and film) (http://www.redhotjazz.com/sib.html) Duke Ellington (http://www.imdb.com/name/nm0254153/) at the Internet Movie Database Duke Ellington (http://www.ibdb.com/person.asp?ID=11631) at the Internet Broadway Database Duke Ellington Biography, in Down Beat Magazine. (http://www.downbeat.com/artists/window. asp?action=new&aid=173&aname=Duke+Ellington) Duke Ellington Collection: Smithsonian National Museum of American History, Archive Center. (http:// americanhistory.si.edu/archives/d53011ab.htm) A Duke Ellington Panorama; including detailed discography. (http://www.depanorama.net/) The Duke Ellington Society, TDES, Inc (http://thedukeellingtonsociety.org/) Duke Ellington: 20th International Conference. May 2008, London. (http://www.ELLINGTON2008.org/) Duke Ellington Orchestra (http://www.wlatalent.com/roster/duke_ellington_orchestra/artistprofile.htm) at Wenig-LaMonica Associates (http://wlatalent.com) "Duke Ellington" (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=318). Find a Grave. Retrieved September 2, 2010.
Duke Ellington discography This is the discography of Duke Ellington. The majority of these recordings are listed under the year they were recorded, rather than released. Reissues are listed for most of the recordings released before the 1950s, as the original 78s are rare. A full discography up to the 1942 recording ban is available at http://www.ellingtonia.com
Hit records Year
Single
Chart positions US
1927
"East St. Louis Toodle-oo"
10
1928
"Black and Tan Fantasy"
15
"Creole Love Call"
19
"Doin' the New Low Down"
20
"Diga Diga Doo"
17
"The Mooche"
16
"Three Little Words"
1
"Ring Dem Bells"
17
"Blue Again"
12
"Mood Indigo"
3
"Rockin' In Rhythm"
19
"Creole Rhapsody Parts 1 & 2"
18
"Limehouse Blues"
13
1930
1931
US UK R&B
Duke Ellington discography
19 1932
1933
1934
1935
1936
1937
1938
"It Don't Mean a Thing (If It Ain't Got That Swing)"
6
"Creole Rhapsody"(new version)
19
"Rose Room (In Sunny Roseland)"
15
"Moon Over Dixie"
14
"Blue Ramble"
16
"Drop Me Off At Harlem"
17
"Sophisticated Lady"
3
"Stormy Weather"
4
"I'm Satisfied"
11
"In the Shade of the Old Apple Tree"
13
"Daybreak Express"
20
"Cocktails For Two"
1
"Moon Glow"
2
"Solitude"
2
"Saddest Tale"
9
"Merry Go Round"
6
"In a Sentimental Mood"
14
"Accent On Youth"
6
"Cotton"
4
"Isn't Love the Strangest Thing?"
12
"Love Is Like a Cigarette"
8
"Clarinet Lament"
12
"Echoes of Harlem"
19
"Oh Babe! Maybe Someday"
8
"Jazz Lips"
20
"Yearning For Love"
16
"The New East St. Louis Toodle-Oo"
16
"There's a Lull In My Life"
12
"Scattin' At the Kit Kat"
9
"Caravan"
4
"Azure"
13
"All God's Chillun Got Rhythm"
14
"Harmony In Harlem"
15
"If You Were In My Place (What Would You Do?)"
10
"I Let a Song Go Out of My Heart"
1
"The Gal From Joe's"
20
"Lambeth Walk"
7
"Prelude To a Kiss"
18
Duke Ellington discography
20 1940
1941
"You, You, Darlin'"
28
"Ko Ko"
25
"At a Dixie Roadside Diner"
27
"Sepia Panorama"
24
"Flamingo"
11
"Take the A Train"
11
"I Got It Bad and That Ain't Good"
13
1942
"Hayfoot, Strawfoot"
1943
"Don't Get Around Much Anymore"
8
"Perdido"
21
"Take the A Train"(re-entry)
19
"Bojangles"
19
"A Slip of the Lip"
19
1
"Sentimental Lady"
19
1
"Do Nothin' Till You Hear From Me"
10
1
"Main Stem"
23
1
1944
1945
10
"My Little Brown Book"
4
"Someone"
7
"I Don't Mind"
9
"I'm Beginning To See the Light"
6
4
"Don't You Know I Care"
10
"I Ain't Got Nothin' But the Blues"
4
1946
"Come To Baby, Do"
1948
"Don't Be So Mean To Baby"
1953
"Satin Doll"
27
"Boo Dah"
30
1954
1
"Skin Deep"
13 15
7
1920s During the late 1920s and early 1930s, Ellington and his band recorded for the labels BluDisc, Pathe, Victor, Brunswick, Columbia, Okeh, Vocalion, Cameo, RCA-Victor, Plaza, Durium and ARC. Some labels, such as RCA-Victor, Okeh and Brunswick, have collected Ellington's early recordings into box sets, while material from other labels is scattered. The most comprehensive source for Ellington's early work are the Classics releases, although note that these records omit alternate takes, which may be found in other collections. 1926 • 1924-1926: The Birth of A Band Vol. 1 (EPM Musique) (released 1988) • The Birth of Big Band Jazz (Riverside) (EP) (released 1956) • Complete Edition (1924–1926) (Masters of Jazz) 1927 • The Chronological Duke Ellington & His Orchestra 1924-1927 (Classics)
Duke Ellington discography • Complete Edition (1926–1927) (Masters of Jazz) 1928 • • • • • • •
Duke Ellington and His Orchestra: 1927-1928 (Classics) (Released 1996) Duke Ellington and His Orchestra: 1928 (Classics) Complete Vol. 1: 1925-1928 (Columbia - France) (released 1973) The Chronological Duke Ellington & His Orchestra 1927-1928 (Classics) The Chronological Duke Ellington & His Orchestra 1928 (Classics) Complete Edition (1927–1928) (Masters of Jazz) Complete Edition (1928) (2 discs) (Masters of Jazz)
1929 • • • •
Flaming Youth (1927–1929) (RCA Victor) (Released 1965) The Chronological Duke Ellington & His Orchestra 1928-1929 (Classics) The Chronological Duke Ellington & His Orchestra 1929 (Classics) Complete Edition (1929) (2 discs) (Masters of Jazz)
1930s 1930 • • • • • •
The OKeh Ellington (Columbia) (1927–1930) (released 1991) The Works of Duke: Vol. 1 - Vol. 5 (RCA) (1927–1930) The Chronological Duke Ellington & His Orchestra 1929-1930 (Classics) The Chronological Duke Ellington & His Orchestra 1930 (2 volume) (Classics) Complete Edition (1929–1930) (Masters of Jazz) Complete Edition (1930) (2 discs) (Masters of Jazz)
1931 • • • • •
Early Ellington: The Complete Brunswick Recordings (3 discs) (Decca) (1926–1931) (released 1994) Jazz Heritage Brunswick/Vocalion Rarities (1926–1931) (MCA) (released 1983) Mood Indigo (1927–1931) (Columbia) (released 1992) The Chronological Duke Ellington & His Orchestra 1930-31 (Classics) Complete Edition (1930–1931) (Masters of Jazz)
1932 • Jungle Nights in Harlem (1927–1932) (Bluebird) (released 1991) • Jazz Cocktail (AVS/Living Era) (1928–1932) • The Chronological Duke Ellington & His Orchestra 1931-32 (Classics) 1933 • The Chronological Duke Ellington & His Orchestra 1932-33 (Classics) • The Chronological Duke Ellington & His Orchestra 1933 (Classics) 1934 • • • •
Early Ellington: 1927-1934 (Bluebird) (released 1954; CD release 1990 on RCA) Duke Ellington 1927-1934 (Nimbus) (1991) Great Original Performances 1927-1934 (Mobile Fidelity (released 1989) Jubilee Stomp (Bluebird) (1928–1934)
1935 • The Chronological Duke Ellington & His Orchestra 1933-35 (Classics) 1936
21
Duke Ellington discography • Rockin’ in Rhythm (1927–1936) (Jazz Hour) (Released 1996) • The Chronological Duke Ellington & His Orchestra 1935-36 (Classics) 1937 • The Chronological Duke Ellington & His Orchestra 1936-37 (Classics) • The Chronological Duke Ellington & His Orchestra 1937 (2 volumes) (Classics) 1938 • Braggin’ in Brass: The Immortal 1938 Year (Portrait) • The Chronological Duke Ellington & His Orchestra 1938 (Classics) 1939 • • • • •
Duke Ellington Playing the Blues (1927–1939) (Black and Blue) (Released 2002) The Duke’s Men: Small Groups vol. 2, 1938-1939 (Columbia/Vocalion) The Blanton–Webster Band (1939–1942) (RCA/BlueBird) The Chronological Duke Ellington & His Orchestra 1938-39 (Classics) The Chronological Duke Ellington & His Orchestra 1939 (2 volumes) (Classics)
1940s The early 1940s saw limited output due to the recording ban, but Ellington did make annual visits to Carnegie Hall, listed below. In the January 1943 concert, Ellington introduced his first extended suite, "Black, Brown and Beige." This era also saw the appearance of the "Liberian Suite" and his highly regarded recordings featuring Jimmy Blanton and Ben Webster, "the best Ellington band" according to critic Bob Blumenthal.[1] 1940 • • • • • •
On the Air Duke Ellington at Fargo, 1940 Live (Vintage Jazz Classics) The Duke in Boston (Jazz Unlimited) The British Connection: 1933-1940 (Jazz Unlimited) The Chronological Duke Ellington & His Orchestra 1939-40 (Classics) The Chronological Duke Ellington & His Orchestra 1940 (2 volumes) (Classics)
1941 • • • • •
Take the ‘A’ Train (Vintage Jazz Classics) The Great Ellington Units (Bluebird) "1941 Classics - Live in Hollywood" (Alamac) The Chronological Duke Ellington & His Orchestra 1940-41 (Classics) The Chronological Duke Ellington & His Orchestra 1941 (Classics)
1942 • Hollywood Swing & Jazz (1937–1942) (Rhino) • Never No Lament: The Blanton-Webster Band (1939–1942) 1943 • • • •
The Carnegie Hall Concerts: January 1943 (Prestige - released 1977) Black, Brown and Beige (RCA) The Carnegie Hall Concerts: December 1943 (Storyville) Live at the Hurricane (Storyville)
1944 • The Carnegie Hall Concerts: December 1944 (Prestige - released 1977) • The Chronological Duke Ellington & His Orchestra 1942-44 (Classics)
22
Duke Ellington discography 1945 • • • • •
The Chronological Duke Ellington & His Orchestra 1944-45 (Classics) The Chronological Duke Ellington & His Orchestra 1945 (2 volumes) (Classics) The Treasury Shows 1943-1945 (13 double LPs) (D.E.T.S.) Duke's Joint (1943–1945) (Buddha) The Duke Ellington World Broadcasting Series (Circle)
1946 • • • • •
The Carnegie Hall Concerts: January 1946 (Prestige - released 1977) The Chronological Duke Ellington & His Orchestra 1945-46 (Classics) The Chronological Duke Ellington & His Orchestra 1946 (2 volumes) (Classics) The Great Chicago Concerts (Music Masters) Happy Go Lucky Local (Musicraft)
1947 • The Carnegie Hall Concerts: December 1947 (Prestige - released 1977) • Daybreak Express • Live at the Hollywood Bowl • • • • •
Duke Ellington Vol. 4: April 30, 1947 The Chronological Duke Ellington & His Orchestra 1946-47 (Classics) The Chronological Duke Ellington & His Orchestra 1947 (2 volumes) (Classics) Duke Ellington at Ciro's (Dems) Liberian Suite (Columbia)
1948 • • • • •
Live at Click Restaurant Philadelphia Vol. 1 Live at Click Restaurant Philadelphia Vol. 2 Carnegie Hall 30 November 1948 The Chronological Duke Ellington & His Orchestra 1947-48 (Classics) Cornell University (Music Masters)
1949 • The Chronological Duke Ellington & His Orchestra 1948-49 (Classics) • Duke Ellington at the Hollywood Empire (Storyville)
1950s Ellington began the 1950s losing Johnny Hodges, Sonny Greer and Lawrence Brown. The second half of the 1950s, however, feature his famous "comeback" appearance at the 1956 Newport Jazz Festival, with Paul Gonsalves running through 27 choruses of "Diminuendo and Crescendo in Blue." 1950 • • • •
The Chronological Duke Ellington & His Orchestra 1949-50 (Classics) The Chronological Duke Ellington & His Orchestra 1950 (Classics) Live In Zurich, Switzerland 2.5.1950 (TCB Music) Great Times! (Riverside)
1951 • Johnny Hodges, Duke Ellington, and Billy Strayhorn All Stars (Prestige) • The Chronological Duke Ellington & His Orchestra 1950-51 (Classics) • The Chronological Duke Ellington & His Orchestra 1951 (Classics)
23
Duke Ellington discography • Masterpieces by Ellington (Columbia) 1952 • • • • • •
Ellington Uptown Duke on the Air The Seattle Concert Live at the Blue Note (Bandstand) Duke Ellington at Birdland (Jazz Unlimited) The Chronological Duke Ellington & His Orchestra 1952 (Classics)
1953 • • • • • •
The Pasadena Concert (GNP) Duke Ellington Plays the Blues The Chronological Duke Ellington & His Orchestra 1952-53 (Classics) The Chronological Duke Ellington & His Orchestra 1953 (2 volumes) (Classics) Premiered by Ellington (Capitol) The Duke Plays Ellington (Capitol) released on CD as Piano Reflections
1954 • • • • •
Ellington ‘55 (Capitol) Dance to the Duke! (Capitol) Duke Ellington Plays Happy Birthday Duke! April 29 Birthday Sessions (Laserlight) 1954 Los Angeles Concert (GNP)
1955 • • • • • • • •
Ellington Showcase (Capitol) Duke’s Mixture (Columbia) Here's the Duke (Columbia) The Duke and His Men Jazz Masters: 1953-1955 (EMI) The Washington, D.C. Armory Concert (Jazz Guild) The Complete Capitol Recordings of Duke Ellington The Carnegie Hall Concerts: March 1955
1956 • • • • • • • • • •
Blue Rose (Columbia) with Rosemary Clooney Historically Speaking (Bethlehem) Duke Ellington Presents... (Bethlehem) Ellington at Newport (Columbia) rereleased with restoration of the complete 1956 Newport Jazz Festival performance in 1999 as Ellington at Newport Complete Duke Ellington and the Buck Clayton All Stars at Newport Al Hibbler Sings with the Duke (Columbia) The Complete Porgy and Bess Ellington '56 (Charly) Live From The 1956 Stratford Festival (Music and Arts) A Drum Is a Woman (Columbia)
1957 • Studio Sessions, Chicago 1956 (LMR) - released as The Private Sessions Volume One in 1987 • Such Sweet Thunder (Columbia)
24
Duke Ellington discography • • • •
Ella Fitzgerald Sings the Duke Ellington Songbook Live at the 1957 Stratford Music Festival (Music & Arts) All-Star Road Band - Volume 2 (CBS) In a Mellotone (RCA-Victor)
1958 • • • • • • • • • •
Black, Brown and Beige (Columbia) Dance Concerts, California 1958 (LMR) - released as The Private Sessions Volume Two in 1987 Dance Dates, California 1958 (LMR) - released as The Private Sessions Volume Six in 1987 Duke Ellington at the Bal Masque (Columbia) The Cosmic Scene (Columbia) Happy Reunion (Sony) Ellington Indigos (Columbia) Newport 1958 (Columbia) Later re-released on an extended double CD as Live at Newport 1958. Jazz at the Plaza Vol. II (Columbia) Duke Ellington at the Alhambra (Pablo)
1959 • Jazz Party (Columbia) • • • • • •
Back to Back: Duke Ellington and Johnny Hodges Play the Blues (Verve) Side by Side (Verve) Anatomy of a Murder (Columbia – soundtrack album) Live at the Blue Note (Roulette) Festival Session (Columbia) Blues in Orbit (Columbia)
1960s In the 1960s, Ellington made recordings with a number of top stars, including Count Basie, Frank Sinatra, Louis Armstrong, John Coltrane, Ella Fitzgerald and Coleman Hawkins. He also wrote and recorded a number of suites, such as his religious "Sacred Concerts", the "Perfume Suite" and the "Latin American Suite." 1960 • The Nutcracker Suite (Columbia) released on CD as part of Three Suites • Piano in the Background (Columbia) • Swinging Suites by Edward E. and Edward G. (aka Peer Gynt Suite/Suite Thursday) released on CD as part of Three Suites • Unknown Session (Columbia, released 1979) • Hot Summer Dance (Red Baron) • Live At Monterey 1960 (Status) 1961 • Piano in the Foreground (Columbia) • The Great Reunion with Louis Armstrong (Roulette) • Together Again with Louis Armstrong (Roulette) The above two were later re-released together in 2001 by Blue Note Records as The Great Summit. • Paris Blues (United Artists) • First Time! The Count Meets the Duke - with Count Basie (Columbia) • The Girl's Suite & The Perfume Suite (Columbia) 1962
25
Duke Ellington discography • • • • • • • • • • • •
All American in Jazz (Columbia) Featuring Paul Gonsalves (Fantasy) Studio Sessions 1957 & 1962 (LMR) released as The Private Collection Volume Seven in 1987 Midnight in Paris (Columbia) Duke Ellington Meets Coleman Hawkins (Impulse!) Money Jungle (United Artists) Duke Ellington & John Coltrane (Impulse!, released 1963) Will the Big Bands Ever Come Back? (Reprise) Studio Sessions, New York, 1962 (LMR) - released as The Private Collection Volume Three in 1987 Recollections of the Big Band Era (Atlantic, released 1974) The Feeling of Jazz (Black Lion) Duke 56/62 (in three volumes) (CBS)
1963 • • • •
Afro-Bossa (Reprise) The Great Paris Concert (Atlantic, released 1973) The Symphonic Ellington (Reprise) Duke Ellington's Jazz Violin Session (Atlantic, released 1976)
• Serenade to Sweden - with Alice Babs (Reprise) • Studio Sessions New York 1963 (LMR) released as The Private Collection Volme Four in 1987 • My People (Red Baron) 1964 • • • • • • • • •
Ellington '65 (Reprise) Duke Ellington Plays Mary Poppins (Reprise) Jazz Group 1964 (Jazz Anthology) Live at Carnegie Hall 1964 (Jazz Up) Harlem (Pablo) All-Star Road Band (CBS) At Basin Street East (Music & Arts) London: The Great Concerts (MusicMasters) New York Concert (Musicmasters)
1965 • • • • • • • •
Ellington '66 (Reprise) Concert in the Virgin Islands (Reprise) Ella at Duke's Place (Verve) The Duke at Tanglewood Jumpin’ Pumkins '65 Revisited (Affinity) Two Great Concerts (1949 and 1965) (Accord) A Concert of Sacred Music From Grace Cathedral (Status)
1966 • The Stockholm Concert, 1966 (Pablo) • The Popular Duke Ellington (RCA) • In the Uncommon Market (recorded 1963-66 - released 1986) (Pablo) • Soul Call (Verve) • Ella and Duke at the Cote D'Azur (Status) • The Far East Suite (RCA)
26
Duke Ellington discography 1967 • • • • • • • • • • • •
Johnny Come Lately North of the Border in Canada Live at the Rainbow Grill Beyond Category: The Musical Genius of Duke Ellington (1927–1967) (Smithsonian) Live in Italy (Jazz Up) 1967 European Tour (Lone Hill) Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York (LMR) released as The Private Collection Volume Eight in 1987 Berlin '65 / Paris '67 (Pablo) The Jaywalker (recorded 1966-7 - released 2004) (Storyville) The Greatest Jazz Concert In The World (Pablo) ...And His Mother Called Him Bill (RCA) Francis A. & Edward K. (Reprise)
1968 • Yale Concert (issued 1973) (Fantasy) • Second Sacred Concert (Prestige) • Studio Sessions New York, 1968 (LMR) released as The Private Collection Volume Nine in 1987 1969 • 70th Birthday Concert (Solid State)
1970s Ellington remained active to the end of his life, recording three final major suites in the 1970s, his "Third Sacred Concert," the "New Orleans Suite," the "Toga Brava Suite" and "The Afro-Eurasian Eclipse," his most explicit venture into what would be called "world music." His concert at Eastbourne was Ellington's final recording. 1970 • • • • • •
Latin American Suite (recorded 1968 & 1970 - released 1972) (Fantasy) The Pianist (recorded 1966 & 1970 - released 1974) (Fantasy) New Orleans Suite (Atlantic) Orchestral Works (Decca) The Suites, New York 1968 & 1970 (LMR) released as The Private Collection Volume Five in 1987 The Intimacy of the Blues (recorded 1967-70 - released 1986) (Fantasy)
1971 • The Afro-Eurasian Eclipse (Fantasy) • Studio Sessions New York & Chicago, 1965, 1966 & 1971 (LMR) released as The Private Collection Volume Ten in 1987 • The Intimate Ellington (recorded 1969-71 - released 1977) (Pablo) • Togo Brava Suite (United Artists) 1972 • Live at the Whitney (released 1995) (Impulse!) • The Ellington Suites (recorded 1959-72 - released 1976) (Pablo) • This One's for Blanton! - with Ray Brown (Pablo) • Up in Duke’s Workshop (recorded 1969-72 - released 1979) (Pablo) 1973
27
Duke Ellington discography • Duke's Big 4 (Pablo) • It Don't Mean A Thing If It Ain't Got That Swing - with Teresa Brewer (Flying Dutchman) • Third Sacred Concert (RCA) 1974 • Eastbourne Performance (RCA)
Compilations • • • • • • • •
Complete Works: 1924-1947 (Proper UK) (2003) (40 discs) The Centennial Edition: The Complete RCA-Victor Recordings (1999) (24 discs) The Complete RCA-Victor Mid-Forties Recordings (2000) The Private Collection (1956–1971) (Saja) (10 discs) The Duke Box (Storyville) (2007) (8 discs) 1936-40 Small Group Sessions (Mosaic) (7 discs) The Complete Capitol Recordings (Blue Note) (1999) (5 discs) The Reprise Studio Recordings (Mosaic) (5 discs)
• Early Ellington: The Complete Brunswick And Vocalion Recordings Of Duke Ellington, 1926-1931 (GRP Records/ Verve Music Group) (3 discs) • Masterpieces, 1926-1949 (Proper) (4 discs) • The Gold Collection, 40 Classic Performances (Proper/Retro) (2 discs) • Duke Ellington's Incidental Music for Shakespeare's Play Timon of Athens, adapted by Stanley Silverman (1993). Ellington does not perform on this recording, but it includes previously unreleased compositions.
References [1] The Rolling Stone Jazz Record Guide, 70.
External links • • • •
Red Hot Jazz (http://www.redhotjazz.com/duke.html) A Duke Ellington Panorama (http://www.depanorama.net/) Official Website (http://www.duke-ellington.com/) The Duke Ellington Society, TDES, Inc. (http://thedukeellingtonsociety.org/)
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29
Albums
30
1938 Braggin' in Brass: The Immortal 1938 Year Braggin’ in Brass: The Immortal 1938 Year
Compilation album by Duke Ellington Released
1991
Recorded
August 4 & 9, September 2, December 19 & 22, 1938
Genre
Jazz
Label
Portrait Duke Ellington chronology
Braggin’ in Brass: The Immortal 1938 Year (1938)
The Blanton–Webster Band (1940-42)
Braggin’ in Brass: The Immortal 1938 Year is a compilation album of American pianist, composer and bandleader Duke Ellington's 1938 recordings for the Brunswick label which was released in 1991.[1]
Braggin' in Brass: The Immortal 1938 Year
Reception The Allmusic review by Stephen Cook awarded the album 4 stars stating "this 1938 incarnation of Ellington's group held their own with many fine compositions, a seamless sense of swing, and a wealth of unique solo contributions, elements that set the group apart throughout the big-band era. Maybe not as essential as other Ellington tiles, but still highly recommended".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"Please Forgive Me" (Ellington, Irving Gordon, Irving Mills) - 2:59 "Lambeth Walk" (Douglas Furber, Noel Gay) - 2:27 "Prelude to a Kiss" (Ellington, Gordon, Mills) - 2:56 "Hip Chic" - 2:55 "Buffet Flat" - 2:24 "Mighty Like the Blues" (Leonard Feather) - 2:34 "Jazz Potpourri" - 2:55 "T.T. on Toast" (Ellington, Mills) - 2:45
9. "Battle of Swing" - 2:56 10. "Blue Light" - 2:36 11. "Blue Light" [alternate take] - 2:40 12. "Boy Meets Horn" (Ellington, Rex Stewart) - 2:59 13. "Slap Happy" - 2:44 • Recorded at ARC-Brunswick Studios in New York on August 4, 1938 (track 1), August 9, 1938 (tracks 2-5), September 2, 1938 (track 6), December 19, 1938 (tracks 7-9), and December 22, 1938 (tracks 10-13).
Personnel • • • • • • • • • • • •
Duke Ellington – piano Rex Stewart - cornet Wallace Jones, Cootie Williams - trumpet Lawrence Brown, Joe Nanton - trombone Juan Tizol - valve trombone Barney Bigard - tenor saxophone, clarinet Johnny Hodges - alto saxophone, soprano saxophone Otto Hardwick - clarinet, alto saxophone Harry Carney - baritone saxophone, clarinet, alto saxophone Fred Guy - guitar Billy Taylor - bass Sonny Greer - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r138144) accessed May 24, 2010
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32
1939 The Blanton–Webster Band The Blanton-Webster Band
Compilation album by Duke Ellington Released
1990
Recorded
1940–1942
Genre
jazz Swing Big band music
Length
204:07
Label
Bluebird Records (RCA)
Producer
Steve Becker, Bob Porter Professional reviews
• •
Allmusic link [2] Rolling Stone link
[1]
The Blanton–Webster Band combines the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942, involving bassist Jimmy Blanton and tenor saxophonist Ben Webster. The recordings were originally made for RCA Victor during what many critics regard as the Ellington orchestra's golden period. The three CDs contain many numbers which were to become classics, and the arrangements (by Ellington and Billy Strayhorn) were frequently inventive and innovative. The collection does not include alternate takes or the duets Ellington performed with Jimmy Blanton, available elsewhere. With 66 tracks, the selection includes many of Ellington's hits and classic songs. Rolling Stone praises the collection as "a masterwork of composition and leadership" and "a series of individual triumphs from the greatest team of jazz players...ever assembled".[3] Allmusic describes it as "essential for all jazz collections".[4] The collection was re-organized and rereleased with additional tracks in 2003 as Never No Lament: The Blanton-Webster Band.
The Blanton–Webster Band
Track list Unless otherwise noted, all tracks by Duke Ellington.
Disc one 1. "You, You Darlin'" (M.K. Jerome, Jack Scholl) – 3:19 2. "Jack the Bear" – 3:15 3. "Ko Ko" – 2:39 4. "Morning Glory" (Ellington, Rex Stewart) – 3:15 5. "So Far, So Good" (Jack Lawrence, Jimmy Mundy, E.G. White) – 2:50 6. "Conga Brava" (Ellington, Juan Tizol) – 2:54 7. "Concerto for Cootie" – 3:19 8. "Me and You" – 2:54 9. "Cotton Tail" – 3:08 10. "Never No Lament (Don't Get Around Much Anymore)" (Ellington, Bob Russell) – 3:15 11. "Dusk" – 3:19 12. "Bojangles" – 2:50 13. "A Portrait of Bert Williams" – 3:09 14. 15. 16. 17. 18. 19. 20. 21. 22.
"Blue Goose" – 3:21 "Harlem Air Shaft" – 2:57 "At a Dixie Roadside Diner" – (Joe Burke, Edgar Leslie) – 2:45 "All Too Soon" (Ellington, Carl Sigman) – 3:28 "Rumpus in Richmond" – 2:46 "My Greatest Mistake" (Jack Fulton), Jack O'Brien) – 3:27 "Sepia Panorama" – 3:20 "There Shall Be No Night" (Gladys Shelley, Abner Silver) – 3:05 "In a Mellow Tone" (Ellington, Milt Gabler) – 3:19
Disc two 1. "Five O'Clock Whistle" (Kim Gannon, Gene Irwin, Josef Myrow) – 3:18 2. "Warm Valley" – 3:20 3. "The Flaming Sword" – 3:06 4. "Across the Track Blues" – 2:58 5. "Chloe" (Gus Kahn, Neil Moret) – 3:24 6. "I Never Felt This Way Before" (Al Dubin, Ellington) – 3:23 7. "The Sidewalks of New York" (James W. Blake, Charles B. Lawlor) – 3:14 8. "Flamingo" (Edmund Anderson, Ted Grouya) – 3:22 9. "The Girl in My Dreams Tries to Look Like You" – 3:19 10. "Take the "A" Train" (Billy Strayhorn) – 2:54 11. "Jumpin' Punkins" – 3:33 12. "John Hardy's Wife" – 3:28 13. "Blue Serge" – 3:20 14. "After All" (Strayhorn) – 3:19 15. "Bakiff" (Tizol) – 3:23 16. "Are You Sticking?" – 3:02 17. "Just A-Sittin' and A-Rockin'" (Ellington, Gaines, Strayhorn) – 3:33 18. "The Giddybug Gallop" – 3:29
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The Blanton–Webster Band 19. 20. 21. 22.
"Chocolate Shake" (Ellington, Paul Francis Webster) – 2:50 "I Got It Bad (And That Ain't Good)" (Ellington, Webster) – 3:17 "Clementine" (Strayhorn) – 2:53 "Brown-Skin Gal (In the Calico Gown)" (Ellington, Webster) – 3:06
Disc three 1. "Jump for Joy" (Ellington, Sid Kuller, Webster) – 2:50 2. "Moon Over Cuba" (Ellington, Tizol) – 3:09 3. "Five O'Clock Drag" – 2:49 4. "Rocks in My Bed" – 3:06 5. "Bli-Blip" (Ellington, Kuller) – 3:03 6. "Chelsea Bridge" (Strayhorn) – 2:52 7. "Rain Check" (Strayhorn) – 2:28 8. "What Good Would It Do?" (Harry James, Buddy Pepper) – 2:44 9. "I Don't Know What Kind of Blues I Got" – 3:13 10. "Perdido" (Ervin Drake, H.J. Lengsfelder, Tizol) – 3:08 11. "C Jam Blues" (Barney Bigard, Ellington) – 2:37 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.
"Moon Mist" – 2:58 "What Am I Here For?" (Ellington, Frankie Laine) – 3:28 "I Don't Mind" (Ellington, Strayhorn) – 2:49 "Someone" – 3:09 "My Little Brown Book" (Strayhorn) – 3:13 "Main Stem" – 2:47 "Johnny Come Lately" (Strayhorn) – 2:39 "Hayfoot, Strawfoot" (Drake, Lengsfelder, Paul McGrane) – 2:30 "Sentimental Lady" – 2:58 "A Slip of the Lip (Can Sink a Ship)" (Ellington, Henderson) – 2:54 "Sherman Shuffle" – 2:38
Personnel Performance • • • • • • • • • • • •
Ivie Anderson — vocals Barney Bigard — clarinet Jimmy Blanton — bass Lawrence Brown — trombone Harry Carney — clarinet, alto sax, baritone sax Duke Ellington — piano Sonny Greer — drums Fred Guy — guitar Otto Hardwick — alto sax, baritone sax Johnny Hodges — clarinet, alto sax, soprano sax Herb Jeffries — vocals Wallace Jones — trumpet
• Ray Nance — trumpet, violin, vocals • Joe Nanton — trombone • Alvin "Junior" Raglin — bass
34
The Blanton–Webster Band • • • • •
Rex Stewart — cornet Billy Strayhorn — piano Juan Tizol — valve trombone Ben Webster — tenor sax Cootie Williams — trumpet
Production • • • • • •
Steve Backer – executive producer Ed Begley – remastering Duke Ellington – arranger Bob Porter – reissue producer Billy Strayhorn – arranger Mary Tucker – liner notes
References [1] http:/ / www. allmusic. com/ album/ r138131 [2] http:/ / www. rollingstone. com/ artists/ dukeellington/ albums/ album/ 281670/ review/ 5943111/ the_blantonwebster_band [3] The Blanton-Webster Band (http:/ / www. rollingstone. com/ artists/ dukeellington/ albums/ album/ 281670/ review/ 5943111/ the_blantonwebster_band) Rolling Stone. Accessed September 15, 2007. [4] The Blanton–Webster Band (http:/ / www. allmusic. com/ album/ r138131) at Allmusic
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1940 Duke Ellington at Fargo, 1940 Live Duke Ellington at Fargo, 1940 Live
Live album by Duke Ellington Released
1978
Recorded
7 November 1940
Genre
Jazz
Label
Book-of-the-Month Records Professional reviews
• •
Allmusic Allmusic
[1] link [2] link
Duke Ellington at Fargo, 1940 Live is a 1978 release by American jazz band Duke Ellington and His Famous Orchestra of a 1940 recording of the band performing live at a dance in Fargo, North Dakota in the United States. It is unusual for the way it was recorded and released and is considered one of Ellington's more important live works.
Background In 1939, two cooperative extension service workers and former South Dakota State College students, Jack Towers and Richard Burris sought permission from the William Morris Agency representing Duke Ellington to record an upcoming concert in Fargo, North Dakota.[3] Permission was granted to the two Ellington fans provided they receive permission from Ellington and the venue's manager before the show.[3] The show was held on 7 November 1940 at the Crystal Ballroom on the second floor of the Fargo City Auditorium at the corner of First Avenue South and Broadway.[3] (The building was demolished in 1962).[3] The concert was a dance, a normal venue for jazz bands at that time but an unusual setting for a live recording, most of which would have been made of concerts, nightclubs, or radio broadcasts.[4] The Crystal Ballroom featured a glass ball two feet in diameter hanging from the ceiling that reflected the dancehall's lights.[3]
Duke Ellington at Fargo, 1940 Live
37
Recording The original recording of At Fargo was effectively an amateur,[5] bootleg recording, albeit approved.[3] The recording equipment included a Presto portable turntable that cut the recording into 16-inch, 331⁄3-RPM acetate-covered aluminum disks.[6] [3] [7] The recording turntable was set up next to Ellington's piano.[3] Five and one-half of six disks with a recording capacity of 15 minutes per side were used in the recording. A Fargo radio station, KVOX (now KVXR), broadcast part of the show live.[3] Ellington's orchestra played several warm-up pieces before Ellington came out to his piano. The band then played "Sepia Panorama",[3] the band's theme song before adoption of "Take the 'A' Train" in 1941. The concert was also the debut of trumpeter Ray Nance, who had joined the band when Cootie Williams left to play with Benny Goodman[4] [5] and, the night of the concert, Ellington told Towers that his trumpet section was in "rough shape".[6] The concert also included the first performance of "Star Dust" for the band as a whole.[3] After the show, Towers and Burris played parts of the recording for Ellington and his band mates.[6] Jack Towers later said, "When Dick and I recorded this Fargo performance, we did it just for the excitement and pleasure of it all. We had no idea that people all over the world would be listening to it 60 years later."[8]
Later history Burris and Towers had promised the William Morris Agency not to use the live recording for commercial purposes and it was heard only from the original disks until the 1960s. Towers dubbed a tape for an acquaintance and subsequent copies eventually appeared as a bootleg in Europe.[3] Towers was in charge of radio broadcasting at the U.S. Department of Agriculture from 1952–1974 but remastering recordings remained a hobby and became a career after his retirement.[6] In the 1970s, Towers made a reproduction of the recording from areas of the groove that were less worn.[3] In 1978, Towers' master of At Fargo was finally officially released by Book-of-the-Month Records as a Book-of-the-Month Club selection.[3] The original acetate disks have since been donated to the Archives Center of the Smithsonian Institution's National Museum of American History.[8]
Commercial releases
Cover of The Duke 1940
Cover of Fargo 1940
Duke Ellington at Fargo, 1940 Live
38
Cover of Duke Ellington at Fargo, 1940: Special 60th Anniversary Edition
Cover of Complete Legendary Fargo Concert
The album was first released on three LP records by Book-of-the Month Records (30-5622) as Duke Ellington at Fargo, 1940. The record sides were sequenced for use with a record changer (1/6, 2/5, 3/4). This version was also issued as Duke Ellington at Fargo, 1940 Live by Jazz Heritage (913176A), the title it was awarded a Grammy under. In 1990, the first digital release of the concert (on two CDs) was issued by Vintage Jazz (VJC-1019/20).[9] On 23 July 1996, these disks were released again as Fargo 1940 on Jazz Classics 5009. On 3 April 2001, another CD release with additional tracks was made on Storyville (8316) as The Duke at Fargo, 1940: Special 60th Anniversary Edition.[5] The second CD of this release was also included in Storyville's 2006 eight-CD box set, The Duke Box as disk three. In 2002, a two-CD release similar to the Storyville one was made on Definitive (11207) as the Complete Legendary Fargo Concert.[10] It was later issued as Gran Via España 1356.
Critical reception and awards In 1980, At Fargo won the Grammy Award for Best Jazz Instrumental Performance, Big Band at the 22nd Grammy Awards.[11] Allmusic.com review Scott Yanow posits that "there was no better orchestra at the time, and rarely since".[9] JazzTimes writer Harvey Siders says, "the real star, of course, is the band, with its organized chaos, its sophistication, its jungle heat, its ability to respond to the improvisational genius of Duke".[12] A Storyville Records reviewer argues "the Fargo performance still resonates as one of the greatest concert recordings in all of jazz, on a par with Benny Goodman at Carnegie, Coltrane at the Vanguard, or Ellington at Newport in 1956".[13]
Duke Ellington at Fargo, 1940 Live
39
Performers In addition to Ellington himself, notable soloists on At Fargo include Ben Webster, Jimmy Blanton, Johnny Hodges, Rex Stewart, and Tricky Sam Nanton.[5] Duke Ellington and His Famous Orchestra personnel:[14] • Duke Ellington: piano • Harry Carney: baritone saxophone • Johnny Hodges: alto saxophone • Ben Webster, Otto Hardwick: tenor saxophones • Barney Bigard: clarinet • Ray Nance, Wallace Jones: trumpets • Rex Stewart: cornet • Joe "Tricky Sam" Nanton, Juan Tizol, Lawrence Brown: trombones
Some of the personnel on At Fargo including (from right) Barney Bigard, Ben Webster, Otto Hardwick, Harry Carney, Rex Stewart, Sonny Greer, Wallace Jones (?), Ray Nance. Photograph taken at the Howard Theater (?) in Washington, D.C., between 1938 and 1948 by William P. Gottlieb.
• Jimmy Blanton: bass • Sonny Greer: drums • Fred Guy: guitar • Ivie Anderson, Herb Jeffries: vocals
Songs Songs from the performance that receive critical note include "Ko-Ko," "Mood Indigo," "Harlem Airshaft," "Warm Valley," "Caravan," "Sepia Panorama," "Rockin' in Rhythm," "Sophisticated Lady," and "Cotton Tail".[5]
The Duke at Fargo 1940: Special 60th Anniversary Edition track listing CD 1 1. "It's Glory" (Duke Ellington) – (0:47) 2. "The Mooche" (Irving Mills, Duke Ellington) – (5:23) 3. "The Sheik of Araby" (Harry B. Smith, Ted Snyder, Francis Wheeler) – (2:55) 4. "Sepia Panorama" (Duke Ellington) – (1:15) 5. "Ko-Ko" (Duke Ellington) – (2:22) 6. "There Shall Be No Night" (Abner Silver, Gladys Shelley) – (3:09) 7. "Pussy Willow" (Duke Ellington) – (4:34) 8. "Chatterbox" (Rex Stewart, Irving Mills, Duke Ellington) – (3:22) 9. "Mood Indigo" (Irving Mills, Barney Bigard, Duke Ellington) – (4:15) 10. "Harlem Air Shaft" (Duke Ellington) – (3:42) 11. "Ferryboat Serenade" (Harold Adamson, Eldo DiLazzaro) – (1:33) 12. "Warm Valley" (Duke Ellington) – (3:36) 13. "Stompy Jones" (Duke Ellington) – (2:42) 14. "Chloe" (Gus Kahn, Neil Moret [Charles N. Daniels]) – (4:03) 15. "Bojangles" (Duke Ellington) – (4:02) 16. "On the Air" (Duke Ellington) – (5:08) 17. "Rumpus in Richmond" (Duke Ellington) – (2:36)
Duke Ellington at Fargo, 1940 Live 18. 19. 20. 21. 22. 23.
"Chaser" (Duke Ellington) – (0:15) "The Sidewalks of New York" (James W. Blake, Charles B. Lawlor) – (5:07) "The Flaming Sword" (Duke Ellington) – (4:59) "Never No Lament (Don't Get Around Much Anymore)" (Duke Ellington, Bob Russell) – (4:21) "Caravan" (Irving Mills, Duke Ellington, Juan Tizol) – (3:44) "Clarinet Lament (Barney's Concerto)" (Barney Bigard, Duke Ellington) – (3:28)
CD 2 1. "Slap Happy" (Duke Ellington) – (3:24) 2. "Sepia Panorama" (Duke Ellington) – (5:11) 3. "Boy Meets Horn" (Rex Stewart, Duke Ellington) – (5:36) 4. "Way Down Yonder in New Orleans" (Henry Creamer, Turner Layton) – (1:27) 5. "Oh, Babe! Maybe Someday" (Duke Ellington) – (2:17) 6. "Five O'Clock Whistle" (Josef Myrow, Kim Gannon, Gene Irwin) – (2:00) 7. "Fanfare" (Duke Ellington) – (0:32) 8. "The Call of the Canyon/All This and Heaven Too" (Billy Hill, Eddie DeLange, Jimmy Van Heusen) – (1:33) 9. "Rockin' in Rhythm" (Irving Mills, Harry Carney, Duke Ellington) – (4:54) 10. "Sophisticated Lady" (Irving Mills, Duke Ellington, Mitchell Parish) – (5:11) 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.
"Cotton Tail" (Duke Ellington) – (3:06) "Whispering Grass" (Fred Fisher) – (2:29) "Conga Brava" (Duke Ellington, Juan Tizol) – (4:07) "I Never Felt This Way Before" (Al Dubin, Duke Ellington) – (5:29) "Across the Track Blues" (Duke Ellington) – (6:44) "Honeysuckle Rose" (Fats Waller, Andy Razaf) – (5:08) "Wham" (Eddie Durham, Taps Miller) – (2:49) "Stardust" (Hoagy Carmichael, Mitchell Parish) – (4:15) "Rose of the Rio Grande" (Harry Warren, Ross Gorman, Edgar Leslie) – (3:33) "St. Louis Blues" (W. C. Handy) – (5:39) "Warm Valley" (Duke Ellington) – (0:50) "God Bless America" (Irving Berlin) – (0:28)
References [1] http:/ / www. allmusic. com/ album/ r702741 [2] http:/ / www. allmusic. com/ album/ r170152 [3] Martin Fredricks. The Duke was Here (http:/ / www. ndsu. nodak. edu/ ndsu/ news/ magazine/ vol02_issue01/ the_duke. shtml)". NDSU Magazine. Fall 2001. Retrieved 1 January 2011. [4] Whitney Balliett. Collected Works: A Journal of Jazz 1954-2001 (http:/ / books. google. com/ books?id=b7HelOf4_RQC& lpg=PR5& pg=PA543#v=onepage& q& f=false). St. Martin's Griffin, 2002. p.543. [5] Ken Dryden. " The Duke at Fargo 1940: Special 60th Anniversary Edition (http:/ / www. allmusic. com/ album/ the-duke-at-fargo-1940-special-60th-anniversary-edition-r526284)" at Allmusic.com. Retrieved 1 January 2011. [6] Matt Schudel. " Jack Towers dies at 96; USDA Broadcaster Won Grammy for Rare Ellington Recording (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2010/ 12/ 28/ AR2010122804198. html)". Washington Post. 28 December 2010. Retrieved 1 January 2011. [7] 4 November 2000 Program Guide (http:/ / wamu. org/ programs/ hjsn/ 00/ november_2000. php). WAMU. Retrieved 1 January 2011. [8] " Jack Towers Donates Fargo Discs to Smithsonian (http:/ / www. depanorama. net/ desociety/ 200903. pdf)". Ellingtonia. 17.3 (March 2009). Page 1. Retrieved 1 January 2011. [9] Scott Yanow. "North Dakota, November 7, 1940." (http:/ / www. allmusic. com/ album/ fargo-nd-november-7-1940-r170152) at Allmusic.com. Retrieved 1 January 2011. [10] Ken Dryden. "Complete Legendary Fargo Concert" (http:/ / www. allmusic. com/ album/ complete-legendary-fargo-concert-r702741) at Allmusic.com. Retrieved 1 January 2011. [11] Grammy Award winners searchable database (http:/ / www2. grammy. com/ GRAMMY_Awards/ Winners/ )
40
Duke Ellington at Fargo, 1940 Live [12] Harvey Siders. " Duke Ellington and His Famous Orchestra: The Duke At Fargo 1940 Special 60th Anniversary Edition (http:/ / jazztimes. com/ articles/ 12323-the-duke-at-fargo-1940-special-60th-anniversary-edition-duke-ellington-and-his-famous-orchestra)". JazzTimes. June 2001. Retrieved 1 January 2011. [13] Will Friedwald. " A Masterpiece by Anyone's Standards (http:/ / www. storyvillerecords. com/ Default. aspx?tabId=2903)". Review at Storyville Records website. 4 June 2007. Retrieved 1 January 2011. [14] Samuel Chell. " Complete Legendary Fargo Concert (http:/ / www. allaboutjazz. com/ php/ article. php?id=21022)". All About Jazz. 15 March 2006. Retrieved 1 January 2011.
External links • " Jack Towers on Restoring his Award-Winning Duke Ellington Recording, in 1980 (http://www.npr.org/ blogs/ablogsupreme/2011/01/05/132690625/a-duke-ellington-masterpiece-saved-from-historys-basement)". Audio Interview at NPR.org. (08:54) Retrieved 1 January 2011.
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42
1942 Never No Lament: The Blanton-Webster Band Never No Lament: The Blanton-Webster Band
Compilation album by Duke Ellington Released
2003
Recorded
1940-1942
Genre
jazz
Label
Bluebird Records (RCA)
Producer
Orrin Keepnews, Steve Lasker Professional reviews
•
Allmusic
link
[1]
Duke Ellington chronology
1951 (2003) Never No Lament: The Blanton-Webster Band The Alternative Takes: Vol. 10: 1947-1951 (2003)
Never No Lament: The Blanton-Webster Band is a 2003 three-disc compilation combining the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942 with an additional nine tracks, including five alternative takes and four new masters. While essentially an expanded re-release of 1990s The Blanton–Webster Band, the packaging, sound and updated notes make this, according to Allmusic, "truly worth either an initial investment or reinvestment".[2] All About Jazz: New York noted that these performances, from what is often considered "the band in its prime", "not only set the standard for big bands and jazz orchestras, but created an ideal near insurmountable to improve upon".[3]
Never No Lament: The Blanton-Webster Band
Track list Unless otherwise noted, all tracks by Duke Ellington.
Disc one 1. "You, You Darlin'" (M.K. Jerome, Jack Scholl) – 3:19 2. "Jack the Bear" – 3:15 3. "Ko Ko" – 2:39 4. "Morning Glory" (Ellington, Rex Stewart) – 3:15 5. "So Far, So Good" (Jack Lawrence, Jimmy Mundy, E.G. White) – 2:50 6. "Conga Brava" (Ellington, Juan Tizol) – 2:54 7. "Concerto for Cootie" – 3:19 8. "Me and You" – 2:54 9. "Cotton Tail" – 3:08 10. "Never No Lament (Don't Get Around Much Anymore)" (Ellington, Bob Russell) – 3:15 11. "Dusk" – 3:19 12. "Bojangles" – 2:50 13. "A Portrait of Bert Williams" – 3:09 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25.
"Blue Goose" – 3:21 "Harlem Air Shaft" – 2:57 "At a Dixie Roadside Diner" – (Joe Burke, Edgar Leslie) – 2:45 "All Too Soon" (Ellington, Carl Sigman) – 3:28 "Rumpus in Richmond" – 2:46 "My Greatest Mistake" (Jack Fulton), Jack O'Brien) – 3:27 "Sepia Panorama" – 3:20 "There Shall Be No Night" (Gladys Shelley, Abner Silver) – 3:05 "In a Mellow Tone" (Ellington, Milt Gabler) – 3:19 "Five O'Clock Whistle" (Kim Gannon, Gene Irwin, Josef Myrow) – 3:18 "The Flaming Sword" – 3:06 "Warm Valley" – 3:20
Disc two 1. "Across the Track Blues" – 2:58 2. "Chloe (Song of the Swamp)" (Gus Kahn, Neil Moret) – 3:24 3. "I Never Felt This Way Before" (Al Dubin, Ellington) – 3:23 4. "The Sidewalks of New York" (James W. Blake, Charles B. Lawlor) – 3:14 5. "Flamingo" (Edmund Anderson, Ted Grouya) – 3:22 6. "The Girl in My Dreams Tries to Look Like You" – 3:19 7. "Take the "A" Train" (Billy Strayhorn) – 2:54 8. "Jumpin' Punkins" – 3:33 9. "John Hardy's Wife" – 3:28 10. "Blue Serge" – 3:20 11. "After All" (Strayhorn) – 3:19 12. "Bakiff" (Tizol) – 3:23 13. "Are You Sticking?" – 3:02 14. "Just A-Sittin' and A-Rockin'" (Ellington, Gaines, Strayhorn) – 3:33 15. "The Giddybug Gallop" – 3:29
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Never No Lament: The Blanton-Webster Band 16. 17. 18. 19. 20. 21. 22. 23. 24.
"Pitter Panther Patter" – 3:03 "Body and Soul" (Frank Eyton, Johnny Green, Edward Heyman, Robert Sour) – 3:11 "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) – 2:47 "Mr. J.B. Blues" (Jimmy Blanton, Ellington) – 3:09 "Ko Ko" (alternate take) – 2:40 "Bojangles" (alternate take) – 2:46 "Sepia Panorama" (alternate take) – 3:24 "Jumpin' Punkins" (alternate take) – 3:42 "Jump for Joy" (alternate take) (Ellington, Sid Kuller, Webster) – 2:56
Disc three 1. 2. 3. 4. 5. 6.
"Chocolate Shake" (Ellington, Paul Francis Webster) – 2:50 "I Got It Bad (And That Ain't Good)" (Ellington, Webster) – 3:17 "Clementine" (Strayhorn) – 2:53 "Brown-Skin Gal (In the Calico Gown)" (Ellington, Webster) – 3:06 "Jump for Joy" (Ellington, Kuller, Webster) – 2:50 "Moon Over Cuba" (Ellington, Tizol) – 3:09
7. "Five O'Clock Drag" – 2:49 8. "Rocks in My Bed" – 3:06 9. "Bli-Blip" (Ellington, Kuller) – 3:03 10. "Chelsea Bridge" (Strayhorn) – 2:52 11. "Rain Check" (Strayhorn) – 2:28 12. "What Good Would It Do?" (Harry James, Buddy Pepper) – 2:44 13. "I Don't Know What Kind of Blues I Got" – 3:13 14. "Perdido" (Ervin Drake, H.J. Lengsfelder, Tizol) – 3:08 15. "C Jam Blues" (Barney Bigard, Ellington) – 2:37 16. "Moon Mist" – 2:58 17. "What Am I Here For?" (Ellington, Frankie Laine) – 3:28 18. "I Don't Mind" (Ellington, Strayhorn) – 2:49 19. "Someone" – 3:09 20. "My Little Brown Book" (Strayhorn) – 3:13 21. "Main Stem" – 2:47 22. "Johnny Come Lately" (Strayhorn) – 2:39 23. "Hayfoot, Strawfoot" (Drake, Lengsfelder, Paul McGrane) – 2:30 24. "Sentimental Lady" – 2:58 25. "A Slip of the Lip (Can Sink a Ship)" (Ellington, Henderson) – 2:54 26. "Sherman Shuffle" – 2:38
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Never No Lament: The Blanton-Webster Band
Personnel Performance • • • • • • • • • • • • • •
Ivie Anderson – vocals Barney Bigard – clarinet, reeds, saxophone: tenor Jimmy Blanton – bass Lawrence Brown – trombone Harry Carney – clarinet, saxophone: alto & baritone Duke Ellington – piano, celeste Sonny Greer – drums Fred Guy – guitar Otto Hardwick – reeds, saxophone: alto Chauncey Haughton – clarinet, reeds, sax: tenor Johnny Hodges – clarinet, reeds, saxophone: alto & soprano Herb Jeffries – vocals Wallace Jones – trumpet Ray Nance – trumpet, violin, vocals
• • • • •
Rex Stewart – cornet Billy Strayhorn – piano, celeste Juan Tizol – trombone: valve Ben Webster – reeds, saxophone: tenor Cootie Williams – trumpet
Production • • • • • • • • • • • • • • • • •
John Chilton – liner editor Duke Ellington – arranger Mercer Ellington – arranger Billy Strayhorn – arranger Erwin Gorostiza – design Scott Haag – photo research Charles Harbutt – compilation mastering Andrew Homzy – liner editor Orrin Keepnews – producer Steve Lasker – producer, digital transfers, restoration, liner editor, discography Brian Priestley – liner notes, annotation Tony Russell – liner editor Duncan P. Schiedt – photography Cynthia Sesso – photo research Joshua Sherman – A&R Ben Webster – arranger Ben Young – compilation supervisor
45
Never No Lament: The Blanton-Webster Band
References [1] http:/ / www. allmusic. com/ album/ r631586 [2] Never No Lament: The Blanton-Webster Band (http:/ / www. allmusic. com/ album/ r631586) at Allmusic [3] Donohue-Greene, Laurence. (June 2003) Never No Lament: The Blanton-Webster Band (http:/ / www. allaboutjazz. com/ php/ article. php?id=11945) All About Jazz: New York. Accessed September 15, 2007.
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1943 The Carnegie Hall Concerts: January 1943 The Carnegie Hall Concerts: January 1943
Live album by Duke Ellington Released
1977
Recorded
January 23, 1943
Genre
Jazz
Length
119:18
Label
Prestige Duke Ellington chronology
Never No Lament: The Blanton-Webster Band (1940-42)
The Carnegie Hall Concerts: January 1943 (1943)
The Carnegie Hall Concerts: December 1944 (1944)
The Carnegie Hall Concerts: January 1943 is a live album by American pianist, composer and bandleader Duke Ellington recorded at Carnegie Hall, in New York in 1943 and released on the Prestige label in 1977.[1]
The Carnegie Hall Concerts: January 1943
Reception The Allmusic review by Scott Yanow awarded the album 5 stars and stated "This two-CD set captures one of the milestones in Duke Ellington's long and extremely productive career, highlighted by his monumental suite "Black, Brown and Beige" in the only full-length version ever recorded by his orchestra... Every serious jazz library should contain this set".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"The Star Spangled Banner" (Francis Scott Key, John Stafford Smith) - 1:12 "Black and Tan Fantasy" (Ellington, James "Bubber" Miley) - 6:35 "Rockin' in Rhythm" (Harry Carney, Ellington, Irving Mills) - 4:12 "Moon Mist" - 3:38 "Jumpin' Punkins" - 3:24 "A Portrait of Bert Williams" - 2:56 "Bojangles" - 3:17 "Portrait of Florence Mills (Black Beauty)" - 3:40
9. "Ko Ko" - 2:23 10. "Dirge" (Billy Strayhorn) - 3:28 11. "Stomp (Johnny Come Lately)" (Strayhorn) - 2:59 12. "Are You Sticking?" - 3:13 13. "Black [First Movement of Black, Brown and Beige]" - 21:52 14. "Brown [Second Movement of Black Brown and Beige]" - 11:49 15. "Beige [Third Movement of Black, Brown and Beige]" - 14:34 16. "Bakiff" (Ellington, Juan Tizol) - 6:36 17. "Jack the Bear" - 3:19 18. "Blue Belles of Harlem" - 6:09 19. "Cotton Tail" - 3:11 20. "Day Dream" (Ellington, John La Touche, Strayhorn) - 4:02 21. "Boy Meets Horn" (Ellington, Rex Stewart) - 5:58 22. "Rose of the Rio Grande" (Ross Gorman, Edgar Leslie, Harry Warren ) - 2:33 23. "Don't Get Around Much Anymore" (Ellington, Bob Russell) - 4:39 24. "Going Up" - 3:56 25. "Mood Indigo" (Barney Bigard, Ellington, Mills) - 4:38 • Recorded at Carnegie Hall in New York on January 23, 1943.
Personnel • • • • • • •
Duke Ellington – piano (tracks 1-9 & 12-25) Billy Strayhorn - piano (tracks 10 & 11) Rex Stewart - cornet Shorty Baker, Wallace Jones - trumpet Ray Nance - trumpet, violin Lawrence Brown, Joe Nanton - trombone Juan Tizol - valve trombone
• Otto Hardwick - alto saxophone, clarinet • Johnny Hodges - alto saxophone
48
The Carnegie Hall Concerts: January 1943 • • • • • •
Chauncy Haughton - clarinet, tenor saxophone Ben Webster - tenor saxophone Harry Carney - baritone saxophone, clarinet, alto saxophone Fred Guy - guitar Junior Raglin - bass Sonny Greer - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138137) accessed June 17, 2010
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1944 The Carnegie Hall Concerts: December 1944 The Carnegie Hall Concerts: December 1944
Live album by Duke Ellington Released
1977
Recorded
December 19, 1944
Genre
Jazz
Label
Prestige Duke Ellington chronology
The Carnegie Hall Concerts: January 1943 (1943)
The Carnegie Hall Concerts: December 1944 (1944)
The Carnegie Hall Concerts: January 1946 (1946)
The Carnegie Hall Concerts: December 1944 is a live album by American pianist, composer and bandleader Duke Ellington recorded at Carnegie Hall, in New York in 1944 and released on the Prestige label in 1977.[1]
The Carnegie Hall Concerts: December 1944
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "Lots of great moments from this brilliant orchestra occurred during this concert".[2]
Track listing All compositions by Duke Ellington except as indicated 1. "Blutopia" - 4:22 2. "Midriff" (Billy Strayhorn) - 4:00 3. "Creole Love Call" - 6:29 4. "Suddenly It Jumped" - 2:50 5. "Pitter Panther Patter" - 2:57 6. "It Don't Mean a Thing (If It Ain't Got That Swing)" - 3:56 7. "Things Ain't What They Used to Be" (Mercer Ellington) - 5:17 8. "Perfume Suite: Introduction" - 0:54 9. "Perfume Suite: Sonata" - 3:15 10. "Perfume Suite: Strange Feeling" - 5:09 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
'Perfume Suite: Dancers in Love" - 2:33 "Purfume Suite: Coloratura" - 3:24 "Work Song" - 7:00 "The Blues" - 5:25 "Three Dances: West Indian Dance/Creamy Brown/Emancipation Celebration" - 6:29 "Come Sunday" - 11:48 "The Mood to Be Wooed" - 4:47 "Blue Cellophane" - 3:15 "Blue Skies" (Irving Berlin) - 3:34 "Frankie and Johnny" (Traditional) - 8:08
• Recorded at Carnegie Hall in New York on December 19, 1944.
Personnel • • • • • • • • • • • • • •
Duke Ellington – piano Rex Stewart - cornet Cat Anderson, Shelton Hemphill, Taft Jordan - trumpet Ray Nance - trumpet, violin Lawrence Brown, Joe Nanton - trombone Claude Jones - valve trombone Otto Hardwick - alto saxophone, clarinet Johnny Hodges - alto saxophone Jimmy Hamilton - clarinet, tenor saxophone Al Sears - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Fred Guy - guitar Junior Raglin - bass Hillard Brown - drums
• Kay Davis (track 3), Ray Nance (track 6), Al Hibbler (track 10), Marie Ellington (track 14) - vocals
51
The Carnegie Hall Concerts: December 1944
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138137) accessed June 17, 2010
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1946 The Carnegie Hall Concerts: January 1946 The Carnegie Hall Concerts: January 1946
Live album by Duke Ellington Released
1977
Recorded
January 4, 1946
Genre
Jazz
Length
88:09
Label
Prestige Duke Ellington chronology
The Carnegie Hall Concerts: December 1944 (1944)
The Carnegie Hall Concerts: January 1946 (1946)
The Carnegie Hall Concerts: December 1947 (1947)
The Carnegie Hall Concerts: January 1946 is a live album by American pianist, composer and bandleader Duke Ellington recorded at Carnegie Hall, in New York in 1946 and released on the Prestige label in 1977.[1]
The Carnegie Hall Concerts: January 1946
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "The 1946 concert is not as memorable as the others but the many major soloists still make this lesser item an enjoyable listening experience".[2]
Track listing All compositions by Duke Ellington except as indicated 1. "Caravan" (Ellington, Irving Mills, Juan Tizol) - 3:45 2. "In a Mellow Tone" (Ellington, Milt Gabler) - 2:54 3. "Solid Old Man" - 3:35 4. "Spiritual (Come Sunday)/Work Song" - 12:06 5. "The Blues" - 5:08 6. "Rugged Romeo" - 3:09 7. "Sono" - 5:04 8. "Air-Conditioned Jungle" (Ellington, Jimmy Hamilton) - 5:45 9. "Pitter Panther Patter" - 2:14 10. "Take the "A" Train" (Billy Strayhorn) - 3:26 11. 12. 13. 14. 15. 16. 17. 18. 19.
"Mellow Ditty" - 7:30 "Fugueaditty" - 2:40 "Jam-A-Ditty" - 3:34 "Magenta Haze" - 4:41 "Diminuendo in Blue/Transblucency" (Ellington/Ellington, Lawrence Brown) - 7:28 "Crescendo in Blue" - 3:40 "Suburbanite" - 4:32 "I'm Just a Lucky So and So" (Mack David, Ellington) - 4:32 "Riffin' Roll" - 2:26
• Recorded at Carnegie Hall in New York on January 4, 1946.
Personnel • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Shelton Hemphill, Taft Jordan, Francis Williams - trumpet Lawrence Brown, Wilbur DeParis - trombone Claude Jones - valve trombone Jimmy Hamilton - tenor saxophone, clarinet Johnny Hodges - alto saxophone Otto Hardwick - clarinet, alto saxophone Al Sears - tenor saxophone Harry Carney - baritone saxophone, clarinet, alto saxophone Al Lucas - guitar Oscar Pettiford - bass Sonny Greer - drums Joya Sherrill (track 5), Kay Davis (track 15), Al Hibbler (track 18) - vocals
54
The Carnegie Hall Concerts: January 1946
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138138) accessed June 17, 2010
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1947 The Carnegie Hall Concerts: December 1947 The Carnegie Hall Concerts: December 1947
Live album by Duke Ellington Released
1977
Recorded
December 27, 1947
Genre
Jazz
Length
90:05
Label
Prestige Duke Ellington chronology
Liberian Suite (1947)
The Carnegie Hall Concerts: December 1947 (1947)
Great Times! (1950)
The Carnegie Hall Concerts: December 1947 is a live album by American pianist, composer and bandleader Duke Ellington recorded at Carnegie Hall, in New York in 1947 and released on the Prestige label in 1977.[1]
The Carnegie Hall Concerts: December 1947
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated "The judicious editing out of certain material provides a fresh set list, with little duplication from other live recordings and no overworked hits, making this a wonderful addition to anyone's Ellington collection".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5.
"The New Look (Snibor)" (Billy Strayhorn) - 3:27 "Blue Serge" (Mercer Ellington) - 4:16 "Triple Play" - 5:39 "Harlem Air Shaft" - 3:10 "Johnny Hodges Medley: Wanderlust/Junior Hop/Jeep's Blues/Jeep Is Jumpin'/Squaty Roo/Mood To Be Woo'd" (Ellington, Johnny Hodges) - 6:15 6. "Mella Brava" - 3:44 7. "Kickapoo Joy Juice" - 3:37 8. "On a Turquoise Cloud" (Lawrence Brown, Ellington) - 3:33 9. "Bakiff" (Juan Tizol) - 5:54 10. "Cotton Tail" - 3:04 11. "Liberian Suite: I Like the Sunrise" - 4:50 12. "Liberian Suite: Dance No. 1" - 4:52 13. "Liberian Suite: Dance No. 2" - 4:09 14. "Liberian Suite: Dance No. 3" - 3:46 15. "Liberian Suite: Dance No. 4" - 4:13 16. "Liberian Suite: Dance No. 5" - 5:08 17. "Theme Medley: East St. Louis Toodle-Oo/Echoes of Harlem/Black and Tan Fantasy/Things Ain't What They Used to Be" - 6:29 18. "Basso Profundo" - 2:08 19. "New York City Blues" - 4:42 20. "The Clothed Woman" - 4:27 21. "Trumpet No End (Blue Skies)" (Irving Berlin) - 2:42 • Recorded at Carnegie Hall in New York on December 27, 1947.
Personnel • • • • • • • • • •
Duke Ellington – piano Shorty Baker, Shelton Hemphill, Al Killian, Francis Williams - trumpet Ray Nance - trumpet, violin Lawrence Brown - trombone Tyree Glenn - trombone, vibraphone Claude Jones - valve trombone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Jimmy Hamilton - clarinet, tenor saxophone Al Sears - tenor saxophone
• Harry Carney - baritone saxophone, clarinet, bass clarinet • Fred Guy - guitar
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The Carnegie Hall Concerts: December 1947 • Oscar Pettiford, Junior Raglin - bass • Sonny Greer - drums • Kay Davis (track 8), Al Hibbler (track 11) - vocals
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138136) accessed June 17, 2010
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Liberian Suite
59
Liberian Suite Liberian Suite
Studio album by Duke Ellington Released
1948
Recorded
December 24, 1947
Genre
Jazz
Label
Columbia Duke Ellington chronology
Black, Brown & Beige (1944-46)
Liberian Suite (1947)
The Carnegie Hall Concerts: December 1947 (1947)
Liberian Suite is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1947. The album was Ellingon's second 10" LP album and one of his earlier works on the Columbia label.[1] The suite represents one of Ellington's early extended compositions and was commissioned for the Liberian centennial. The Liberian Suite was released on CD as bonus tracks on Ellington Uptown in 2004.
Reception The Allmusic review awarded the album 3 stars and stated "Liberian Suite was his first international commission, from the government of the African nation, to celebrate the 100th anniversary of its founding by freed American slaves-it was the first formal manifestation of a process by which Ellington would be a virtual musical ambassador to the world by the end of the next decade. As to the music, it is not Ellington's most sophisticated piece of music, but it is filled with bracing rhythms, juicy parts for the horns and saxes, and one stunning vocal part".[2]
Liberian Suite
Track listing :All compositions by Duke Ellington 1. 2. 3. 4. 5. 6.
"The Liberian Suite: I Like the Sunrise" - 4:28 "The Liberian Suite: Dance No. 1" - 4:50 "The Liberian Suite: Dance No. 2" - 3:26 "The Liberian Suite: Dance No. 3" - 3:45 "The Liberian Suite: Dance No. 4" - 3:04 "The Liberian Suite: Dance No. 5" - 5:08 • Recorded at Liederkranz Hall in New York on December 24, 1947
Personnel • • • • •
Duke Ellington – piano Shorty Baker, Shelton Hemphill, Al Killian, Francis Williams - trumpet Ray Nance - trumpet, violin Lawrence Brown, Tyree Glenn - trombone Claude Jones - valve trombone
• • • • • • • •
Jimmy Hamilton - clarinet, tenor saxophone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Al Sears - tenor saxophone Harry Carney - baritone saxophone, vocal (track 1) Fred Guy - guitar Oscar Pettiford, Junior Raglin - bass Sonny Greer - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 25, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r151758) accessed May 25, 2010
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1950 Great Times! Great Times! Studio album by Duke Ellington & Billy Strayhorn Released
1950
Recorded
September 13, October 3 & November, 1950
Genre
Jazz
Length
35:42
Label
Riverside Duke Ellington chronology
The Carnegie Hall Concerts: December 1947 (1947)
Great Times! (1950)
Masterpieces by Ellington (1951)
Great Times! is an album by American pianist, composer and bandleader Duke Ellington's featuring duet performances with his arranger and musical partner Billy Strayhorn originally recorded for the Mercer label in 1950 and later released on Riverside with tracks from an additional session with Oscar Pettiford.
Reception The Allmusic review by Scott Yanow awarded the album 4 stars calling it "quite fascinating... most memorable. Intriguing music".[1]
Track listing :All compositions by Duke Ellington except as indicated 1. "Cotton Tail" - 2:55 2. "C Jam Blues" (Barney Bigard, Ellington) - 2:58 3. "Flamingo" (Edmund Anderson, Ted Grouya) - 3:00 4. "Bang-Up Blues" - 3:08 5. "Tonk" (Ellington, Strayhorn) - 2:59 6. "Johnny Come Lately" (Strayhorn) - 3:01 7. "In a Blue Summer Garden" (Ellington, Strayhorn) - 4:06 8. "Great Times" - 2:56 9. "Perdido" (Juan Tizol) -2:57 10. "Take the "A" Train" (Strayhorn) - 2:20 11. "Oscalypso" (Oscar Pettiford) - 2:44 12. "Blues for Blanton" - 2:36 • Recorded in New York on September 13 (tracks 9-12), October 3 (tracks 5-8) & November (tracks 1-4), 1950
Great Times!
Personnel • • • • •
Duke Ellington – piano Billy Strayhorn - piano (tracks 1-8), celeste (tracks 10 & 11) Oscar Pettiford - cello (tracks 9-12) Wendell Marshall (tracks 1-4), Joe Schulman (tracks 5-8), Lloyd Trotman (tracks 9-12) - bass Jo Jones (tracks 9-12), Unknown (tracks 1-4) - drums
References [1] Allmusic Review (http:/ / www. allmusic. com/ album/ r138206) accessed May 25, 2010
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63
1951 Masterpieces by Ellington Masterpieces by Ellington
Studio album by Duke Ellington Released
1951
Recorded
December 18, 1950 Bonus tracks August 7 & December 11, 1951
Genre
Jazz
Label
Columbia Duke Ellington chronology
Great Times (1950)
Masterpieces by Ellington (1951)
Alternative Cover
Ellington Uptown (1951)
Masterpieces by Ellington
Masterpieces by Ellington is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1950 as Ellington's first LP album.[1] The album was re-released in 2004 with additional bonus tracks recorded at later sessions.
Reception The Allmusic review by Bruce Eder awarded the album 4½ stars and stated "For the first time in his recording career, Ellington was able to forego the three-minutes-and-change restrictions in running time of the 78-rpm disc — he and the band rose to the occasion".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7.
"Mood Indigo" (Ellington, Barney Bigard, Irving Mills) - 15:27 "Sophisticated Lady" (Ellington, Mills, Mitchell Parish) - 11:29 "The Tattooed Bride" - 11:43 "Solitude" (Ellington, Mills, Eddie DeLange) - 8:26 "Vagabonds" (Ellington, Juan Tizol, Johnny Burke) - 3:11 Bonus track on CD reissue "Smada" (Ellington, Billy Strayhorn) - 2:48 Bonus track on CD reissue "Rock Skippin' at the Blue Note" (Ellington, Strayhorn) - 2:27 Bonus track on CD reissue • Recorded in New York on December 18, 1950 (tracks 1-4) and August 7 (tracks 6 & 7), & December 11 (track 5), 1951.
Personnel • Duke Ellington, Billy Strayhorn – piano • Cat Anderson (tracks 1-4, 6 & 7), Shorty Baker, Mercer Ellington (tracks 1-4), Fats Ford (tracks 1-4), Ray Nance, Nelson Williams - trumpet • Lawrence Brown (tracks 1-4), Tyree Glenn (tracks 1-4), Quentin Jackson, Britt Woodman (tracks 5-7) - trombone • Jimmy Hamilton - clarinet, tenor saxophone • Johnny Hodges (tracks 1-4), Willie Smith (tracks 5-7) - alto saxophone • Russell Procope - alto saxophone, clarinet • Paul Gonsalves - tenor saxophone • Harry Carney - baritone saxophone • Wendell Marshall - bass
64
Masterpieces by Ellington • Sonny Greer (tracks 1-4), Louis Bellson (tracks 5-7) - drums • Yvonne Lanuaze - vocals[3]
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 24, 2010 [2] Eder, B. Allmusic Review (http:/ / www. allmusic. com/ album/ r679757) accessed May 24, 2010 [3] Liner notes - Columbia LP ML-4418, 1951
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66
1952 Ellington Uptown Ellington Uptown
Studio album by Duke Ellington Released
1952
Recorded
December 7 & 11, 1951, February 29, June 30 & July 1, 1952 Bonus tracks December 24, 1947
Genre
Jazz
Label
Columbia Duke Ellington chronology
Masterpieces by Ellington (1951)
Ellington Uptown (1952)
Premiered by Ellington (1953)
Alternative Cover
Ellington Uptown
Ellington Uptown (also released as Hi-Fi Ellington Uptown) is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1951 & 1952.[1] The album was re-released on CD in 2004 with additional tracks recorded in 1947 and originally released as the Liberian Suite.
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated "Although some historians have characterized the early '50s as Duke Ellington's "off period" (due to the defection of alto star Johnny Hodges), in reality, his 1951-1952 orchestra could hold its own against his best. This set has many classic moments... One of the great Duke Ellington sets".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. "Skin Deep" (Louis Bellson) - 6:49 2. "The Mooche" (Ellington, Irving Mills) - 6:36 3. "Take the "A" Train" (Billy Strayhorn) - 8:02 4. "A Tone Parallel to Harlem (Harlem Suite)" - 13:48 5. "Perdido" (Juan Tizol) - 8:25 6. "Controversial Suite Part 1: Before My Time" - 6:09 7. "Controversial Suite Part 2: Later" - 4:14 8. "The Liberian Suite: I Like the Sunrise" - 4:28 Bonus track on CD reissue 9. "The Liberian Suite: Dance No. 1" - 4:50 Bonus track on CD reissue 10. "The Liberian Suite: Dance No. 2" - 3:26 Bonus track on CD reissue 11. "The Liberian Suite: Dance No. 3" - 3:45 Bonus track on CD reissue 12. "The Liberian Suite: Dance No. 4" - 3:04 Bonus track on CD reissue 13. "The Liberian Suite: Dance No. 5" - 5:08 Bonus track on CD reissue • Recorded in New York on December 24, 1947 (tracks 8-13), December 7, 1951 (track 4), December 11, 1951 (tracks 6 & 7), June 30, 1952 (track 3), July 1, 1952 (tracks 2 & 5) and in Fresno, California on February 29, 1952 (track 1)
67
Ellington Uptown
Personnel • Duke Ellington, Billy Strayhorn – piano • Cat Anderson (tracks 1-3 & 5), Shorty Baker, Willie Cook (tracks 1-7), Shelton Hemphill (tracks 8-13), Al Killian (tracks 8-13), Clark Terry (tracks 1-7), Francis Williams (tracks 4 & 6-13) - trumpet • Ray Nance - trumpet, violin • Lawrence Brown (tacks 8-13), Tyree Glenn (track 8-13), Quentin Jackson (tracks 1-7), Britt Woodman (tracks 1-7) - trombone • Claude Jones (tracks 8-13), Juan Tizol (tracks 1-7) - valve trombone • Jimmy Hamilton - clarinet, tenor saxophone • Willie Smith (tracks 1, 4, 6 & 7), Johnny Hodges (track 3 & 8-7), Hilton Jefferson (tracks 1-3 & 5) - alto saxophone • Russell Procope - alto saxophone, clarinet • Paul Gonsalves (tracks 1-7), Al Sears (tracks 8-13) - tenor saxophone • Harry Carney - baritone saxophone • Fred Guy - guitar (tracks 8-13) • Oscar Pettiford (tracks 1-7), Junior Raglin (tracks 8-13), Wendell Marshall (tracks 1-7) - bass • Louis Bellson (tracks 1-7), Sonny Greer (tracks 8-13) - drums • Betty Roche - vocal (track 3)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 24, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r679787) accessed May 24, 2010
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1953 Premiered by Ellington Premiered by Ellington
Studio album by Duke Ellington Released
1953
Recorded
April 6, 7 & 9, 1953
Genre
Jazz
Label
Capitol Duke Ellington chronology
Ellington Uptown (1952)
Premiered by Ellington (1953)
The Duke Plays Ellington (1953)
Premiered by Ellington is an album by American pianist, composer and bandleader Duke Ellington recorded in 1953. The album was originally released as a 10" album and was Ellingon's first release on the Capitol label.[1] The album has not been released on CD but the tracks have appeared on The Complete Capitol Recordings of Duke Ellington released by Mosaic Records in 1995.
Premiered by Ellington
Reception The Allmusic review awarded the album 3 stars.[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"My Old Flame" (Sam Coslow, Arthur Johnston) - 3:13 "Three Little Words" (Bert Kalmar, Harry Ruby) - 3:45 "Stormy Weather" (Harold Arlen, Ted Koehler) - 3:12 "Cocktails for Two (Coslow, Johnston) - 2:58 "Flamingo" (Ed Anderson, Ted Grouya) - 3:42 "Stardust" (Hoagy Carmichael, Mitchell Parish) - 2:29 "I Can't Give You Anything But Love" (Dorothy Fields, Jimmy McHugh) - 3:11 "Liza" (George Gershwin, Gus Kahn, Ira Gershwin) - 3:14 • Recorded Capitol Studios, Los Angeles on April 6 (track 4), April 7 (tracks 1-3, 6 & 7) and April 9 (tracks 5 & 8), 1953
Personnel • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet Quentin Jackson, Juan Tizol, Britt Woodman - trombone Jimmy Hamilton - clarinet, tenor saxophone Rick Henderson - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, bass clarinet Wendell Marshall - bass Butch Ballard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 24, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r138248) accessed May 24, 2010
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The Duke Plays Ellington
71
The Duke Plays Ellington The Duke Plays Ellington
Studio album by Duke Ellington Released
1953
Recorded
April 13 & 14, and December 3, 1953
Genre
Jazz
Label
Capitol Duke Ellington chronology
Premiered by Ellington (1953)
The Duke Plays Ellington (1953)
Ellington ‘55 (1953-4)
Piano Reflections Cover
The Duke Plays Ellington is an album by American pianist, composer and bandleader Duke Ellington featuring trio sessions recorded for the Capitol label in 1953.[1] The album was rereleased with additional tracks on CD as Piano Reflections in 1989.
The Duke Plays Ellington
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated "Ellington sounds modern (especially rhythmically and in his chord voicings) and shows that he could have made a viable career out of just being a pianist".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Who Knows?" - 2:37 "Retrospection" - 3:58 "B Sharp Blues" - 2:47 "Passion Flower" (Billy Strayhorn) - 3:05 "Dancers in Love" - 1:56 "Reflections in D" - 3:35 "Melancholia" - 3:20 "Prelude to a Kiss" (Ellington, Irving Gordon, Irving Mills) - 3:04 "In a Sentimental Mood" (Ellington, Mills, Manny Kurtz) - 2:30
10. 11. 12. 13. 14. 15. 16.
"Things Ain't What They Used to Be" (Mercer Ellington) - 2:56 "All Too Soon" (Ellington, Carl Sigman) - 3:08 "Janet" - 2:15 "Kinda Dukish" - 2:32 Bonus track on CD reissue "Montevideo" - 2:33 Bonus track on CD reissue "December Blue" - 2:40 Bonus track on CD reissue "It Don't Mean a Thing (If It Ain't Got That Swing)" - 10:17 Bonus track on CD reissue
• Recorded at Capitol Studios, Los Angeles on April 13 (tracks 1-8), April 14 (tracks 9-12), and December 3 (tracks 13-5), 1953.
Personnel • • • • •
Duke Ellington – piano Wendell Marshall - bass Butch Pollard - drums (tracks 1-12) Dave Black - drums (tracks 13-15) Ralph Collier - congas (track 14)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138244) accessed May 21, 2010
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1954 Ellington ‘55 Ellington '55
Studio album by Duke Ellington Released
1955
Recorded
Dec 21, 28 & 29 1953 and January 1, 2 & 17, 1954
Genre
Jazz
Label
Capitol Duke Ellington chronology
The Duke Plays Ellington (1953)
Ellington '55 (1953-4)
Dance to the Duke! (1954)
Ellington '55 is an album by American pianist, composer and bandleader Duke Ellington recorded for the Capitol label in 1953 and 1954 and released in 1955.[1] The album features the Ellington Orchestra's performances of popular big band compositions and was reissued on CD with two bonus tracks in 1999.
Ellington ‘55
Reception The Allmusic review by Bruce Eder awarded the album 3 stars and stated "The tunes represented on this album were precisely what the band was playing at its dance dates... and it was material like this that was keeping the band going, filling those dates. So it is hard to argue with the album's programming, which reflected the taste of the most visible part of Ellington's audience. Additionally, what's here is quite fine in the playing".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"Rockin' in Rhythm" (Ellington, Harry Carney, Irving Mills) - 4:30 "Black and Tan Fantasy" (Ellington, James "Bubber" Miley) - 5:10 "Stompin' at the Savoy" (Benny Goodman, Andy Razaf, Edgar Sampson, Chick Webb) - 5:04 "In the Mood" (Joe Garland, Razaf) - 5:59 "One O'Clock Jump" (Count Basie, Eddie Durham) - 5:12 "Honeysuckle Rose" (Razaf, Fats Waller) - 4:17 "Happy Go Lucky Local" - 5:33 "Flying Home" (Goodman, Lionel Hampton, Eddie Delange) - 6:08
9. "Body and Soul" (Edward Heyman, Robert Sour, Frank Eyton, Johnny Green) - 4:47 Bonus track on CD reissue 10. "It Don't Mean a Thing (If It Ain't Got That Swing)" - 10:17 Bonus track on CD reissue • Recorded at Capitol Studios, New York on December 21, 1953 (tracks 6 & 8), December 28, 1953 (track 3), December 29, 1953 (track 2) and at Universal Studios, Chicago on January 1, 1954 (track 4), January 2, 1954 (track 5), January 17, 1954 (tracks 1 & 7), June 17, 1954 (track 10) and May 18, 1955 (track 9).
Personnel • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet Alfred Cobbs (tracks 6 & 8), Quentin Jackson, George Jean (tracks 1-5 & 7), Britt Woodman - trombone John Sanders - valve trombone (tracks 9 & 10) Russell Procope - alto saxophone, clarinet Rick Henderson - alto saxophone Paul Gonsalves - tenor saxophone Jimmy Hamilton - clarinet, tenor saxophone Harry Carney - baritone saxophone, bass clarinet Wendell Marshall - bass Dave Black - drums Jimmy Grissom - vocal (track 3) Billy Strayhorn - celeste (track 2)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Eder, B. Allmusic Review (http:/ / www. allmusic. com/ album/ r138188) accessed May 21, 2010
74
Dance to the Duke!
75
Dance to the Duke! Dance to the Duke!
Studio album by Duke Ellington Released
1954
Recorded April 7 & December 28, 1953, January 1 & 2, April 26, September 1, and October 8, 1954. Genre
Jazz
Label
Capitol Duke Ellington chronology
Ellington ‘55 (1953-4)
Dance to the Duke! (1954)
Ellington Showcase (1953-4)
Dance to the Duke! is an album by American pianist, composer and bandleader Duke Ellington recorded for the Capitol label in 1953.[1] The album has not been released on CD but the tracks have appeared on The Complete Capitol Recordings of Duke Ellington released by Mosaic Records in 1995.
Reception The Allmusic review awarded the album 3 stars.[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"C Jam Blues" - 4:52 "Orson" (Ellington, Billy Strayhorn) - 2:37 "Caravan" (Juan Tizol) - 4:32 "Kinda Dukish" - 2:32 "Bakiff" - 5:48 "Frivolous Banta" (Rick Henderson) - 2:39 "Things Ain't What They Used To Be" (Mercer Ellington) - 6:22 "Night Time" (Ellington, Strayhorn) - 2:53
Dance to the Duke! • Recorded at Capitol Studios, Los Angeles on April 7, 1953 (track 2), December 28, 1953 (track 8), and September 1, 1954 (track 5), in San Francisco on April 26, 1954 (track 1) and in Chicago on January 1, 1954 (track 6), January 2, 1954 (track 7) and October 8, 1954 (track 3).
Personnel • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry, Gerald Wilson (tracks 1 & 5) - trumpet Quentin Jackson, George Jean (tracks 6-8), Juan Tizol (track 2), Britt Woodman - trombone John Sanders - valve trombone (tracks 1, 3 & 5) Russell Procope - alto saxophone, clarinet Rick Henderson - alto saxophone Paul Gonsalves - tenor saxophone Jimmy Hamilton - clarinet, tenor saxophone Harry Carney - baritone saxophone, bass clarinet Wendell Marshall (tracks 1, 2, & 4-8), Oscar Pettiford (track 3) - bass Butch Ballard (track 2), Dave Black - drums (tracks 1 & 3-8) Ralph Collier - congas (tracks 1 & 5)
• Frank Rollo - bongos (track 3)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r138144) accessed May 24, 2010
76
77
1955 Ellington Showcase Ellington Showcase
Studio album by Duke Ellington Released
1955
Recorded April 9, July 1 & December 29, 1953, January 17, June 17, 1954, May 17 & 18, 1955. Genre
Jazz
Label
Capitol Duke Ellington chronology
Dance to the Duke! (1954)
Ellington Showcase (1954)
Blue Rose (1956)
Ellington Showcase is an album by American pianist, composer and bandleader Duke Ellington recorded for the Capitol label at various sessions in 1953-5.[1] The album has not been released on CD but the tracks have appeared on The Complete Capitol Recordings of Duke Ellington released by Mosaic Records in 1995.
Ellington Showcase
Reception The Allmusic review awarded the album 3 stars.[2]
Track listing :All compositions by Duke Ellington except as indicated 1. "Blossom" (Ellington, Billy Strayhorn) - 2:29 2. "Big Drag" - 2:51 3. "Don't Ever Say Goodbye" - 3:01 4. "Falling Like a Raindrop" - 3:02 5. "Gonna Tan Your Hide" (Ellington, Strayhorn) - 6:13 6. "Harlem Air Shaft" - 3:54 7. "La Virgen De La Macarena" (Bernardo Bautista Monterde) - 4:02 8. "Clarinet Melodrama" (Jimmy Hamilton) - 5:42 9. "Theme For Trambean" (Hamilton) - 3:26 10. "Serious Serenade" - 2:50 • Recorded at Capitol Studios in Los Angeles on April 9, 1953 (track 1), at Universal Studios in Chicago on July 1, 1953 (track 2) December 29, 1953 (track 3), January 17, 1954 (track 4), May 17, 1955 (tracks 6 & 7), and May 18, 1955 (tracks 8-10), and at Capitol Studios in New York on June 17, 1954 (track 5).
Personnel • • • • • • • • • • • •
Duke Ellington – piano, electric piano (tracks 1, 2 & 5-10) Billy Strayhorn - piano (tracks 3 & 4) Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet Quentin Jackson, George Jean (tracks 2 & 4), Juan Tizol (track 1 & 2), Britt Woodman - trombone John Sanders - valve trombone (tracks 5-10) Russell Procope - alto saxophone, clarinet Rick Henderson - alto saxophone Paul Gonsalves - tenor saxophone Jimmy Hamilton - clarinet, tenor saxophone Harry Carney - baritone saxophone, bass clarinet Wendell Marshall (tracks 1-5), Jimmy Woode (tracks 6-10) - bass Butch Ballard (tracks 1 & 2) Dave Black (tracks 3-10) - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r138144) accessed May 24, 2010
78
79
1956 Blue Rose (Rosemary Clooney album) Blue Rose
Studio album by Rosemary Clooney Released
May 21, 1956
Recorded
January-February 1956
Genre
Classic pop Jazz
Length
39:04
Label
Columbia Records
Producer
Irving Townsend Professional reviews
•
Allmusic
link
[1]
Rosemary Clooney chronology
Blue Rose (1956)
Ring Around Rosie (1957)
Duke Ellington chronology
Ellington Showcase (1955)
Blue Rose (1956)
Ellington at Newport (1956)
Blue Rose is the debut studio album by Rosemary Clooney, accompanied by Duke Ellington and his orchestra, released in mono on Columbia Records, catalogue CL 872. Although she had appeared on album before, it had been
Blue Rose (Rosemary Clooney album)
80
in the context of either a musical theater or multiple artist recording. The album also marked the return of Ellington to Columbia after an absence of four years, and was one of the first examples of overdubbing being used as an integral part of the creation, rather than for effects or to correct mistakes.
Background and content During the early 1950s, it had been the policy of both company president Goddard Lieberson and producer Mitch Miller at Columbia to discourage their roster of popular singers from planning full albums, the LP reserved for serious work such as classical music or original cast recordings.[2] This policy changed with the success of popular music albums on other labels, and to give the return of Ellington to the fold exposure beyond the jazz audience, producer Irving Townsend decided on pairing the Ellington band with a singer for a full album, choosing Clooney for her sultry voice and her spate of hit records throughout the decade.[3] The project encountered difficulty from Clooney being both on the outs with her usual producer Mitch Miller and pregnant in Los Angeles, with the Ellington Orchestra being recorded in New York.[4] With Townsend at the helm, Clooney agreed to the project, and long-time Ellington orchestrator and musical foil Billy Strayhorn was dispatched to guide Clooney through the arrangements and recording in L.A. Recordings of the Ellington Orchestra took place on January 23 and 27, 1956, at Columbia's 30th Street Studio in New York, and Clooney's vocals were recorded for overdubbing to the New York track on February 8 and 11 in Los Angeles.[5] The material selected originated from the Ellington songbook, and all songs were arranged by Strayhorn. Three tunes were specifically written by Ellington for the album and Clooney: "Hey Baby," "Me and You," and "Blue Rose." On June 15, 1999, Legacy Records reissued the album remastered for compact disc. Two bonus tracks were added from the sessions that were not included on the original LP, released as Columbia single 55591 "If You Were in My Place (What Would You Do?)" and its b-side "Just A-Sittin' and A-Rockin'."[6]
Track listing Side one No. Title
Writer(s)
1. "Hey Baby"
Duke Ellington
3:53
2. "Sophisticated Lady"
Duke Ellington, Irving Mills, Mitchell Parish
2:57
3. "Me and You"
Duke Ellington
2:28
4. "Passion Flower"
Billy Strayhorn
4:33
5. "I Let a Song Go Out of My Heart"
Duke Ellington, Irving Mills, Henry Nemo
2:37
6. "It Don't Mean a Thing (If It Ain't Got That Swing)" Duke Ellington, Irving Mills
Side two
Length
2:48
Blue Rose (Rosemary Clooney album)
No. Title
81
Writer(s)
Length
1. "Grievin'"
Duke Ellington, Billy Strayhorn
4:20
2. "Blue Rose"
Duke Ellington
2:21
3. "I'm Checkin' Out - Goombye"
Duke Ellington, Billy Strayhorn
3:09
4. "I Got It Bad (and That Ain't Good)" Duke Ellington, Paul Francis Webster
3:07
5. "Mood Indigo"
6:28
Duke Ellington, Barney Bigard, Irving Mills
1999 bonus tracks No. Title
Writer(s)
12. "If You Were in My Place (What Would You Do?)" Duke Ellington, Irving Mills, Henry Nemo
3:01
13. "Just A-Sittin' and A-Rockin'"
2:40
Duke Ellington, Billy Strayhorn, Lee Gaines
Personnel • • • • • • • • • • • • •
Rosemary Clooney — vocals Duke Ellington — piano Billy Strayhorn — arranger, conductor, piano on bonus tracks Cat Anderson, Willie Cook, Ray Nance, Cootie Williams — trumpets Quentin Jackson, Britt Woodman — trombones John Sanders — valve trombone Russell Procope — alto saxophone, clarinet Johnny Hodges — alto saxophone Jimmy Hamilton — tenor saxophone, clarinet Paul Gonsalves — tenor saxophone Harry Carney — baritone saxophone Jimmy Woode — bass Sam Woodyard — drums
References [1] [2] [3] [4] [5] [6]
Length
http:/ / www. allmusic. com/ album/ r24721 Will Friedwald. Blue Rose. 1999 reissue, Columbia/Legacy CK 65506, liner notes. Friedwald, Blue Rose reissue liner notes. Gary Mamorstein. The Label: The Story of Columbia Records. New York": Thunder's Mouth Press, 2007. p. 195. Friedwald, Blue Rose reissue liner notes. Blue Rose (http:/ / www. allmusic. com/ album/ r24721) at Allmusic.
Historically Speaking (Duke Ellington album)
82
Historically Speaking (Duke Ellington album) Historically Speaking
Studio album by Duke Ellington Released
1956
Recorded
February 7 & 8, 1956
Genre
Jazz
Label
Bethlehem Duke Ellington chronology
Studio Sessions, Chicago 1956 (1956)
Historically Speaking (1956)
Duke Ellington Presents... (1956)
Historically Speaking is an album by American pianist, composer and bandleader Duke Ellington recorded for the Bethlehem label in 1956.[1] The album features updated arrangements of many of Elington's early compositions.
Reception The Allmusic review by awarded the album 2 stars.[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8. 9.
"East St. Louis Toodle-Oo" (Ellington, James "Bubber" Miley) - 3:30 "Creole Love Call" (Ellington, Miley) - 3:47 "Stompy Jones" - 3:53 "The Jeep Is Jumpin'" (Ellington, Johnny Hodges, Billy Strayhorn) - 2:25 "Jack the Bear" - 3:20 "In a Mellow Tone" (Ellington, Milt Gabler) - 2:54 "Ko Ko" - 2:18 "Midriff" (Strayhorn) - 3:52 "Stomp, Look and Listen" - 2:41
Historically Speaking (Duke Ellington album) 10. "Unbooted Character" - 4:18 11. "Lonesome Lullaby" - 3:19 12. "Upper Manhattan Medical Group" (Strayhorn) - 3:09 • Recorded at Universal Studios, Chicago on February 7 & 8, 1956.
Personnel • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - tenor saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jimmy Woode - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r161743) accessed May 21, 2010
83
Duke Ellington Presents...
84
Duke Ellington Presents... Duke Ellington Presents...
Studio album by Duke Ellington Released
1956
Recorded
February 7 & 8, 1956
Genre
Jazz
Label
Bethlehem Duke Ellington chronology
Historically Speaking (1956)
Duke Ellington Presents... (1956)
Ellington at Newport (1956)
Duke Ellington Presents... is an album by American pianist, composer and bandleader Duke Ellington recorded for the Bethlehem label in 1956.[1]
Reception The Allmusic review by Scott Yanow awarded the album 2½ stars and stated "Although this set is not essential, the music is quite enjoyable and it is interesting to hear Duke Ellington playing such tunes as "Laura," "My Funny Valentine," and "Indian Summer."[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7.
"Summertime" (George Gershwin, Ira Gershwin, Dubose Heyward) - 2:13 "Laura" (Johnny Mercer, David Raksin) - 4:15 "I Can't Get Started" (Vernon Duke, Ira Gershwin) - 4:25 "My Funny Valentine" (Lorenz Hart, Richard Rodgers) - 4:48 "Everything But You" (Ellington, Don George, Harry James) - 2:57 "Frustration" - 3:49 "Cotton Tail" - 2:52
Duke Ellington Presents... 8. "Day Dream" (Ellington, John Latouche, Billy Strayhorn) - 3:39 9. "Deep Purple" (Peter DeRose, Mitchell Parish) - 3:36 10. "Indian Summer" (Al Dubin, Victor Herbert) - 3:01 11. "Blues" - 7:00 • Recorded at Universal Studios, Chicago on February 7 & 8, 1956.
Personnel • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - tenor saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jimmy Woode - bass
• Sam Woodyard - drums • Ray Nance (track 3), Jimmy Grissom (track 5) - vocal
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 21, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138161) accessed May 21, 2010
85
Ellington at Newport
86
Ellington at Newport Ellington at Newport
Live album by Duke Ellington Released
1956
Recorded
July 7, 1956
Genre
Jazz
Length
1956 LP: 43:53 1999 CD: 129:57
Label
Columbia
Producer
1956 LP: George Avakian 1999 CD: Phil Schaap Professional reviews
•
Allmusic
link
[1]
Duke Ellington chronology
Duke Ellington Presents... (1956)
Ellington at Newport (1956)
Duke Ellington and the Buck Clayton All-Stars at Newport, Vol. 2 (1956)
Alternative cover
Ellington at Newport
87
1999 Re-issue cover
Ellington at Newport is a 1956 jazz live album by Duke Ellington and his band, recording their historic 1956 concert at the Newport Jazz Festival, a concert which revitalized Ellington's flagging career. Jazz promoter George Wein describes the 1956 concert as "the greatest performance of [Ellington's] career... It stood for everything that jazz had been and could be."[2]
Context Duke and his band had slipped in popularity with the rise of bebop, the jazz style which was developed by Charlie Parker, Dizzy Gillespie, and Thelonious Monk, among others. Many big bands had folded completely by the mid-1950s, but Duke had kept his band working, occasionally doing shows in ice-skating rinks to stay busy. The Duke Ellington Orchestra had done some European tours during the early 1950s, and Duke was chiefly supporting the band himself through royalties earned on his popular compositions of the 1920s to 1940s. At the time of the festival, the band did not even have a record deal.[2]
Performance Beginning Duke and his orchestra arrived to play at the Newport Jazz Festival at a time when jazz festivals were a fairly new innovation. The crowds in those days were quite sedate compared to the typical concert-going crowd of today. Ellington's band was the first and last group to play at the Newport Festival.[2] The first, short set began at 8:30 and included "The Star Spangled Banner", "Black and Tan Fantasy" and "Tea for Two". This set was played without a few of the band's members as they were unable to be found at the start of the show. After performances by the other groups, the remainder of the band was located and the real performance began. Duke led off with "Take the 'A' Train", followed by a new composition by Duke and Billy Strayhorn, a suite of three pieces: "Festival Junction", "Blues to Be There", and "Newport Up". This suite was intended to be the showstopper, but the reception was not as enthusiastic as was hoped. Following the Festival suite, Duke called for Harry Carney's baritone saxophone performance of "Sophisticated Lady". Then the orchestra played "Day In, Day Out". Following this, Duke announced that they were pulling out "some of our 1938 vintage": a pair of blues, "Diminuendo in Blue" and "Crescendo in Blue" joined by an improvised interval, which Duke announced would be played by tenor saxophonist Paul Gonsalves.
Ellington at Newport
The Gonsalves solo Ellington had been experimenting with the reworking for several years before the Newport performance; a release of one of his Carnegie Hall concerts of the 1940s presented the two old blues joined by a wordless vocal passage, "Transbluecency," but in time he chose to join the pair by a saxophone solo, handing it to Gonsalves, experimenting with it in shorter performances before the Newport show, where Ellington is believed to have told Gonsalves to blow as long as he felt like blowing when the solo slot came. It came after two choruses of an Ellington piano break at what was formerly the conclusion of "Diminuendo in Blue." As performed at Newport, the experiment ended up revamping the Ellington reputation and fortune for the rest of Ellington's life. The previous experiments culminated in a 27-chorus solo by Gonsalves — simple, but powerful — backed only by bassist Jimmy Woode, drummer Sam Woodyard, and Ellington himself pounding punctuating piano chords and (with several audible band members as well) hollering urgings-on ("Come on, Paul — dig in! Dig in!") to his soloist. The normally sedate crowd was on their feet dancing in the aisles, reputedly provoked by a striking platinum blonde woman in a black evening dress, Elaine Anderson,[3] getting up and dancing enthusiastically.[4] When the solo ended and Gonsalves collapsed in exhaustion, Ellington himself took over for two choruses of piano solo before the full band returned for the "Crescendo in Blue" portion, finishing with a rousing finale featuring high-note trumpeter Cat Anderson.
Ending After that performance, pandemonium took over. Duke calmed the crowd by announcing, "If you've heard of the saxophone, then you've heard of Johnny Hodges." Duke's best known alto saxophonist then played two of his most famous numbers in "I Got It Bad (and That Ain't Good)" followed by "Jeep's Blues." Still the crowd refused to disperse so Duke called for Ray Nance to sing "Tulip or Turnip." The festival's organizers tried to cut off the show at this point but once again were met with angry refusals to end this magical evening. Duke told the announcer that he would end the show and wanted to thank the audience but instead announced he had a "very heavy request for Sam Woodyard in 'Skin Deep'", a number written by former Ellington drummer Louis Bellson. This drum solo feature was the final number featured, followed by a farewell from Duke over "Mood Indigo". In his farewell, he thanked the crowd for the "wonderful way in which you've inspired us this evening." He then finished with his trademark statement, "You are very beautiful, very lovely and we do love you madly." With that, the historic show concluded.
88
Ellington at Newport
89
Recordings Columbia Records recorded the concert and an album soon followed. Duke appeared soon after on the cover of Time, and his resurgent popularity lasted throughout the rest of his life. Some of his best albums occurred during the next decade and a half, until age and illness began to claim some of Duke's band members and, in 1974, Ellington himself. In 1996, a tape was discovered in the annals of the Voice of America radio broadcasts which changed everything. It turned out that the 1956 album which was produced had indeed been fabricated with studio performances mixed with some live recordings and artificial applause. Only about 40% of the 1956 recording was actually live.[5] The reason for this was that Ellington felt the under-rehearsed Festival suite had not been performed up to recording release standards, and he wished to have a better version on tape if it was to be issued on record. Producer George Avakian did as Ellington asked and the band entered the studio immediately after the festival. Avakian mixed in the studio version with portions of the live performance. The applause was dubbed onto the original release to cover up the fact that Gonsalves had been playing into the wrong microphone and was often completely inaudible. On the 1999 reissue, the VoA live recording and the live Columbia tapes were painstakingly pieced together using digital technology to create a true stereophonic recording of the most well-known Ellington performance of the past fifty years, this time with Gonsalves's solo clearly heard, though the beginning of the audience cheering and noise at around the seventh or eighth chorus of the solo can still be heard as well.[6] This is particularly noteworthy because stereo was not in use until the following year, 1957. The 1999 re-issue of this record, Ellington at Newport (Complete),[7] preserves one of the most inspired performances of the Duke Ellington Orchestra's career. The August 20, 1956 cover of Time featured Ellington.
Track listings Original 1956 LP: Ellington at Newport Side A 1. "Festival Junction" - 10:08 2. "Blues to Be There" - 8:04 3. "Newport Up" - 5:33 Side B 1. "Jeep's Blues" - 5:12 2. "Diminuendo and Crescendo in Blue" - 14:56
Ellington at Newport
Remastered 1999 CD: Ellington at Newport (Complete) Disc one 1. "The Star Spangled Banner" - 1:10 2. Father Norman O'Connor Introduces Duke & the Orchestra / Duke Introduces Tune & Anderson, Jackson & Procope - 3:36 3. "Black and Tan Fantasy" - 6:21 4. Duke Introduces Cook & Tune - 0:26 5. "Tea for Two" - 3:34 6. Duke & Band Leave Stage / Father Norman Talks About The Festival - 2:30 7. "Take the 'A' Train" - 4:27 8. Duke Announces Strayhorn's A Train & Nance / Duke Introduces Festival Suite, Part I & Hamilton - 0:41 9. "Part I - Festival Junction" - 8:10 10. Duke Announces Soloists; Introduces Part II - 0:38 11. "Part II - Blues to Be There" - 7:09 12. Duke Announces Nace & Procope; Introduces Part III - 0:19 13. "Part III - Newport Up" - 5:33 14. Duke Announces Hamilton, Gonsalves & Terry / Duke Introduces Carney & Tune - 0:25 15. 16. 17. 18. 19. 20. 21.
"Sophisticated Lady" - 3:52 Duke Announces Grissom & Tune - 0:17 "Day In, Day Out" - 3:50 Duke Introduces Tune(s) and Paul Gonsalves Interludes - 0:23 "Diminuendo In Blue and Crescendo In Blue" - 14:20 Announcements, Pandemonium - 0:44 Pause Track - 0:06
Disc two 1. Duke Introduces Johnny Hodges - 0:18 2. "I Got It Bad (and That Ain't Good)" - 3:38 3. "Jeep's Blues" - 4:36 4. Duke Calms Crowd; Introduces Nance & Tune - 0:42 5. "Tulip or Turnip" - 2:49 6. Riot Prevention - 1:08 7. "Skin Deep" - 9:13 8. "Mood Indigo" - 1:30 9. Studio Concert (Excerpts) - 1:15 10. Father Norman O'Connor Introduces Duke Ellington / Duke Introduces New Work, Part I & Hamilton - 1:02 11. "Part I - Festival Junction" - 8:46 12. Duke Announces Soloists; Introduces Part II - 0:32 13. "Part II - Blues To Be There" - 7:48 14. Duke Announces Nance & Procope; Introduces Part III" - 0:16 15. "Part III - Newport Up" - 5:20 16. Duke Announces Hamilton, Gonsalves & Terry / Pause / Duke Introduces Johnny Hodges - 0:41 17. "I Got It Bad (And That Ain't Good)" - 3:47 18. "Jeep's Blues" - 4:31 19. Pause Track - 0:06
90
Ellington at Newport
Personnel • • • • • • • • • • • • • • • •
Harry Carney - Baritone sax John Willie Cook - Trumpet Duke Ellington - Piano Paul Gonsalves - Tenor sax Jimmy Grissom - Voice Jimmy Hamilton - Tenor sax Johnny Hodges - Alto sax Quentin Jackson - Trombone William "Cat" Anderson - Trumpet Ray Nance - Voice Willis R. Nance - Trumpet Russell Procope - Alto sax John Sanders - Trombone Clark Terry - Trumpet James Woode - Bass Britt Woodman - Trombone
• Sam Woodyard - Drums
References [1] http:/ / www. allmusic. com/ album/ r158457 [2] Wein, George; Chinen, Nate (2003). Myself Among Other: A Life in Music (http:/ / books. google. com/ books?id=9wQ8UftnjpIC& printsec=frontcover#v=onepage& q=& f=false). Cambridge, MA: Da Capo Press. pp. 151–156. ISBN 0306813521. . Retrieved 4 April 2010. [3] Morton, John Fass (2008). Backstory in Blue: Ellington at Newport '56 (http:/ / books. google. com/ books?id=MaHTQu65gzcC& printsec=frontcover#v=onepage& q=& f=false). New Brunswick, NJ: Rutgers University Press. ISBN 0813542820. . Retrieved 4 April 2010. [4] Avakian, George. Liner notes to original release of Ellington at Newport, Columbia Records CL 934, 1956. [5] Bailey, C. Michael (10 August 2005). "Duke Ellington: The Complete Live at Newport 1956" (http:/ / www. allaboutjazz. com/ php/ article. php?id=18624). All About Jazz. . Retrieved 3 April 2010. [6] Schaap, Phil. Liner notes to Ellington at Newport (Complete), Columbia Records / Legacy C2K 64932, 1999 February. [7] Columbia Records / Legacy C2K 64932.
91
The Complete Porgy and Bess
92
The Complete Porgy and Bess Porgy and Bess
Studio album by various Released
1956
Recorded
May 1956
Genre
Show tunes Swing Traditional pop Vocal jazz
Length
???
Label
Bethlehem Records
Producer
??? various chronology
Porgy and Bess (1951 album) (1951)
The Complete George Gershwin Porgy and Bess (1956)
This 1956 recording based on George Gershwin's opera Porgy and Bess was the second "complete" recording of the opera after the 1951 version recorded several years earlier, and the first recording of the work to feature jazz singers and musicians instead of operatic singers and a classical orchestra. This technically makes the album not an opera at all. Russell Garcia arranged Gershwin's work for the Bethlehem Orchestra, the Duke Ellington Orchestra, the Australian Jazz Quintet, the Pat Moran Quartet and the Stan Levey Group. Mel Tormé sang the role of Porgy and Frances Faye the role of Bess. The Ellington Orchestra plays "Summertime" as the overture, but does not appear elsewhere on the album. Originally released by Bethlehem Records in 1956 (3BP-1); reissued in the 1970s (EXLP-1). Highlights from this recording released by Bethlehem as BCP 6040 and BCP 6009. On CD: Bethlehem Records #BET6028-2 (Releaseed 1994), Rhino Records #75828 (Released 1999).
The Complete Porgy and Bess
Cast • • • • • • • • • • •
Mel Tormé (Porgy) Frances Faye (Bess) Johnny Hartman (Crown) Betty Roche (Clara) George Kirby (Sportin' Life) Sallie Blair (Serena) Frank Rosolino (Jake) Loulie Jean Norman (Strawberry Woman) Joe Derise (Honey Man) Bob Dorough (Crab Man) Pat Moran Quartet (Pat Moran, John Doling, Johnny Whited, Bev Kelly)
Orchestra • Duke Ellington Orchestra): Duke Ellington, piano; William "Cat" Anderson, Willie Cook, Clark Terry (trumpet); Ray Nance (trumpet, violn); Quentin Jackson, John Sanders, Britt Woodman (trombone); Russell Procope (clarinet, alto saxophone); Jimmy Hamilton (clarinet, tenor saxophone); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Jimmy Woode (bass); Sam Woodyard (drums) • Australian Jazz Quintet: Dick Healey (alto saxophone, flute); Erroll Buddle (tenor saxophone, bassoon); Jack Brokensha (vibraphone); Bryce Rohde (piano); Jimmy Gannon (bass); Frank Capp (drums) • Stan Levey Group: Conte Candoli, (trumpet); Frank Rosolino (trombone); Richie Kamuca (tenor saxophone); Sonny Clark (piano); Leroy Vinnegar (bass); Stan Levey (drums) [1]
External links • Review by Earl L. Dachslager [2] • Production notes [3] from the Jazz Discography Project
References [1] http:/ / www. jazzdisco. org/ bethlehem/ 1956-dis/ c/ [2] http:/ / www. mrlucky. com/ songbirds/ html/ nov99/ 9911_porgy. htm [3] http:/ / www. jazzdisco. org/ bethlehem/ 1000-cat/ a/ #exlp-1
93
A Drum Is a Woman
94
A Drum Is a Woman A Drum Is a Woman
Studio album by Duke Ellington Released
1956
Recorded
September 17, 24, 25 & 28, October 23 and December 6, 1956
Genre
Jazz
Label
Columbia Duke Ellington chronology
Ellington at Newport (1956)
A Drum Is a Woman (1956)
Studio Sessions, Chicago 1956 (1956-57)
A Drum Is a Woman is a musical allegory by American pianist, composer and bandleader Duke Ellington, with many songs also written by Billy Strayhorn. It tells the story of Madam Zajj, the personification of African rhythm, and Carabea Joe, who has his roots firmly in the Jungle with his drums. Zajj travels out into the world seeking fame and sophistication and melds with the influences of cultures she weaves through; the story of which gives a brief history of the rise of Jazz and Bebop. It was originally recorded for the Columbia label in 1959 to accompany a television special.[1] The album was rereleased on CD in 2004 with a bonus track. Another stage performance was produced in 1988, with pianist and arranger Chris Cherney leading the orchestra and Duke's son Mercer narrating. [2]
A Drum Is a Woman
Reception The Allmusic review by Scott Yanow awarded the album 2 stars and stated "Dominated by vocals and narration, the music often plays a backseat to the story, which is worth hearing twice at the most".[3] New York Times reviewer John Wilson said of the 1988 performance "Unlike other extended Ellington works, which are primarily if not entirely instrumental, 'A Drum Is a Woman' is developed through songs and a narration with only occasional full orchestral passages. It was powerful, rhythmic and kaleidoscopic, with a strong vocal anchor at Friday's performance in Claudia Hamilton, a commanding presence as Madam Zajj. Luke Dogen's Carabea Joe was a genial, good-time companion with a strong inner core that emerged in a positively stated love song, 'You Better Know It.' "
Track listing :All compositions by Duke Ellington and Billy Strayhorn 1. 2. 3. 4.
"A Drum Is A Woman" - 3:36 "Rhythm Pum Te Dum" - 2:53 "What Else Can You Do with a Drum" - 1:50 "New Orleans" - 2:29
5. "Hey, Buddy Bolden" - 4:51 6. "Carribee Joe" - 3:57 7. "Congo Square" - 4:55 8. "A Drum Is a Woman, Part 2" - 2:47 9. "You Better Know It" - 2:45 10. "Madam Zajj" - 2:47 11. "Ballet of the Flying Saucers" - 5:33 12. "Zajj's Dream" - 3:02 13. "Rhumbop" - 2:16 14. "Carribee Joe, Part 2" - 3:05 15. "Finale' - 0:43 16. "Pomegranate" - 2:46 Bonus track on CD reissue • Recorded at Columbia Records 30th Street Studio, New York on September 17 (tracks 1, 6, 7 & 13), September 24 (tracks 2 & 3), September 25 (tracks 5, 8, 10 & 14), September 28 (tracks 4 & 12), October 23 (track 11) & December 6 (tracks 9 & 15), 1956.
Personnel • • • • • • • • •
Duke Ellington – piano, narration Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Rick Henderson - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone
• Jimmy Woode - bass • Sam Woodyard - - drums • Candido Camero - percussion
95
A Drum Is a Woman • Joya Sherrill, Margaret Tynes, Ozzie Bailey - vocals
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 18, 2010 [2] (http:/ / www. nytimes. com/ 1988/ 06/ 28/ arts/ review-music-ellington-s-drum-is-a-woman. html) accessed June 11, 2010 [3] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r153891) accessed May 17, 2010
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97
1957 Studio Sessions, Chicago 1956 Studio Sessions, Chicago 1956
Studio album by Duke Ellington Released
1987
Recorded January 3, March 18 & 19, 1956, late January 1957 and February 1957. Genre
Jazz
Label
LMR Duke Ellington chronology
A Drum Is a Woman (1956)
Studio Sessions, Chicago 1956 (1956-57)
Such Sweet Thunder (1957)
Studio Sessions, Chicago 1956 is the first volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Studio Sessions, Chicago 1956
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "Each of the sets has its interesting moments, offering previously unknown compositions and performances".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. "March 19th Blues" (Ellington, Irving Mills) - 5:27 2. "Feet Bone" - 2:42 3. "In a Sentimental Mood" (Ellington, Manny Kurtz, Mills) - 3:05 4. "Discontented" - 3:02 5. "Jump for Joy" (Ellington, Sid Kuller, Paul Francis Webster) - 1:52 6. "Just Scratchin' the Surface" - 3:05 7. "Prelude to a Kiss" (Ellington, Irving Gordon, Mills 3:29 8. "Miss Lucy" - 3:16 9. "Uncontrived" - 5:12 10. "Satin Doll" (Ellington, Johnny Mercer, Billy Strayhorn) - 2:34 11. 12. 13. 14. 15.
"Do Not Disturb" - 2:46 "Love You Madly" - 3:21 "Short Sheet Cluster" - 2:35 "Moon Mist" - 3:27 "Long Time Blues" - 8:39
• Recorded at Universal Studios, Chicago on January 3, 1956 (tracks 2, 4, 6, 11 & 15), March 18, 1956 (tracks 9 & 13), March 19, 1956 (tracks 1, 7 & 8), late January 1957 (track 3) and February 1957 (tracks 5, 10, 12 & 14).
Personnel • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry - trumpet (tracks 1-4 & 5-15) Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone (tracks 1-4 & 5-15) Russell Procope - alto saxophone, clarinet (tracks 1-4 & 5-15) Paul Gonsalves - tenor saxophone (tracks 1-4 & 5-15) Harry Carney - baritone saxophone (tracks 1-4 & 5-15) Jimmy Woode - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 21, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r158400) accessed June 21, 2010
98
Such Sweet Thunder
99
Such Sweet Thunder Such Sweet Thunder
Studio album by Duke Ellington and his Orchestra Released
April 1957 or May 1957
Recorded
August 7, 1956 – May 3, 1957
Genre
Jazz
Length
76:25
Label
Columbia/Legacy
Producer
Irving Townsend - Original Recording Phil Schaap - Reissue Professional reviews
Allmusic
Review
[1] Duke Ellington and his Orchestra chronology
Studio Sessions, Chicago 1956 (1956-57)
Such Sweet Thunder (1957)
Ella Fitzgerald Sings the Duke Ellington Songbook (1957)
Such Sweet Thunder is a Duke Ellington album, released in 1957 (see 1957 in music).
Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Such Sweet Thunder" (Ellington, Strayhorn) - 3:22 "Sonnet for Caesar" (Ellington, Strayhorn) - 3:00 "Sonnet to Hank Cinq" (Ellington, Strayhorn) - 1:24 "Lady Mac" (Ellington, Strayhorn) - 3:41 "Sonnet in Search of a Moor" (Ellington, Strayhorn) - 2:22 "The Telecasters" (Ellington, Strayhorn) - 3:05 "Up and Down, Up and Down (I Will Lead Them Up and Down)" (Ellington, Strayhorn) - 3:09 "Sonnet for Sister Kate" (Ellington, Strayhorn) - 2:24 "The Star-Crossed Lovers" (Ellington, Strayhorn) - 4:00
Such Sweet Thunder 10. "Madness in Great Ones" (Ellington, Strayhorn) - 3:26 11. "Half the Fun" (Also known as "Lately") (Ellington, Strayhorn) - 4:19 12. "Circle of Fourths" (Ellington, Strayhorn) - 1:45
Bonus Tracks 1. "The Star-Crossed Lovers" (Also known as "Pretty Girl") (Ellington, Strayhorn) - 4:15 2. "Circle of Fourths" (Ellington, Strayhorn) - 1:47 3. "Suburban Beauty" (Ellington) - 2:56 4. "A-Flat Minor" (Ellington) - 2:33 5. "Café au Lait" (Ellington, Strayhorn) - 2:49 6. "Half the Fun" (Alternate take) (Ellington, Strayhorn) - 4:08 7. "Suburban Beauty" (Alternate take) (Ellington) - 2:56 8. "A-Flat Minor" (Outtake) (Ellington) - 3:49 9. "Café au Lait" (Also known as the "Star-Crossed Lovers") (Outtake) (Ellington, Strayhorn) - 6:21 10. "Pretty Girl" (Ellington, Strayhorn) - 8:54 On all LP issues of this album and the French Columbia CD #COL 469140 2, there is a different take of the piece, Up and Down, Up and Down (I Will Lead Them Up and Down). On this original version, Clark Terry ends it by talking through his trumpet, "Lord, what fools these mortals be."
Production/reissue credits Musicians • • • • •
Jimmy Hamilton - Clarinet, Tenor Saxophone Johnny Hodges - Alto Saxophone Russell Procope - Clarinet, Alto Saxophone Paul Gonsalves - Tenor Saxophone Harry Carney - Bass Clarinet, Baritone Saxophone
• • • •
Cat Anderson - Trumpet Clark Terry - Trumpet Ray Nance - Trumpet Willie Cook - Trumpet
• Quentin Jackson - Trombone • John Sanders - Trombone • Britt Woodman - Trombone • Jimmy Woode - Bass • Sam Woodyard - Drums • Billy Strayhorn - Orchestration
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Such Sweet Thunder
Production • • • • • • • • •
Irving Townsend - Liner Notes, Original Recording Producer Phil Schaap - Liner Notes, Reissue Producer, Remastering, Research, Restoration Steven Berkowitz - A&R Darren Salmieri - A&R Mark Wilder - Digital Mastering Howard Fritzson - Art Direction Don Hunstein - Photography Randall Martin - Design Juliana Myrick - Package Manager
Notes [1] http:/ / www. allmusic. com/ album/ r151366/ review
Bibliography (further reading) Contemporary reviews and journalism • • • • •
“Ellington Suite to Bow April 28” New York Times. 15 April 1957. Parmenter, Ross. “Music: Weill and the Duke.” New York Times 29 April 1957. “New Ellington Suite Hailed By Coast-to-Coast Audience.” Daily Defender. 2 July 1957. Wilson, John S. “Duke Bounces Back With Provocative Work.” New York Times. 13 Oct. 1957. esp 113 Wilson, John S. “Jazz: Ellington.” New York Times 13 October 1957.
Historical & Analytical Writings (in reverse chronological order) • Bradbury, David. Duke Ellington. London: Haus, 2005. Esp. pp. 91. • Lanier, Douglas. “To Be-Bop or Not to Be-Bop; Minstrelsy, Jazz, Rap: Shakespeare, African American Music, and Cultural Legitimation.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation Vol. 1, 2005 [no pagination]. • Buhler, Stephen M. “Form and Character in Duke Ellington’s and Billy Strayhorn’s Such Sweet Thunder.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation Vol. 1, 2005 [no pagination]. • Nicholson, Stuart. Reminiscing in Tempo: A Portrait of Duke Ellington. Northeastern University Press, 1999, esp. pp. ???-???. • Lambert, Eddie. Duke Ellington: A Listener’s Guide. Lanham, Md.: Scarecrow Press, 1999. Esp. pp. 193–194. • Kernfeld, Barry. New Grove Dictionary of Jazz. St. Martin’s Press, 1994. esp 331 • Hasse, John Edward. Beyond Category: The Life and Genius of Duke Ellington. New York: Simon and Schuster, 1993. • Tucker, Mark. The Duke Ellington Reader. New York: Oxford University Press, 1993. Esp. pp. 321, 441. esp. pp. 339–341, 393 • Harrison, Max. “Max Harrison: Some Reflections on Ellington’s Longer Works. The Duke Ellington Reader. Tucker, Mark, ed. (esp. pg.393). • Crouch, Stanley. “Stanley Crouch on Such Sweet Thunder, Suite Thursday, and Anatomy of a Murder.” The Duke Ellington Reader. Tucker, Mark, ed. (esp. 339, 441). • Hasse, John. Beyond Category: The Life and Genius of Duke Ellington. New York: Simon & Schuster. 1993. Esp. pp. 331–333, 362. • Timmer, W.E. Ellingtonia: The recorded music of Duke Ellington and his sidemen. Metuchen, N.J.: Institute of Jazz Studies: Scarecrow Press, 1988. Esp. pp. 450.
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Such Sweet Thunder
102
• Marsalis, Wynton. “What Jazz is and Isn’t.” New York Times. 31, July 1988. • Ellington, Mercer. Duke Ellington in Person: An Intimate Memoir. Boston: Houghton Mifflin Co., 1978. Esp. pp. 117. • Ellington, Duke. Music is My Mistress. New York: Da Capo Press, 1976, c1973. Esp. pp. 192.
Ella Fitzgerald Sings the Duke Ellington Songbook Ella Fitzgerald Sings the Duke Ellington Song Book
Studio album by Ella Fitzgerald Released
1957
Recorded
June 25 - October 17, 1957
Genre
Jazz
Length
166:32
Label
Verve
Producer
Norman Granz Professional reviews
•
Allmusic
link
[1]
Ella Fitzgerald chronology
Ella and Louis Again (1957)
Ella Fitzgerald Sings the Duke Ellington Songbook (1957)
Ella at the Opera House (1957)
Duke Ellington chronology
Such Sweet Thunder (1957)
Ella Fitzgerald sings the Duke Ellinton Songbook (1957)
Ellington Indigos (1957)
Ella Fitzgerald Sings the Duke Ellington Songbook is a 1957 album by the American jazz singer Ella Fitzgerald, accompanied by the Duke Ellington orchestra, focusing on Ellington's songs.
Ella Fitzgerald Sings the Duke Ellington Songbook Part of Fitzgerald's series of 'Songbooks', it is the only one where the composer is also featured as a performer. This was the first time that Fitzgerald had recorded with Ellington. It is also the entry in the Songbook series that gives her by far most often the opportunity to exhibit her famous scat singing. The greater part of disc three is devoted to two original compositions by Ellington, inspired by Fitzgerald's life, character and artistry. Fitzgerald's performance on this album won her the 1959 Grammy Award for Best Jazz Performance, Individual. This album marked the start of a fruitful artistic relationship for Ella and the 'Duke', the 1960s would see them perform on the Côte d'Azur for the 1966 album Ella and Duke at the Cote D'Azur, and in Sweden for The Stockholm Concert, 1966. Their only other studio album, 1965's Ella at Duke's Place, was also extremely well received. The baritone Dietrich Fischer-Dieskau even reportedly cut short a New York recital so he could catch Ella and the Duke in concert.
Track listing For the 2000 Verve CD Reissue 830533-2 Disc One 1. "Rockin' in Rhythm" (Harry Carney, Duke Ellington, Irving Mills) – 5:17 2. "Drop Me Off in Harlem" (Nick Kenny) – 3:48 3. "Day Dream" (John La Touche, Billy Strayhorn) – 3:56 4. "Caravan" (Mills, Juan Tizol) – 3:51 5. "Take the "A" Train" (Strayhorn) – 6:37 6. "I Ain't Got Nothin' But the Blues" (Don George) – 4:39 7. "Clementine" (Strayhorn) – 2:37 8. "I Didn't Know About You" (Bob Russell) – 4:10 9. "I'm Beginning to See the Light" (Don George, Johnny Hodges, Harry James) – 3:24 10. "Lost in Meditation" (Mills, Lou Singer, Tizol) – 3:24 11. "Perdido" (Ervin Drake, H.J Lengsfelder, Tizol) – 6:10 12. "Cotton Tail" (Duke Ellington) – 3:23 13. "Do Nothin' Till You Hear from Me" (Russell) – 7:38 14. "Just A-Sittin' and A-Rockin'" (Lee Gaines, Strayhorn) – 3:30 15. "(In My) Solitude" (Eddie DeLange, Duke Ellington, Irving Mills) – 2:04 16. "Rocks in My Bed" – 3:56 17. "Satin Doll" (Johnny Mercer, Strayhorn) – 3:26 18. "Sophisticated Lady" (Mitchell Parish) – 5:18 Disc Two 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Just Squeeze Me (But Please Don't Tease Me)" (Gaines) – 4:13 "It Don't Mean a Thing (If It Ain't Got That Swing)" (Mills) – 4:12 "Azure" (Mills) – 2:18 "I Let a Song Go Out of My Heart" (Mills, Henry Nemo, John Redmond) – 4:08 "In a Sentimental Mood" (Manny Kurtz, Mills) – 2:44 "Don't Get Around Much Anymore" (Russell) – 4:59 "Prelude to a Kiss" (Mack Gordon, Mills) – 5:26 "Mood Indigo" (Barney Bigard, Mills) – 3:24 "In a Mellow Tone" (Milt Gabler) – 5:07
10. "Love You Madly" – 4:37 11. "Lush Life" (Strayhorn) – 3:37
103
Ella Fitzgerald Sings the Duke Ellington Songbook 12. 13. 14. 15. 16. 17.
"Squatty Roo" (Hodges) – 3:38 "I'm Just a Lucky So-and-So" (Mack David) – 4:12 "All Too Soon" (Carl Sigman) – 4:22 "Everything But You" (George, James) – 2:53 "I Got it Bad (And That Ain't Good)" (Paul Francis Webster) – 6:11 "Bli-Blip" (Sid Kuller) – 3:01
Disc Three 1. "Chelsea Bridge" (Strayhorn) – 3:20 2. "Portrait of Ella Fitzgerald" (Strayhorn) – 16:10: • First Movement: "Royal Ancestry" • Second Movement: "All Heart" • Third Movement: "Beyond Category" • Fourth Movement: "Total Jazz" 3. "The E and D Blues" (E for Ella, D for Duke) (Strayhorn) – 4:48 All music written by Duke Ellington, lyricists indicated. Recorded June 15–October 27, 1957, Hollywood, Los Angeles, California.
Personnel • • • • • • • • • • • • • • • • • • • • • • • • •
Ella Fitzgerald — vocals William "Cat" Anderson — trumpet Dizzy Gillespie - trumpet Clark Terry - trumpet Willie Cook - trumpet Frank Foster — tenor saxophone Paul Gonsalves - saxophone Ben Webster - saxophone Johnny Hodges — alto saxophone Russell Procope — clarinet, alto saxophone Jimmy Hamilton — clarinet, tenor saxophone Harry Carney — clarinet, bass clarinet John Sanders — trombone Britt Woodman - trombone Quentin Jackson - trombone Ray Nance — trumpet, violin Stuff Smith — violin Oscar Peterson — piano Paul Smith - piano Ray Brown — double bass Joe Mondragon - bass Jimmy Woode - bass Herb Ellis — guitar Barney Kessel - guitar Sam Woodyard — drums
• Alvin Stoller - drums • Billy Strayhorn — piano, narrator • Duke Ellington — piano, narrator, arranger, conductor.
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Ella Fitzgerald Sings the Duke Ellington Songbook
References [1] http:/ / www. allmusic. com/ album/ r138695
105
106
1958 Black, Brown and Beige (album) Black, Brown and Beige
Studio album by Duke Ellington Released
1958
Recorded
1958
Genre
Swing Big band music
Length
72:48
Label
Columbia
Producer
Irving Townsend Professional reviews
•
Allmusic
[1]
Duke Ellington chronology
Live at the 1957 Stratford Festival (1957)
Black, Brown, and Beige (1958)
Newport Jazz Festival (1958) (1958)
Black, Brown and Beige is a 1958 jazz album by Duke Ellington and his orchestra, featuring Mahalia Jackson. The album is a recording of a revised version of Ellington's Black, Brown and Beige suite. After a disappointing critical response to its first performance in 1943, Ellington divided the three-part suite into six shorter sections, leaving in "Come Sunday" and "Work Song", and it is this version that is recorded here.
Black, Brown and Beige (album)
Personnel • • • • • • • • • • • • • •
Duke Ellington — piano William "Cat" Anderson — trumpet Harold Shorty Baker — trumpet Clark Terry — trumpet Ray Nance — trumpet, violin John Sanders — valve trombone Quentin Jackson — trombone Britt Woodman — trombone Paul Gonsalves — tenor saxophone Bill Graham — alto saxophone Harry Carney — baritone saxophone Jimmy Woode — bass Sam Woodyard — drums Mahalia Jackson — vocals
Track listing All tracks by Duke Ellington
1. 2. 3. 4. 5. 6.
"Part I" – 8:17 "Part II" – 6:14 "Part III" (aka Light) – 6:26 "Part IV" (aka Come Sunday) – 7:58 "Part V" (aka Come Sunday) – 3:46 "Part VI" (23rd Psalm) – 3:01
Bonus tracks on re-releases 7. "Track 360" (aka Trains) (alternative take) - 2:02 8. "Blues in Orbit" (aka Tender) (alternative take) - 2:36 9. "Part I" (alternative take) – 6:49 10. "Part II" (alternative take) – 6:38 11. "Part III" (alternative take) – 3:08 12. "Part IV" (alternative take) – 2:23 13. "Part V" (alternative take) – 5:51 14. "Part VI" (alternative take) – 1:59 15. "Studio conversation" (Mahalia Swears) – 0:07 16. "Come Sunday" (a cappella) – 5:47 17. "(Pause track)" – 0:06
References [1] http:/ / www. allmusic. com/ album/ r138130
107
Dance Concerts, California 1958
108
Dance Concerts, California 1958 Dance Concerts, California 1958
Live album by Duke Ellington Released
1987
Recorded
March 4, 1958
Genre
Jazz
Label
LMR Duke Ellington chronology
Black Brown and Beige (1958)
Dance Concerts, California 1958 (1958)
Dance Dates, California 1958 (1958)
Dance Concerts, California 1958 is the second volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first publicly released on the LMR label in 1987 and later on the Saja label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "The music on this CD sticks to standards (some of which were not usually associated with Duke) and can be thought of as a live version of Indigos... A typically excellent example of 1958 Duke Ellington".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4.
"Main Stem" - 3:26 "Dancing in the Dark" (Howard Dietz, Arthur Schwartz) - 4:22 "Stompy Jones" - 3:36 "Time on My Hands" (Harold Adamson, Mack Gordon, Vincent Youmans) - 4:36
5. "Stompin' at the Savoy" (Benny Goodman, Chick Webb, Edgar Sampson, Andy Razaf) - 5:29 6. "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) - 3:44
Dance Concerts, California 1958 7. "Take the 'A' Train" (Billy Strayhorn) - 4:27 8. "All Heart" (Ellington, Strayhorn) - 3:46 9. "Just A-Sittin' and A-Rockin'" (Ellington, Gaines, Strayhorn 4:15 10. "Take the 'A' Train" (Strayhorn) - 3:53 11. "Where or When" (Lorenz Hart, Richard Rodgers) - 4:28 12. "The Mooche" (Ellington, Mills) - 5:42 13. "One O'Clock Jump" (Count Basie) - 6:10 14. "Autumn Leaves" (Joseph Kosma, Jacques Prévert, Johnny Mercer) - 6:47 15. "Oh, Lady Be Good" (George Gershwin, Ira Gershwin) - 5:56 16. "Things Ain't What They Used to Be" (Mercer Ellington) - 1:37 • Recorded at Travis Air Force Base, Fairfield, California on March 4, 1958.
Personnel • • • •
Duke Ellington – piano Shorty Baker, Clark Terry - trumpet Ray Nance - trumpet, violin, vocals (tracks 9 & 10) Quentin Jackson, Britt Woodman - trombone
• • • • • • • • •
John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Bill Graham - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Jimmy Woode - bass Sam Woodyard - drums Ossie Bailey - vocals (track 14)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 22, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r161755) accessed June 22, 2010
109
Dance Dates, California 1958
110
Dance Dates, California 1958 Dance Dates, California 1958
Live album by Duke Ellington Released
1987
Recorded
March 5, 1958
Genre
Jazz
Label
LMR Duke Ellington chronology
Dance Concerts, California 1958 (1958)
Dance Dates, California 1958 (1958)
Duke Ellington at the Bal Masque (1958)
Dance Dates, California 1958 is the sixth volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first publicly released on the LMR label in 1987 and later on the Saja label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated "Recordings like this one give one a chance to hear how Ellington rearranged tunes to make them sound fresh year after year and sometimes decade after decade".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6.
"Such Sweet Thunder" (Ellington, Billy Strayhorn) - 2:41 "Blues to Be There" (Ellington, Strayhorn) - 6:59 "Juniflip" - 4:05 "The Star-Crossed Lovers" (Ellington, Strayhorn) - 4:09 "Together" (Lew Brown, Buddy DeSylva, Ray Henderson) - 4:11 "Californio Mello" - 3:38
Dance Dates, California 1958 7. "Suburban Beauty" - 3:43 8. "C Jam Blues" (Barney Bigard, Ellington) - 6:33 9. "Blues in Orbit" (Strayhorn) - 5:03 10. "Mood Indigo" (Bigard, Ellington, Irving Mills) - 8:09 11. "Honeysuckle Rose" (Andy Razaf, Fats Waller) - 4:34 12. "Willow Weep for Me" (Ann Ronell) - 3:37 13. "Caravan" (Ellington, Mills, Juan Tizol) - 7:39 14. "Wailing Interval" - 3:39 • Recorded at Mather Air Force Base, Sacramento, California on March 5, 1958.
Personnel • • • • • •
Duke Ellington – piano Shorty Baker, Clark Terry - trumpet Ray Nance - trumpet, violin, vocals Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone
• • • • • • •
Bill Graham - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Jimmy Woode - bass Sam Woodyard - drums Ossie Bailey - vocals (tracks 4 & 5)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 22, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r161759) accessed June 22, 2010
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Duke Ellington at the Bal Masque
112
Duke Ellington at the Bal Masque Duke Ellington at the Bal Masque
Studio album by Duke Ellington Released
1958
Recorded
March 20, 24, 26, 31 & April 1, 1958
Genre
Jazz
Label
Columbia Duke Ellington chronology
Dance Dates, California 1958 (1958)
Duke Ellington at the Bal Masque (1958)
The Cosmic Scene (1958)
Duke Ellinton at the Bal Masque is an album by American pianist, composer and bandleader Duke Ellington recorded in 1958 and released on the Columbia label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 2½ stars and stated "the music works quite well for Ellington and his all-star orchestra manage to transform what could be a set of tired revival swing into superior dance music and swinging jazz. While certainly not the most essential Ellington record, At the Bal Masque is a surprise success".[2]
Track listing 1. 2. 3. 4. 5. 6. 7. 8.
"Alice Blue Gown" (Joseph McCarthy, Harry Tierney) - 3:02 "Who's Afraid of the Big Bad Wolf" (Frank Churchill, Ann Ronell) - 2:53 "Got a Date with an Angel" (Clifford Grey, Sonnie Miller, Joseph Turnbridge, Jack Waller) - 2:25 "Poor Butterfly" (John Golden, Raymond Hubbell) - 3:40 "Satan Takes a Holiday" (Larry Clinton) - 3:15 "The Peanut Vendor" (Wolfe Gilbert, Moisés Simóns, Marion Sunshine) - 3:33 "Satin Doll" (Ellington, Billy Strayhorn, Johnny Mercer) - 3:48 "Lady in Red" (Mort Dixon, Allie Wrubel) - 2:49
Duke Ellington at the Bal Masque 9. "Indian Love Call" (Rudolf Friml, Herbert Stothart, Oscar Hammerstein II, Otto Harbach) - 3:36 10. "The Donkey Serenade" (Friml, Stothart, George Forrest, Robert Wright) - 2:14 11. "Gypsy Love Song" (Victor Herbert, Harry B. Smith) - 3:54 12. "Laugh, Clown, Laugh" (Ted Fio Rito, Samuel Lewis, Joseph Young) - 3:02 • Recorded at Columbia 30th Street Studios, New York on March 20 (tracks 3, 5 & 12), March 24 (tracks 4 & 6), March 26 (track 9), March 31 (tracks 1, 7, 8 & 10) and April 1 (tracks 2 & 11), 1958.
Personnel • • • • • • • • •
Duke Ellington – piano Cat Anderson, Shorty Baker, Willie Cook, Ray Nance, Clark Terry - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Russell Procope - alto saxophone, clarinet Bill Graham - alto saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone
• Jimmy Woode - bass • Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138208) accessed May 10, 2010
113
The Cosmic Scene
114
The Cosmic Scene The Cosmic Scene
Studio album by Duke Ellington Released
1958
Recorded
April 2 & 3, 1958
Genre
Jazz
Label
Columbia Duke Ellington chronology
Duke Ellington at the Bal Masque (1958)
The Cosmic Scene (1958)
Happy Reunion (1956-58)
The Cosmic Scene is an album by American pianist, composer and bandleader Duke Ellington featuring a nonet credited as "Duke Ellington's Spacemen" recorded and released on the Columbia label in 1958.[1] It was reissued by Mosaic Records in 2007.
Reception The Allmusic review by Michael G. Nastos awarded the album 4 stars and stated "Perhaps in many ways a neglected recording in the vast annals of Ellingtonia, fans will certainly welcome this long out of print re-addition to the master's CD discography. It comes highly recommended".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6.
"Avalon" (Buddy DeSylva, Al Jolson, Vincent Rose) - 3:22 "Body and Soul" (Edward Heyman, Robert Sour, Frank Eyton, Johnny Green) - 4:57 "Bass-Ment" - 3:03 "Early Autumn" (Ralph Burns, Woody Herman) - 3:10 "Jones" (Ellington, Clark Terry) - 2:55 "Perdido" (Juan Tizol) - 2:49
The Cosmic Scene 7. "St. Louis Blues" (W. C. Handy) - 5:06 8. "Spacemen" - 2:32 9. "Midnight Sun" (Sonny Burke, Lionel Hampton, Johnny Mercer) - 3:38 10. "Take the "A" Train" (Billy Strayhorn) - 4:59 11. "Body and Soul" [alternate take] (Heyman, Sour, Eyton, green) - 4:46 Bonus track on CD reissue 12. "Jones" [alternate take] (Ellington, Terry) - 2:35 Bonus track on CD reissue • Recorded at Columbia 30th Street Studio, New York on April 2 (tracks 1, 2 & 9-11) and April 3 (tracks 3-8 & 12), 1958
Personnel • • • • • • •
Duke Ellington – piano Clark Terry - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet Paul Gonsalves - tenor saxophone Jimmy Woode - bass
• Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 17, 2010 [2] Nastos, M. G. Allmusic Review (http:/ / www. allmusic. com/ album/ r138143) accessed May 17, 2010
115
Happy Reunion
116
Happy Reunion Happy Reunion
Studio album by Duke Ellington Released
1964
Recorded
March 1957 & June 24, 1958
Genre
Jazz
Length
33:35
Label
Sony
Producer
Duke Ellington & Bill Putnam Duke Ellington chronology
The Cosmic Scene (1958)
Happy Reunion (1956-8)
Newport 1958 (1958)
Happy Reunion is an album by American pianist, composer and bandleader Duke Ellington recorded in 1956 and 1958 but not released on the Sony label until 1985.[1] The album features two small group sessions led by Ellington and recorded in Chicago.
Reception The Allmusic review by Scott Yanow awarded the album 2½ stars and stated "A particular highlight is hearing Gonsalves play 31 choruses on "Diminuendo and Crescendo in Blue" in this setting".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4.
"Way Back Blues" (Count Basie) - 3:25 "Where's the Music?" - 3:11 "Rubber Bottom" - 2:48 "Play the Blues and Go" - 4:32
Happy Reunion 5. 6. 7. 8. 9.
"In a Mellow Tone" [Take 1] (Ellington, Milt Gabler) - 3:14 "In a Mellow Tone" [Take 2] (Ellington, Gabler) - 2:58 "Happy Reunion" [Take 1] - 3:26 "Happy Reunion" [Take 2] - 2:42 "Diminuendo and Crescendo in Blue (The Wailing Interval)" - 7:20 • Recorded at Universal Studios, Chicago on March 19, 1956 (tracks 1-4) and June 24, 1958 (tracks 5-9).
Personnel • • • • • • • •
Duke Ellington – piano Clark Terry - trumpet (tracks 1-4) John Sanders - valve trombone (tracks 1-4) Jimmy Hamilton - clarinet (tracks 1-4) Johnny Hodges - alto saxophone (tracks 1-4) Paul Gonsalves - tenor saxophone (tracks 5-9) Jimmy Woode - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138208) accessed May 10, 2010
117
Ellington Indigos
118
Ellington Indigos Ellington Indigos
Studio album by Duke Ellington Released
1958
Recorded
March 13, September 9 to October 14, 1957
Genre
Jazz
Length
44:36 (CBS 463342 2)
Label
Columbia
Producer
Irving Townsend Professional reviews
Allmusic
link
[1] Duke Ellington chronology
Ella Fitzgerald Sings the Duke Ellington Songbook (1957)
Ellington Indigos (1958)
Ellington Indigos (reissue)
Black, Brown and Beige (1958)
Ellington Indigos
119
A CD reissue cover.
Ellington Indigos is a 1958 jazz album by Duke Ellington. The stereo CD reissue released by Columbia (CK 4444) in 1987 contains a track listing and cover art that is drastically different from the original mono LP. A change in song order and two "new" — Night and Day and All The Things You Are — were added to the CD while The Sky Fell Down (Tsfd) was omitted.
LP (Columbia CL1085) Side one 1. Solitude — 4:43 (Duke Ellington) Soloist is Duke Ellington on piano. Recorded on October 14, 1957. 2. Where or When — 4:02 (Richard Rodgers) Soloist is Paul Gonsalves on tenor saxophone. Recorded on October 10, 1957. 3. Mood Indigo — 3:07 (Duke Ellington/Barney Bigard) Soloist is Shorty Baker on trumpet. Recorded on September 9, 1957. 4. Autumn Leaves — 7:10 (Music: Joseph Kosma, Lyrics: Jacques Prévert/Johnny Mercer) Vocalist is Ozzie Bailey. Soloist is Ray Nance on violin. Recorded on Oct 1, 1957. 5. The Sky Fell Down — 4:08 (Duke Ellington) Soloist is Ray Nance on trumpet. Recorded on March 13, 1957. Side two 1. Prelude to a Kiss — 4:44 (Duke Ellington)
Ellington Indigos Soloist is Johnny Hodges on alto saxophone. Recorded on October 11, 1957. 2. Willow Weep for Me — 4:15 (Ann Ronell) Soloist is Shorty Baker on trumpet. Recorded on October 10, 1957. 3. Tenderly — 5:23 (Walter Gross) Soloist is Jimmy Hamilton on clarinet. Recorded on September 9, 1957. 4. Dancing in the Dark — 4:28 (Arthur Schwartz) Soloist is Harry Carney on baritone saxophone. Recorded on October 1, 1957.
CD (Columbia COL 4723642) 1. Solitude 2. Where or When 3. Mood Indigo 4. Night and Day — 2:54 (Cole Porter) Soloist is Paul Gonsalves on tenor saxophone. Recorded on October 10, 1957. 5. Prelude to a Kiss 6. All the Things You Are — 3:50 (Jerome Kern) Soloist is Duke Ellington on piano. Recorded on October 10, 1957. 7. Willow Weep for Me 8. Tenderly 9. Dancing in the Dark 10. Autumn Leaves 11. The Sky Fell Down
Different versions The CD (CBS 463342 2) liner note says that All the Things You Are and Night and day are previously unreleased versions and that Autumn Leaves is an alternate take. Autumn Leaves is not an alternate take. Analyzing the two tracks shows that they are identical — but the LP has Ozzie Bailey's first vocal chorus (a French one) edited out. (There is indeed an alternate version of Autumn Leaves recorded September 9, 1957 available — but it's on the CD Duke Ellington & His Great Vocalists (Columbia CK 66372).) On the other hand, the stereo versions of Mood Indigo and Willow Weep for Me are different from their mono counterparts. There is a multitude of versions of this album in circulation. For instance, there is yet another mono take of Mood Indigo available on the LP (CBS 88653 side 2, track 6).
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Ellington Indigos
Listing • • • • • •
LP: Columbia CL1085 (mono — 9 tracks — original album) LP: Columbia CS 8053 (stereo — 8 tracks — no Tsfd) LP: CBS 88653 (stereo — 8 tracks — no Tsfd) CD: Columbia CK 4444 (stereo — 10 tracks — no Tsfd) CD: CBS 463342 2 (stereo — 10 tracks — no Tsfd) CD: Columbia COL 4723642 (stereo — 11 tracks — French)
Personnel Performance • • • • • •
Duke Ellington (piano) Jimmy Woode (bass) Sam Woodyard (drums) Paul Gonsalves (tenor saxophone) Jimmy Hamilton, Russell Procope (clarinet, alto saxophone) Harry Carney (baritone saxophone)
• • • • • •
Johnny Hodges, Rick Henderson (alto saxophone) John Sanders, (bass trombone) Quentin Jackson, Britt Woodman (trombone) Cat Anderson, Shorty Baker, Willie Cook, Clark Terry (trumpet) Ray Nance (trumpet, violin) Ozzie Bailey (vocal)
Credits • • • •
Irving Townsend (producer) Stanley Dance (liner notes) Allen Weinberg (artwork, cover design) David Gahr (photography)
— • Michael Brooks (digital producer) • Larry Keyes (remixing) • Mike Berniker, Amy Herot (production & Jazz masterpieces series coordinators)
References [1] http:/ / www. allmusic. com/ album/ r138191
121
Newport 1958
122
Newport 1958 Newport 1958
Studio album by Duke Ellington Released
1958
Recorded July 3, 1958 at Newport, July 21, 1958 in New York, Columbia 30th Street Studio Genre
Jazz
Length
98:18
Label
Columbia
Producer Irving Townsend-Original Recordings,Nedra Olds-Neal-Double CD Reissue, Michael Cuscuna-Mosaic Records Reissue Professional reviews •
Allmusic
[1]
Duke Ellington chronology
Happy Reunion (1956-8)
Newport 1958 (1958)
Jazz at the Plaza Vol. II (1958)
Newport 1958 is a 1958 album by Duke Ellington, recorded at the Newport Jazz Festival of that year and later in the Columbia recording studio. The original album, Newport 1958 and the French Columbia CD #COL 468436 2 are mostly studio re-recordings of numbers performed at Newport. There is also dubbed in applause and crowd noise from Newport. During this time, Duke was frequently re-recording pieces that were performed live in the studio to be included on "live" albums. This was because he felt the live performances were not up to his standards. Only the tracks, "Just Scratchin' the Surface" and "Prima Bara Dubla" are from Newport on the original album. The double CD is all the music performed at Newport on July 3, 1958. The third CD was issued by Mosaic Records and contains all of the original album, minus the dubbed in crowd noise and applause. It also contains select live tracks from Newport to fill out the CD.
Newport 1958
Newport 1958 (Original Album) Track Listing 1. "Just Scratchin' the Surface" (Duke Ellington) - 6:45 2. "El Gato" (William "Cat" Anderson) - 4:18 3. "Happy Reunion" (Duke Ellington) - 2:58 4. "Multi-Colored Blue" (Billy Strayhorn) - 5:33 5. "Princess Blue" (Duke Ellington) - 10:33 6. "Jazz Festival Jazz" (Duke Ellington, Billy Strayhorn) - 7:20 7. "Mr. Gentle and Mr. Cool" (Harold Shorty Baker, (Duke Ellington) - 7:06 8. "Juniflip" (Duke Ellington) - 3:49 9. "Prima Bara Dubla" (Duke Ellington, Billy Strayhorn) - 5:43 10. "Hi Fi Fo Fum" (Duke Ellington) - 5:58
Live at Newport 1958 Track listing Disc one 1. Introduction by Willis Conover - 1:12 2. "Take the "A" Train" [excerpt] (Billy Strayhorn) - 0:45 3. "Princess Blue" (Duke Ellington) - 12:18 4. "Duke's Place" (Duke Ellington, Bill Katz, Bob Thiele) - 2:44 5. "Just Scratchin' the Surface" (Duke Ellington) - 6:24 6. "Happy Reunion" (Duke Ellington) - 3:21 7. "Juniflip" (Duke Ellington) - 4:02 8. "Mr. Gentle and Mr. Cool" (Harold Shorty Baker, Duke Ellington) - 7:17 9. "Jazz Festival Jazz" (Duke Ellington, Billy Strayhorn) - 7:08 10. "Feet Bone" (Duke Ellington) - 3:10 Disc two 1. "Hi Fi Fo Fum" (Duke Ellington) - 7:52 2. "I Got It Bad (and That Ain't Good)" (Duke Ellington, Paul Francis Webster) - 3:42 3. "Bill Bailey, Won't You Please Come Home" (Hughie Cannon) - 2:55 4. "Prima Bara Dubla" (Duke Ellington, Billy Strayhorn) - 6:52 5. "El Gato" (William "Cat" Anderson) - 4:43 6. "Multi-Colored Blue" (Billy Strayhorn) - 6:32 7. Introduction to Mahalia Jackson (Willis Conover) - 1:54 8. "Come Sunday" (Duke Ellington) - 7:08 9. "Keep Your Hand on the Plow" (traditional) - 5:20 10. "Take the 'A' Train" [excerpt] (Billy Strayhorn) - 0:31 11. "Jones" (Duke Ellington, Pauline Reddon) - 2:28
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Newport 1958
Newport 1958 (Mosaic Records Issue) Track listing Studio tracks 1. 2. 3. 4. 5. 6. 7. 8.
"El Gato" (William "Cat" Anderson) - 4:10 "Happy Reunion" (Duke Ellington) - 2:03 "Multi-Colored Blue" (Billy Strayhorn) - 5:00 "Princess Blue" (Duke Ellington) - 10:26 "Jazz Festival Jazz" (Duke Ellington, Billy Strayhorn) - 7:06 "Mr. Gentle and Mr. Cool" (Harold Shorty Baker, Duke Ellington) - 6:59 "Juniflip" (Duke Ellington) - 3:38 "Hi Fi Fo Fum" (Duke Ellington) - 5:42
Live tracks 1. "Just Scratchin' the Surface" (Duke Ellington) - 6:24 2. "Happy Reunion" (Duke Ellington) - 3:23 3. "Mr. Gentle and Mr. Cool" (Harold Shorty Baker, Duke Ellington) - 7:08 4. "Jazz Festival Jazz" (Duke Ellington, Billy Strayhorn) - 7:06 5. "Feet Bone" (Duke Ellington)-3:03 6. "Prima Bara Dubla" (Duke Ellington, Billy Strayhorn) - 6:58
References Duke Ellington - Newport 1958 (French) Columbia COL 468436 2 Duke Ellington - Live at Newport 1958 Columbia C2K 53584 Duke Ellington - Newport 1958 Mosaic MCD - 1014
References [1] http:/ / www. allmusic. com/ album/ r138236
124
Jazz at the Plaza Vol. II
125
Jazz at the Plaza Vol. II Jazz at the Plaza Vol. II
Live album by Duke Ellington Released
1973
Recorded
September 9, 1958
Genre
Jazz
Label
Columbia Duke Ellington chronology
Newport 1958 (1958)
Jazz at the Plaza Vol. II (1958)
Duke Ellington at the Alhambra (1958)
Jazz at the Plaza Vol. II is a live album by American pianist, composer and bandleader Duke Ellington recorded in 1958 at a party for Columbia Records and released on the label in 1973.[1] The Miles Davis Sextet was also recorded at the same event and released as the first volume of Jazz at the Plaza.
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated the album features "Duke Ellington's orchestra during a prime period... Excellent music".[2]
Track listing 1. 2. 3. 4. 5. 6. 7. 8.
"Toot Suite: Red Garter" (Duke Ellington, Billy Strayhorn) - 3:47 "Toot Suite: Red Shoes" (Ellington, Strayhorn) - 4:08 "Toot Suite: Red Carpet" (Ellington, Strayhorn) - 2:26 "Toot Suite: Ready Go" (Ellington, Strayhorn) - 4:11 "Jones" (Ellington, Pauline Reddon) - 1:25 "El Gato" (Cat Anderson) - 4:00 "All of Me" (Gerald Marks, Seymour Simons) - 2:29 "Go Away Blues/Hello, Little Girl/Love to Hear My Baby Call My Name" (Ellington) - 6:40
Jazz at the Plaza Vol. II 9. "When Your Lover Has Gone/(Hush Now) Don't Explain" (Einar Aaron Swan/Billie Holliday, Arthur Herzog Jr.) - 5:09 10. "Take the "A" Train" (Strayhorn) - 2:49 • Recorded at the Plaza Hotel Persian Room, New York on September 9, 1958.
Personnel • Duke Ellington – piano (tracks 1-8 & 10) • Cat Anderson (tracks 1-8 & 10), Shorty Baker (tracks 1-8 & 10), Buck Clayton (track 9), Ray Nance (tracks 1-8 & 10), Clark Terry (tracks 1-8 & 10) - trumpet • Quentin Jackson, Britt Woodman - trombone (tracks 1-8 & 10) • John Sanders - valve trombone (tracks 1-8 & 10) • Jimmy Hamilton - clarinet, tenor saxophone (tracks 1-8 & 10) • Russell Procope - alto saxophone, clarinet (tracks 1-8 & 10) • Johnny Hodges, Bill Graham - alto saxophone (tracks 1-8 & 10) • Paul Gonsalves - tenor saxophone (tracks 1-8 & 10) • Harry Carney - baritone saxophone (tracks 1-8 & 10) • Mal Waldron - piano (track 9) • Jimmy Woode - bass • Sam Woodyard - drums • Jimmy Rushing (track 8), Billie Holiday (track 9) - vocals
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 15, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138218) accessed June 15, 2010
126
Duke Ellington at the Alhambra
127
Duke Ellington at the Alhambra Duke Ellington at the Alhambra
Live album by Duke Ellington Released
2002
Recorded
October 29, 1958
Genre
Jazz
Label
Pablo Duke Ellington chronology
Jazz at the Plaza Vol. II (1958)
Duke Ellington at the Alhambra (1958)
Jazz Party (1959)
Duke Ellington at the Alhambra is a live album by American pianist, composer and bandleader Duke Ellington recorded in 1958 at at the Alhambra Theater, Paris and released on the Pablo label in 2002.[1]
Reception The Allmusic review by Ken Dryden awarded the album 4 stars and stated "Much of the music on this CD from Duke Ellington's 1958 Paris concerts is familiar to collectors from its appearance on various European bootleg labels, but Pablo does a better job arranging and annotating this music, which was recorded by Radio France with permission".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6.
"Take the "A" Train" (Billy Strayhorn) - 3:21 "Medley: Black and Tan Fantasy/Creole Love Call/The Mooche" - 8:53 "Newport Up" (Ellington, Strayhorn) - 5:10 "Tenderly" (Walter Gross, Jack Lawrence) - 5:43 "Juniflip" - 4:19 "Frustration" - 4:18
Duke Ellington at the Alhambra 7. "Rockin' in Rhythm" (Harry Carney, Ellington, Irving Mills) - 6:03 8. "Jeep's Blues" (Ellington, Johnny Hodges) - 3:31 9. "All of Me" (Gerald Marks, Seymour Simons) - 2:47 10. "Things Ain't What They Used to Be" (Mercer Ellington) - 4:07 11. "Jam With Sam" - 3:52 12. "Hi Fi Fo Fum" - 7:02 13. "Diminuendo and Crescendo in Blue" -10:41 • Recorded at the Alhambra Theatre, Paris on October 29, 1958.
Personnel • • • • • • •
Duke Ellington – piano Cat Anderson, Shorty Baker, Ray Nance, Clark Terry - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone
• • • •
Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jimmy Woode - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 15, 2010 [2] Dryden, K. Allmusic Review (http:/ / www. allmusic. com/ album/ r591561) accessed June 15, 2010
128
129
1959 Jazz Party Jazz Party
Studio album by Duke Ellington Released
1959
Recorded
February 19, 1959, February 25, 1959
Genre
Jazz, big band, swing
Length
44:47
Label
Columbia
Producer
Irving Townsend Professional reviews
Allmusic
link
[1] Duke Ellington chronology
Duke Ellington at the Alhambra (1958)
Jazz Party (1959)
Back to Back: Duke Ellington and Johnny Hodges Play the Blues (1959)
Jazz Party, a 1959 album by jazz legend Duke Ellington, contains a "formidable gallery of jazz stars" guesting, including Dizzy Gillespie, Jimmy Rushing (formerly the vocalist for Count Basie), Johnny Hodges and Paul Gonsalves.[2] It was reissued in CD in 1997 on the Mobile Fidelity label.
Jazz Party
Critical reception Described as "an example of the ever-surprising repertoire...characteristic of late Ellington",[3] Jazz Party has been praised particularly for its unique percussion pieces.[4] [5] Village Voice reviewer Gary Giddins indicated that the percussion song "Malletoba Spank" "will rattle in your brain until you die".[6] The multi-part "Toot Suite" has been described as intriguing,[3] though underrated, featuring strong statements from Ellington regulars and guests.[4] Dizzy Gillespie's guest solo on "U.M.M.G." attracts much attention as well, and has been labeled both "enterprising" and "inspired".[4] [3]
Track listing 1. 2. 3. 4. 5. 6. 7.
"Malletoba Spank (Duke Ellington, Billy Strayhorn) – 3:39 "Toot Suite: Red Garter/Red Shoes/Red Carpet/Ready, Go!" (Ellington, Strayhorn) – 21:37 "Satin Doll (Ellington, Johnny Mercer" Strayhorn) – 2:43 "U.M.M.G. (Upper Manhattan Medical Group)" (Strayhorn) – 4:30 "All of Me" (Gerald Marks, Seymour Simons) – 2:30 "Tymperturbably Blue" (Ellington, Strayhorn) – 4:23 "Fillie Trillie" (Ellington) – 2:43
8. "Hello Little Girl" (Ellington) – 7:47
Personnel • • • • • • • • • • • • • • • • • • • • • • • •
Cat Anderson – trumpet Elden C. Bailey – Percussion Shorty Baker – trumpet Harry Breuer – percussion Harry Carney – saxophone Duke Ellington – piano Andrew "Fats" Ford – trumpet Andres Forda – trumpet George Gaber – percussion Dizzy Gillespie – trumpet Morris Goldenberg – percussion Paul Gonsalves – saxophone Jimmy Hamilton – saxophone Johnny Hodges – saxophone Quentin Jackson – trombone Jimmy Jones – piano Chauncey Morehouse – percussion Ray Nance – trumpet Russell Procope – saxophone Walter Rosenberg – percussion Bobby Rosengarden – percussion Jimmy Rushing – Vocals John Sanders – trombone Milton Schlesinger – percussion
• Brad Spinney – percussion • Clark Terry – trumpet • Jimmy Woode – Bass
130
Jazz Party • • • • •
Britt Woodman – trombone Sam Woodyard – drums Amy Herot – production coordination Larry Keyes – remixing Irving Townsend – producer, liner notes
References [1] [2] [3] [4]
http:/ / www. allmusic. com/ album/ r153894 Puccio, John. (November 1998). "Duke Ellington: Jazz Party in Stereo." Sensible Sound. Crouch, Stanley. (January 12, 2005). The late show (http:/ / slate. com/ id/ 2112112/ ). Slate. Accessed September 8, 2007. Dance, Stanley. (November 1998). Duke Ellington: Jazz Party (http:/ / jazztimes. com/ articles/ 9052-jazz-party-duke-ellington). Jazz Times. Accessed September 8, 2007. [5] See also All Music review, sidebar. [6] Giddins, Gary. (1999) The long-playing duke (http:/ / www. villagevoice. com/ music/ 9917,giddins,5141,22. html) Village Voice. Accessed September 8, 2007.
131
Back to Back: Duke Ellington and Johnny Hodges Play the Blues
Back to Back: Duke Ellington and Johnny Hodges Play the Blues Back to Back
Studio album by Duke Ellington and Johnny Hodges Released
1959
Recorded February 20, 1959 - Columbia Studios, New York Genre
jazz
Length
40:02
Label
Verve
Producer Norman Granz Professional reviews Allmusic
link
[1]
Duke Ellington and Johnny Hodges chronology
Jazz Party (1959)
Back to Back (1959)
Side by Side (1959)
Back to Back is a 1959 studio album by Johnny Hodges, featuring Duke Ellington. It was followed up by Side by Side (1959), recorded at the same sessions.[2]
132
Back to Back: Duke Ellington and Johnny Hodges Play the Blues
Track listing 1. 2. 3. 4. 5. 6. 7.
"Wabash Blues" (Fred Meinken, Dave Ringle) – 6:22 "Basin Street Blues" (Spencer Williams) – 8:05 "Beale Street Blues" (W. C. Handy) – 7:40 "Weary Blues" (Artie Matthews) – 6:50 "St. Louis Blues" (Handy) – 5:45 "Loveless Love" (Handy) – 6:05 "Royal Garden Blues" (Clarence Williams, Spencer Williams) – 5:20
Personnel Tracks 1, 2 and 4 • • • •
Duke Ellington – piano Johnny Hodges – saxophone: alto Harry "Sweets" Edison – trumpet Les Spann – flute, guitar
• Al Hall – bass • Jo Jones – drums These tracks were recorded February 20, 1959
Notes [1] http:/ / www. allmusic. com/ album/ r138257 [2] Back to Back (http:/ / www. vervemusicgroup. com/ artist/ music/ detail. aspx?pid=10403& aid=2805) Verve Music Group catalog. Accessed October 23, 2009.
133
Side by Side (album)
134
Side by Side (album) Side by Side
Studio album by Duke Ellington and Johnny Hodges Released
1959
Recorded
August 14, 1958 – Nola Studios, New York City February 20, 1959 -Columbia Studios, New York
Genre
jazz
Length
45:45
Label
Verve
Producer
Norman Granz Professional reviews
Allmusic
link
[1] Duke Ellington and Johnny Hodges chronology
Back to Back: Duke Ellington and Johnny Hodges Play the Blues (1959)
Side by Side (1959)
Anatomy of a Murder (1959)
Although it is billed as a Duke Ellington and Johnny Hodges album, Side by Side is a 1959 album mostly under the leadership of Johnny Hodges, Duke Ellington's alto saxophonist for many years. Ellington only appears on three of this album's tracks. The album places Hodges at the fore, backing him with piano by Ellington or Billy Strayhorn and providing other accompaniment by well-known jazz figures like Ben Webster, Roy Eldridge, Harry "Sweets" Edison and Jo Jones. The album, a follow-up to the popular Back to Back: Duke Ellington and Johnny Hodges Play the Blues, has remained perpetually in print and was among the first of the Verve Music Group catalog to be transferred to CD,[1] on March 23, 1999.[2]
Side by Side (album)
Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Stompy Jones" (Duke Ellington) – 6:38 "Just Squeeze Me" (Fats Waller, Clarence Williams) – 4:36 "Big Shoe" (Jimmy Hamilton) – 5:37 "Going Up" (D. Ellington) – 4:51 "Just a Memory" (Lew Brown, Buddy DeSylva, Ray Henderson) – 5:53 "Let's Fall in Love" (Harold Arlen, Ted Koehler) – 6:47 "Ruint" (Mercer Ellington, Johnny Hodges) – 2:32 "Bend One" (Hodges) – 2:59 "You Need to Rock" (Hodges) – 5:52
Personnel Tracks 1, 2 and 4 • Duke Ellington – piano • Johnny Hodges – saxophone: alto • • • •
Harry "Sweets" Edison – trumpet Les Spann – flute, guitar Al Hall – bass Jo Jones – drums
These tracks were recorded February 20, 1959
Tracks 3 and 5 through 9 • • • • • • •
Johnny Hodges – saxophone: alto Roy Eldridge – trumpet Lawrence Brown – trombone Ben Webster – saxophone: tenor Billy Strayhorn – piano Wendell Marshall – bass Jo Jones – drums
These tracks were recorded August 14, 1958 Nat Hentoff – liner notes [3]
Notes [1] Chambers, Jack. "Sweet as Bear Meat: The Paradox of Johnny Hodges". (July/August 2001) Coda 298, pp. 16–20. [2] Side By Side (http:/ / www. vervemusicgroup. com/ product. aspx?ob=disc& src=art& pid=10306) Verve Music Group catalog. Accessed September 17, 2007. [3] Side By Side (http:/ / www. vervemusicgroup. com/ product. aspx?ob=disc& src=art& pid=10306) Verve Music Group catalog. Accessed September 17, 2007.
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Anatomy of a Murder
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Anatomy of a Murder Anatomy of a Murder
Theatrical release poster by Saul Bass Directed by
Otto Preminger
Produced by
Otto Preminger
Screenplay by
Wendell Mayes
Story by
John D. Voelker
Starring
James Stewart Lee Remick Ben Gazzara Arthur O'Connell George C. Scott
Music by
Duke Ellington
Cinematography
Sam Leavitt
Editing by
Louis R. Loeffler
Studio
Carlyle Productions
Distributed by
Columbia Pictures
Release date(s)
July 1, 1959
Running time
160 minutes
Country
United States
Language
English
Anatomy of a Murder is a 1959 American trial court drama film.[1] [2] It was directed by Otto Preminger and adapted by Wendell Mayes from the best-selling novel of the same name written by Michigan Supreme Court Justice John D. Voelker under the pen name Robert Traver. Voelker based the novel on a 1952 murder case in which he was the defense attorney.[3] It stars James Stewart, George C. Scott, Lee Remick, Ben Gazzara, Arthur O'Connell, Eve Arden, Kathryn Grant, Brooks West (Arden's real-life husband),[4] Orson Bean, and Murray Hamilton.[5] The judge was played by Joseph N. Welch, a real-life lawyer famous for berating Joseph McCarthy during the Army-McCarthy Hearings.[6] The film is famous as one of the first mainstream Hollywood films to talk frankly about sex and rape. It includes one of Saul Bass's most celebrated title sequences, an innovative musical score by Duke Ellington, and has been described by a law professor as "probably the finest pure trial movie ever made".[7]
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Plot In the Upper Peninsula of Michigan, small-town lawyer Paul Biegler (James Stewart), a former district attorney who lost his re-election bid, spends most of his time fishing, playing the piano and hanging out with his alcoholic friend and colleague Parnell McCarthy (Arthur O'Connell) and sardonic secretary Maida Rutledge (Eve Arden).
From the trailer for the film: Brooks West (left) and James Stewart (right) face one another, as George C. Scott (center) looks on
One day Biegler is contacted by Laura Manion (Lee Remick), wife of the loutish US Army Lieutenant Frederick "Manny" Manion (Ben Gazzara). It turns out that the Lieutenant has been arrested for first degree murder, that of innkeeper Barney Quill. Manion does not deny the murder, which was committed after his wife claimed to have been raped by Quill.
Even with such a motivation, it would be difficult to get Manion cleared of murder, so Biegler pushes him into a position where he claims to have no memory of the event, thus giving them a chance of winning his freedom with a defense of irresistible impulse — a version of a temporary insanity defense. As he sets about preparing his case, Biegler catches Laura Manion flirting with other army officers during a roadhouse party. He has to practically order her to stay away from "men, juke joints, booze, and pinball machines" and wear a girdle in order to play the part of a "meek little housewife" rather than that of a happy-go-lucky party girl. She also agrees to give up her tight-fitting clothes and wears a formal dress, glasses, a hat and a woman's suit in court. Biegler's folksy speech and laid-back demeanor hides a sharp legal mind and a propensity for courtroom theatrics that has the judge busy keeping things under control. However, the case for the defense does not go well, especially since the local D.A. (Brooks West) is assisted by a high-powered big city prosecutor named Dancer (George C. Scott). Furthermore, the prosecution goes all the way to block any mention of Manion's motive for killing Quill, i.e. the raping of Laura. Biegler eventually manages to get the rape issue into the record and Judge Weaver (Joseph N. Welch) agrees to allow the matter to be part of the deliberations. However, Dancer's cross-examination of Laura effectively portrays her as a woman who was not satisfied with her marriage and openly flirted with other men, including the one she claimed raped her. A doctor casts doubt on whether she was raped or not, though Biegler questions the method he used to obtain the results, and psychiatrists give conflicting testimony to Manion's state of mind when he killed Quill. Furthermore it comes out that even Lt. Manion doubted his wife, as Laura, a Catholic, had to swear on a rosary to persuade her husband that the sex with Quill was indeed non-consensual. Quill's inn is due to be inherited by Mary Pilant (Kathryn Grant), a mysterious Canadian who is suspected of being his mistress. Biegler later learns that she is in fact Quill's daughter, but she is anxious to keep this secret since she was born out of wedlock. Biegler, who is losing the case, tries to persuade her that Al Paquette (Murray Hamilton), a bartender who witnessed the murder, knows that Quill raped Laura but is covering this up, either out of love for Mary or loyalty to his late friend. Through Mary, Biegler tries to persuade Paquette to testify for the defense on these grounds but he refuses. Annoyed, Biegler leaves saying: "I'll leave a pass for you and Al at the trial. You might like to watch Lt. Manion get convicted." Mary does actually attend the final day of the trial when the issue is raised about the panties that Laura was wearing on the night of the murder. These panties were never found at the spot she claims the rape took place. Mary, who was unaware of this, later returns to testify that she found the panties in the inn's laundry room, presuming that Quill dropped them down the laundry chute when he returned home. Dancer insistently quizzes her that she was lying and
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138
that Quill was her lover. She shocks the court and torpedoes Dancer by stating the Quill was her father. Biegler has played heavily on the issue that he is "just a humble country lawyer" facing a "brilliant prosecutor from the big city of Lansing", a factor which has played well with the jury. After the closing speeches however, he privately admits that Dancer delivered the "best summary I've ever heard in a courtroom". It is to no avail though: Manion is found "not guilty for reason of insanity". The next day Biegler and McCarthy go to see the Manions at their trailer park home in order to collect their fee only to find the trailer missing. A note left by Manion tells Biegler that he was "seized by an irresistible impulse" — the defense used by Biegler during the trial. Evidence left lying around indicates that Manion was actually a heavy drinker who beat Laura before they left. This might indicate that Laura's sexual encounter with Quill was consensual and that Manion killed Quill out of drunken jealousy. Biegler does obtain some "poetic justice" by being the attorney appointed to administer Barney Quill's estate.
Cast • James Stewart as Paul Biegler • Lee Remick as Laura Manion • Ben Gazzara as Lt. Frederick Manion • Arthur O'Connell as Parnell Emmett McCarthy • Eve Arden as Maida Rutledge • Kathryn Grant as Mary Pilant • George C. Scott as Asst. State Atty. Gen. Claude Dancer • Orson Bean as Dr. Matthew Smith • Russ Brown as George Lemon • Murray Hamilton as Alphonse Paquette • Brooks West as Dist. Atty. Mitch Lodwick • Ken Lynch as Det. Sgt. James Durgo • • • • • •
James Stewart in the film's trailer.
John Qualen as Deputy Sheriff Sulo Howard McNear as Dr. Dompierre Emily Eby as Mrs. Welbourne Alexander Campbell as Dr. W. Gregory Harcourt Joseph N. Welch as Judge Weaver Duke Ellington as "Pie-Eye"
Production The film was shot in several locations in the Upper Peninsula (Big Bay, Marquette, Ishpeming, and Michigamme). Some scenes were actually filmed in the Thunder Bay Inn in Big Bay, Michigan, one block from the Lumberjack Tavern, the site of a 1952 murder [8] that had inspired much of the novel. The Lumberjack Tavern is still in existence today. The murder scene body outline is still there, although it may be restored, and not the original outline. The Marquette County Courthouse was used for courthouse scenes.
Anatomy of a Murder The members of the jury panel from the original trial were contacted and asked to sit on the set. With the exception of a few that had either died or moved, most appeared in the film. The missing ones were replaced with local residents. The script featured unusually frank dialog for 1959. It was among the first Hollywood films to challenge the Hays Code, along with Billy Wilder's Some Like It Hot (1959) and Alfred Hitchcock's Psycho (1960). The role of the judge was offered to both Spencer Tracy and Burl Ives, but ultimately went to Joseph Welch, who had made a name for himself representing the U.S. Army in hearings conducted by Senator Joseph McCarthy. It was Welch who famously asked of McCarthy, "Have you no sense of decency, sir? At long last, have you left no sense of decency?" Welch accepted the part only after Preminger agreed to let his wife be on the jury.[6] Chicago newspaper columnist Irv "Kup" Kupcinet has a small uncredited role in the film. Duke Ellington, who composed the music, appears as "Pie-Eye", the owner of a roadhouse, with whom Jimmy Stewart's character plays piano.
Legal aspects The film examines the apparent fallibility of the human factor in jurisprudence.[9] [10] In various ways all of the human components – the counsels for defense and prosecution, the defendant and his wife, and the witnesses – have different positions on what is right or wrong, and varying perspectives on integrity, justice, morality and ethics. It is to be noted that the reliance on credibility of witnesses, and the "finding of facts" based upon those determinations, is the 'Achilles heel' of the judicial process.[10] One controversial legal issue in this film is possible Facade of the Lumberjack Tavern, scene of the actual crime the film is based on. witness coaching, a violation of legal canons. The only plausible legal defense Lt. Manion has – the insanity defense – is virtually spelled out to a befuddled Manion by his prospective counsel,[11] who then temporarily suspends the conversation and suggests that Manion rethink his factual/legal position. Witness coaching by the prosecution is even more blatant as they call in other jail inmates awaiting sentencing to testify against Manion, and is portrayed as subornation of perjury to an extent. The first suggests that the defendant may be concealing the truth and manipulating his story in order to obtain the best possible verdict, and the latter that the prosecution dangled a possible lighter sentence through plea bargain as an incentive to perjury.[7] [12] Thus, there could be a synergy: compounding the inherent fallible nature of the process with the malleability of memory, the potential mendacity of witnesses, the showmanship and 'magic tricks' involved in trials[13] and advocacy,[12] and the self interest, venality, morality, poor perception and recollection, and ethical standards of the participants.[9] [10] Indeed, the unreliability of judicial decisions based on demeanor is well established.[14] In protracted litigation, confabulated memory – filling in the blanks and recreating memories – is common, and research has documented the tendency. Repetitive and suggestive questioning tends to plant the seeds of memory.[15] The book and the film are among the most cogent examples of the lawyers' dance. “Horse shedding" of witnesses is well known, if controversial and potentially unethical; it is not just an occasion to directly orchestrate perjury. What is more problematic is that it is possible to reach a point where “if you believe it, then it isn’t a lie.” Thus, even letter-perfect bona fide certainty of belief is not equivalent to a certification of accuracy or even truthfulness. This process is called "horse shedding," "sandpapering" or "wood shedding" – the first and last names being metaphorical
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Anatomy of a Murder references to the location of such a "collaboration."[16]
Comparisons of film to novel The issue of the insanity defense was more thoroughly explored in the novel, and a key scene in which Biegler destroys the credibility and professionalism of the prosecution's psychiatric expert for proffering an opinion without examining the subject is watered down in the film almost to insignificance.
Critical reception Anatomy of a Murder has been well received by members of the legal and educational professions. In 1989, the American Bar Association rated this as one of the 12 best trial films of all time. In addition to its plot and musical score, the article noted: "The film's real highlight is its ability to demonstrate how a legal defense is developed in a difficult case. How many trial films would dare spend so much time watching lawyers do what many lawyers do most (and enjoy least) — research?"[17] The film has also been used as a teaching tool in law schools, as it encompasses (from the defense standpoint) all of the basic stages in the U.S. criminal justice system from client interview and arraignment through trial.[6] UCLA law professor Michael Asimow calls the picture "probably the finest pure trial movie ever made."[7] Film critics have noted the moral ambiguity, where small town lawyers triumph by guile, stealth and trickery. The film is frank and direct. Language and sexual themes are explicit, at variance with the times (and other films) when it was produced. The black and white palette is seen as a complement to the harsh Upper Peninsula landscape.[18] The film is "[m]ade in black-and-white but full of local color".[6] Bosley Crowther, film critic for The New York Times said, "After watching an endless succession of courtroom melodramas that have more or less transgressed the bounds of human reason and the rules of advocacy, it is cheering and fascinating to see one that hews magnificently to a line of dramatic but reasonable behavior and proper procedure in a court. Such a one is Anatomy of a Murder, which opened at the Criterion and the Plaza yesterday. It is the best courtroom melodrama this old judge has ever seen. . . . Outside of the fact that this drama gets a little tiring in spots—in its two hours and forty minutes, most of which is spent in court—it is well nigh flawless as a picture of an American court at work, of small-town American characters and of the average sordidness of crime." [19] In June 2008, the American Film Institute revealed AFI's 10 Top 10, the best 10 films in 10 "classic" American film genres, after polling over 1,500 people from the creative community. Anatomy of a Murder was selected as the seventh best film in the courtroom drama genre.[20] (In a 1999 AFI poll, star James Stewart was ranked # 3 of the Top 25 American male screen legends.) The Internet Movie Database rates it number 19 of 807 trial films.[21] The review aggregator Rotten Tomatoes reported that 100% of critics gave the film a positive review, based on thirty-six reviews.[22] "Over the years, the movie's reputation has grown. Many movie buffs believe that its adult subject matter (along with that of Psycho and Some Like It Hot) challenged the censorship guidelines the film industry" labored under at the time.[6]
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Soundtrack Anatomy of a Muder
Soundtrack album by Duke Ellington Released
1959
Recorded
May 29, June 1 & 2, 1959
Genre
Jazz
Label
Columbia Duke Ellington chronology
Side by Side (1959)
Anatomy of a Murder (1959)
Live at the Blue Note (1959)
Anatomy of a Murder is noteworthy for being one of the first films to extensively feature jazz in the musical score – the entire musical soundtrack was composed by Duke Ellington and Billy Strayhorn and played by Ellington's orchestra. Several of the Ellington band's sidemen, notably Johnny Hodges, Paul Gonsalves, Harry Carney, Russell Procope, and William "Cat" Anderson, are heard prominently throughout the film, and Ellington himself appears briefly as "Pie-Eye," the owner of a roadhouse where Paul Biegler (Stewart) and Laura Manion (Remick) have a confrontation. Despite being heard "in bits and pieces" the score "contains some of his most evocative and eloquent music… and beckons with the alluring scent of a femme fatale." Including small pieces by Billy Strayhorn, film historians recognize it "as a landmark — the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band." The score avoids cultural stereotypes which previously characterized jazz scores and "rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the ’60s."[23] The soundtrack, containing 13 tracks, was released on May 29, 1959. A CD was released on April 28, 1995, and reissued by Sony in a deluxe edition in 1999.[24]
Anatomy of a Murder
Reception Detroit Free Press music critic Mark Stryker concluded: "Though indispensable, I think the score is too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal."[25] The score employs a "handful of themes, endlessly recombined and re-orchestrated. Ellington never wrote a melody more seductive than the hip-swaying "Flirtibird", featuring the "irresistibly salacious tremor" by Johnny Hodges on the alto saxophone." A stalking back-beat barely contains the simmering violence of the main title music" The score is heavily dipped in "the scent of the blues and Ellington’s orchestra bursts with color."[25] The Allmusic review by Bruce Eder awarded the album 3 stars calling it "a virtuoso jazz score — moody, witty, sexy, and — in its own quiet way — playful".[26]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5.
"Main Title/Anatomy of a Murder" - 3:57 "Flirtibird" - 2:14 "Way Early Subtone" - 3:59 "Hero to Zero" - 2:11 "Low Key Lightly" - 3:39
6. "Happy Anatomy" [Band-Movie version] - 2:35 7. "Midnight Indigo" - 2:46 8. "Almost Cried" [Studio] - 2:26 9. "Sunswept Sunday" - 1:53 10. "Grace Valse" - 2:30 11. "Happy Anatomy" [P.I. Five version] - 1:28 12. "Upper and Outest" - 2:23 13. "Anatomy of a Murder [stereo single] - 2:44 Bonus track on CD reissue 14. "Merrily Rolling Along (aka Hero to Zero)/Sunswept Sunday" [movie stings & rehearsal] - 3:49 Bonus track on CD reissue
15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
"Beer Garden" - 1:53 Bonus track on CD reissue "Happy Anatomy" [Band-Studio Five version] - 2:43 Bonus track on CD reissue "Polly (aka Grace Valse, Haupe, Low Key Lightly, Midnight Indigo)" - 3:35 Bonus track on CD reissue "Polly" [Movie Stings] - 3:54 Bonus track on CD reissue "Happy Anatomy" [Dixieland version] - 2:15 Bonus track on CD reissue "More Blues" - 2:15 Bonus track on CD reissue "Almost Cried (aka Flirtibird)" [Movie version] - 2:13 Bonus track on CD reissue "Soundtrack Music: Anatomy of a Murder (Duke Ellington a la Guy Lombardo)" - 2:29 Bonus track on CD reissue "Anatomy of a Murder" [mono single in stereo] - 2:36 Bonus track on CD reissue "The Grand Finale (Rehearsal/Lines/Interview/Music/Stings/Murder)" - 10:47 Bonus track on CD reissue
• Recorded at Radio Recorders, Los Angeles on May 29 and June 1 & 2, 1959
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Anatomy of a Murder
Personnel • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Shorty Baker, Herbie Jones, Ray Nance, Clark Terry, Gerald Wilson - trumpet Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Jimmy Woode - bass James Johnson - drums
Note - tracks 11 & 21 performed by the P.I. Five: Duke Ellington, Ray Nance, Jimmy Hamilton, Jimmy Woode, and James Johnson.
Stage adaptation After Traver's novel was published, St. Martins Press planned to have it adapted for the stage, intending a Broadway production, which would then be made into a film. Before he died in December 1957, John Van Druten wrote a rough draft of the play adaptation. Some time after that, the publisher then made the film rights available, and these were purchased by Otto Preminger.[27] Eventually, Traver's book was adapted for the stage in 1963 by Elihu Winer. It premiered at the Mill Run Theater in suburban Chicago, and was published in 1964 by Samuel French.[28]
Awards Wins • New York Film Critics Circle Awards: NYFCC Award Best Actor, James Stewart, Best Screenplay, Wendell Mayes; 1959. • Venice Film Festival: Volpi Cup; Best Actor, James Stewart; 1959. • Two Grammy Awards: Grammy; Best Soundtrack Album, Background Score from Motion Picture or Television, Duke Ellington; 1959.[6] • Laurel Awards: Golden Laurel; Top Drama; Top Male Dramatic Performance, James Stewart; Top Male Supporting Performance, Arthur O'Connell; 1960. • Michigan Product of the Year.[6] Nominations Academy Awards: • • • • • • •
Best Actor in a Leading Role: James Stewart Best Actor in a Supporting Role: Arthur O'Connell Best Actor in a Supporting Role: George C. Scott Best Cinematography, Black-and-White: Sam Leavitt Best Film Editing: Louis R. Loeffler Best Picture: Otto Preminger Best Writing, Screenplay Based on Material from Another Medium: Wendell Mayes 1960
British Academy of Film and Television Arts: BAFTA Film Award • Best Film from any Source Otto Preminger, USA • Best Foreign Actor James Stewart, USA
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Anatomy of a Murder • • • •
Most Promising Newcomer Joseph N. Welch, USA; 1960. Directors Guild of America: DGA Award Outstanding Directorial Achievement in Motion Pictures, Otto Preminger; 1960. Golden Globe Award: Golden Globe; Best Motion Picture - Drama; Best Motion Picture Actress - Drama, Lee Remick; Best Motion Picture Director, Otto Preminger; Best Supporting Actor, Joseph N. Welch; 1960.
References Notes [1] [2] [3] [4] [5] [6]
Variety film review; July 1, 1959, page 6. Harrison's Reports film review; July 4, 1959, page 106. Anatomy of a Murder, ISBN 9780312033569, ISBN 0312033567, large print ISBN 0783816669. Grave Hunter, Brooks West. (http:/ / www. gravehunter. net/ brooks_west. htm) Anatomy of a Murder (http:/ / www. imdb. com/ title/ tt0052561/ ) at the Internet Movie Database. Monaghan, John, The movie that put Ishpeming on the map: UP plans events this summer to mark 50th anniversary of Anatomy of a Murder, January 20, 2009 (http:/ / www. freep. com/ apps/ pbcs. dll/ article?AID=2009901200303) Detroit Free Press. [7] Asimow, Michael (http:/ / www. usfca. edu/ pj/ articles/ anatomy. htm). Picturing Justice, film review from a legal perspective, February 1998. [8] (http:/ / www. nmu. edu/ voelker/ ) [9] Frank, Jerome, (1973) Courts on Trial, Princeton University Press, pp. 23-24. 318. [10] Thomas, Edward Wilfrid. (2006) Judicial Process: Realism, Pragmatism, Practical Reasoning and Principles (http:/ / books. google. com/ books?id=Sn6fBTLwV9IC& pg=PA323& lpg=PA323& dq=Fallibility+ and+ Judicial+ Process& source=bl& ots=9IwfHghBTt& sig=yqIRWtc0fdCyOXCr2CyFqPEGdcsThe), Auckland University Press), pp. 318-324. ISBN 9780521855662; ISBN 0521855667. Winner Publishing Awards: (http:/ / www. cambridge. org/ catalogue/ catalogue. asp?isbn=0521855667) 2005, J F Northey Prize for Best Published Work and 2006 Legal Research Foundation of New Zealand. [11] See generally, Shaul, Richard D., “Anatomy of a Murder”, Michigan History, November/December 2001. (http:/ / www. michiganhistorymagazine. com/ features/ discmich/ anatomy. pdf) [12] Saltzburg, Stephen A. (2006) Trial Tactics (http:/ / books. google. com/ books?id=Kieo-S5hQFkC& pg=PA28& lpg=PA28& dq=trial+ tactics+ and+ methods& source=bl& ots=vhDoHxQwf4& sig=7icbqVwFdZc9009-navk6WGT5WM& hl=en& ei=mJf9Sa6YK5LMMOywncQE& sa=X& oi=book_result& ct=result& resnum=2#PPA3,M1) American Bar Association pp. 225, 231. ISBN 159031767X; ISBN 9781590317679. [13] See generally, Keeton, Robert E. (1973) Trial tactics and methods (2nd Ed.) (http:/ / openlibrary. org/ b/ OL5292848M/ Trial-tactics-and-methods) (Boston: Little, Brown) pp. 456 ISBN 0316485721; ISBN 9780316485722 [14] Societé d'Avancé Egyptienne v Merchants Marine Insurance Co. 'the Palitana' (1924) Lloyd's Law Rep 140 at 152 (1924). [15] "Underwood, J. & Pezdek, K. (1998). Memory suggestibility as an example of the sleeper effect. Psychonomic Bulletin & Review, 5, 449-453." (http:/ / www. uark. edu/ misc/ lampinen/ read/ underwood. html). . [16] See Garner, Bryan A. (2004). Black's Law Dictionary, 7th Ed. (West Group, St. Paul Minnesota, 1999), pp. 742, 1342 and 1598) ISBN 0-314-22864-0. See also, Eugene C. Gerhart, Quote it Completely!: World Reference Guide to More Than 5,500 Memorable Quotations (Wm. S. Hein Publishing, 1998) (http:/ / books. google. com/ books?id=kjwVASsTUm0C& pg=PA445& lpg=PA445& dq="horse+ shedding"& source=web& ots=DnNsSClpMd& sig=rGf9tg3HTgWmCNOBBC6u_4IsBAA#PPA445,M1Gerhart,) ISBN 1575884003. [17] Verone, Patric M. "The 12 Best Trial Movies" from the (http:/ / www. supremecourt. ne. gov/ students-teachers/ movies. shtml) ABA Journal, November 1989 reprinted in Nebraska Law Journal. [18] A collection of professional reviews, rottentomatoes.com. (http:/ / www. rottentomatoes. com/ m/ anatomy_of_a_murder/ ). Last accessed: November 22, 2007. [19] Crowther, Bosley (http:/ / movies2. nytimes. com/ mem/ movies/ review. html?_r=1& res=9F03E6DE1F3CE63BBC4B53DFB1668382649EDE& oref=slogin). The New York Times, film review, "A Court Classic," July 3, 1959. [20] "AFI's 10 Top 10" (http:/ / www. afi. com/ 10top10/ crdrama. html). American Film Institute. 2008-06-17. . Retrieved 2008-06-18. [21] 807 "Best trial movies" at Internet Movie Database (http:/ / us. imdb. de/ keyword/ trial/ ?title_type=feature). [22] Anatomy of a Murder (http:/ / www. rottentomatoes. com/ m/ anatomy_of_a_murder/ ) at Rotten Tomatoes. Last accessed: June 19, 2008. [23] Cooke, Mervyn (2008). History of Film Music, Cambridge University Press, ISBN 9780521010481. [24] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 14, 2010 [25] Stryker, Mark, Ellington's score still celebrated, January 20, 2009 Detroit Free Press. [26] Eder, B. Allmusic Review (http:/ / www. allmusic. com/ album/ r110356) accessed May 17, 2010 [27] "Anatomy of a Murder 50th Anniversary" (http:/ / www. nmu. edu/ voelker/ ). . [28] Winer, Elihu. (1964) Anatomy of a Murder: a court drama in three acts (http:/ / books. google. com/ books?id=RTlWonu9wDoC& dq="anatomy+ of+ a+ murder"+ "elihu+ winer"& printsec=frontcover& source=bl& ots=_GiOIF-V4N&
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Anatomy of a Murder sig=JA5cXj_u7DUv7dV3GsYUJO0-fJk& hl=en& sa=X& oi=book_result& resnum=1& ct=result). New York: Samuel French, pp. 106 ISBN 0573605300; ISBN 978-0573605307.
Bibliography • Robert Traver. Anatomy of a Murder New York: St. Martin's Press, 1958. ISBN 978-0517204450 • Elihu Winer. Anatomy of a Murder: A Court-Drama in Three Acts (http://books.google.com/ books?id=RTlWonu9wDoC&dq="anatomy+of+a+murder"+"elihu+winer"&printsec=frontcover& source=bl&ots=_GiOIF-V4N&sig=JA5cXj_u7DUv7dV3GsYUJO0-fJk&hl=en&sa=X&oi=book_result& resnum=1&ct=result) New York: Samuel French, 1964. ISBN 0573605300.
Further reading • Bergman, Paul; Asimow, Michael. (2006) Reel justice: the courtroom goes to the movies (Kansas City : Andrews and McMeel). ISBN 0740754602; ISBN 978-0740754609; ISBN 0836210352; ISBN 978-0836210354. • Machura, Stefan and Robson, Peter, eds. Law and Film: Representing Law in Movies (Cambridge: Blackwell Publishing, 2001) (http://books.google.com/books?id=E9snGGV1X5MC&dq=George+Washington+ University+movie+law+film+list&printsec=frontcover&source=in&hl=en&sa=X&oi=book_result& resnum=11&ct=result). ISBN 0631228160, ISBN 9780631228165 176 pages, pp. 15, 17, 129.
External links • • • • • • • • • •
Anatomy of a Murder (http://www.imdb.com/title/tt0052561/) at the Internet Movie Database Anatomy of a Murder (http://www.rottentomatoes.com/m/anatomy-of-a-murder/) at Rotten Tomatoes Anatomy of a Murder (http://tcmdb.com/title/title.jsp?stid=3737) at the TCM Movie Database Anatomy of a Murder (http://www.allmovie.com/work/2176) at Allmovie Anatomy of a Murder (http://www.archive.org/details/Anatomyo1959) trailer at the Internet Archive Anatomy of a Murder (http://www.afi.com/members/catalog/10top10View.aspx?bhcp=1&Movie=52812) at American Film Institute Baulch, Vivian M., The Detroit News (http://info.detnews.com/history/story/index.cfm?id=71& category=events), "When Hollywood Came to the Upper Peninsula." Bergman, Shirley J., “The Real Trial”, Michigan History, November/December 2001. (http://www. michiganhistorymagazine.com/features/discmich/anatomy.pdf) Michigan Supreme Court Historical Society, John D. Voelker Biography and bust. (http://www.micourthistory. org/bios.php?id=85) 50th Anniversary Celebration of Anatomy of a Murder (http://www.nmu.edu/anatomy50/) at Northern Michigan University
• Reader's Guide (http://www.nmu.edu/anatomy50/lm_Anatomy of a Murder Reading Guide.pdf) • Voelker Collection (http://www.nmu.edu/voelker/) • Michigan Archive, Michigan History Arts and Letters, John D. Voelker. (http://www.michigan.gov/hal/ 0,1607,7-160-15481_19271_19357-118411--,00.html) • Shaul, Richard D., “Anatomy of a Murder”, Michigan History, November/December 2001. (http://www. michiganhistorymagazine.com/features/discmich/anatomy.pdf) • Shaul, Richard D., “Backwoods Barrister” (regarding John Voelker), Michigan History, November/December 2001. (http://www.michiganhistorymagazine.com/features/discmich/anatomy.pdf)
145
Live at the Blue Note (Duke Ellington album)
146
Live at the Blue Note (Duke Ellington album) Live at the Blue Note
Live album by Duke Ellington Released
1959
Recorded
September 8, 1959
Genre
Jazz
Length
134:46
Label
Roulette Duke Ellington chronology
Anatomy of a Murder (1959)
Live at the Blue Note (1959)
Festival Session (1959)
Live at the Blue Note is a live album by American pianist, composer and bandleader Duke Ellington recorded for the Roulette label in 1959.[1] The album was originally released as a single LP and rereleased as a double CD in 1994 with fourteen bonus tracks on the Blue Note label.
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "This two-CD set gives one a good example of how Duke Ellington's Orchestra sounded in 1959. Greatly expanded from the original single LP, the release essentially brings back a full night by the Ellington band, three nearly complete sets. The music ranges from old favorites to some newer material".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4.
"Take the "A" Train" (Billy Strayhorn) - 3:17 Bonus track on CD reissue "Newport Up" (Ellington, Strayhorn) - 4:40 Bonus track on CD reissue "Haupe" [aka "Polly's Theme"] - 3:58 "Flirtibird" - 3:01
Live at the Blue Note (Duke Ellington album) 5. "Pie Eye's Blues" - 3:16 6. "Almost Cried" - 3:20 Bonus track on CD reissue 7. "Duael Fuel (Dual Filter)" - (Ellington, Clark Terry) - 11:37 Bonus track on CD reissue 8. "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) - 3:56 9. "Mr. Gentle and Mr. Cool" (Shorty Baker, Ellington) - 7:17 10. "El Gato" (Cat Anderson) - 4:13 Bonus track on CD reissue 11. "C Jam Blues" (Barney Bigard, Ellington) - 4:52 Bonus track on CD reissue 12. "Tenderly" (Walter Gross, Jack Lawrence) - 5:30 Bonus track on CD reissue 13. "Honeysuckle Rose" (Andy Razaf, Fats Waller) - 4:20 Bonus track on CD reissue 14. "Drawing Room Blues" (Strayhorn) - 6:05 Bonus track on CD reissue 15. "Tonk" (Ellington, Strayhorn) - 1:57 Bonus track on CD reissue 16. "In a Mellow Tone" (Ellington, Milt Gabler) - 2:36 17. "All of Me" (Gerald Marks, Seymour Simons) - 2:31 18. "Things Ain't What They Used to Be (Mercer Ellington) - 2:50 19. "Jeep's Blues" (Ellington, Johnny Hodges) - 3:50 20. "Mood Indigo" (Bigard, Ellington, Mills) - 11:02 Bonus track on CD reissue 21. "Perdido" (Juan Tizol) - 4:32 22. "Satin Doll]" (Ellington, Strayhorn, Johnny Mercer) - 4:48 Bonus track on CD reissue 23. A Disarming Visit by June Christy & Stan Kenton - 2:56 24. "Newport Up" (Ellington, Strayhorn) - 5:03 Bonus track on CD reissue 25. "Medley: Black and Tan Fantasy/Creole Love Call/The Mooche" (Ellington, Strayhorn, James "Bubber" Miley) - 9:19 26. "Passion Flower Strayhorn 5:13 27. "On the Sunny Side of the Street" (Dorothy Fields, Jimmy McHugh) - 4:29 28. "El Gato" (Anderson) - 4:18 Bonus track on CD reissue • Recorded at The Blue Note, Chicago on August 9, 1959.
Personnel • • • • • • • • • • • • • •
Duke Ellington – piano (tracks 2-28) Billy Strayhorn - piano (tracks 1 & 14) Cat Anderson, Shorty Baker, Willie Cook, Clark Terry - trumpet Ray Nance - trumpet, violin Quentin Jackson, Britt Woodman - trombone John Sanders - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jimmy Woode - bass (tracks 1-21 & 23-28) Johnny Pate - bass (track 22) Sam Woodyard - drums
147
Live at the Blue Note (Duke Ellington album)
148
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 18, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r161749) accessed May 18, 2010
Festival Session Festival Session
Studio album by Duke Ellington Released
1959
Recorded
September 8, 1959
Genre
Jazz
Label
Columbia Duke Ellington chronology
Live at the Blue Note (1959)
Festival Session (1959)
Blues in Orbit (1959)
Festival Session is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia Records label in 1959.[1] The album was rereleased on CD in 2004 with two bonus tracks.
Festival Session
Reception The Allmusic review by Ken Dryden awarded the album 4 stars and stated "Duke Ellington was constantly composing new material as well as creating new arrangements of vintage works, as heard on this Columbia LP recorded in 1959... Long one of the classic sleepers awaiting discovery in Duke Ellington's considerable discography... Highly recommended".[2]
Track listing All compositions by Duke Ellington except as indicated LP Side A 1. 2. 3. 4. 5.
"Perdido" (Juan Tizol) – 4:36 "Copout Extension" – 8:19 "Duael Fuel, Part 1" (Ellington, Clark Terry) – 2:45 "Duael Fuel, Part 2" (Ellington, Terry) – 1:43 "Duael Fuel, Part 3" (Ellington, Terry) – 6:17
LP side B 1. "Idiom '59, Part 1" – 2:02 2. 3. 4. 5.
"Idiom '59, Part 2" – 4:36 "Idiom '59, Part 3" – 7:06 "Things Ain't What They Used to Be" (Mercer Ellington) – 3:00 "Launching Pad" (Ellington, Terry) – 7:37
Bonus tracks on 2004 CD re-issue • "V.I.P.'s Boogie" – 2:57 2. "Jam With Sam" – 3:17 Recorded at Columbia Records 30th Street Studio, New York on September 8, 1959.
Personnel • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Shorty Baker, Willie Cook, Fats Ford, Ray Nance, Clark Terry – trumpet Britt Woodman – trombone Quentin Jackson – trombone (tracks 1, 2 & 6-12), bass (tracks 3-5) John Sanders – valve trombone Jimmy Hamilton – clarinet, tenor saxophone Johnny Hodges – alto saxophone Russell Procope – alto saxophone, clarinet Paul Gonsalves – tenor saxophone Harry Carney – baritone saxophone Jimmy Woode – bass (tracks 1, 2 & 9-12) Joe Benjamin – bass (tracks 6-8) Sam Woodyard, James Johnson – drums
149
Festival Session
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 18, 2010 [2] Dryden, K. Allmusic Review (http:/ / www. allmusic. com/ album/ r679745) accessed May 18, 2010
• Columbia CS 8200
150
Blues in Orbit
151
Blues in Orbit Blues in Orbit
Studio album by Duke Ellington Released
1960
Recorded February 4 & 12, 1958, February 25, December 2 & 3, 1959 Genre
Jazz
Label
Columbia Professional reviews
•
Allmusic Duke Ellington chronology
Festival Session (1959)
Blues in Orbit (1958-9)
The Nutcracker Suite (1960)
Blues in Orbit is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1959 and released in 1960.[1] The album was re-released on CD in 2004 with bonus tracks including alternate takes and tracks from earlier sessions.
Reception The Allmusic review by Bruce Eder awarded the album 3 stars and stated "Blues in Orbit lacks the intellectual cachet of the suites and concept pieces that loomed large in Ellington's recordings of this period, but it's an album worth tracking down, if only to hear the band run through a lighter side of its sound. Indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter".[2]
Blues in Orbit
Track listing :All compositions by Duke Ellington except as indicated 1. "Three J's Blues" (Jimmy Hamilton) - 2:54 2. "Smada" (Ellington, Billy Strayhorn) - 2:38 3. "Pie Eye's Blues" - 3:27 4. "Sweet and Pungent" (Strayhorn) - 4:03 5. "C Jam Blues" (Ellington, Barney Bigard) - 4:52 6. "In a Mellow Tone" (Ellington, Milt Gabler) - 2:43 7. "Blues in Blueprint" - 3:43 8. "The Swingers Get the Blues, Too" (Ellington, Matthew Gee) - 3:09 9. "The Swinger's Jump" - 3:53 10. "Blues in Orbit" (Strayhorn) - 2:29 11. "Villes Ville Is the Place, Man" - 2:33 12. "Track 360" - 2:03 Bonus track on CD reissue 13. "Sentimental Lady" - 4:02 Bonus track on CD reissue 14. "Brown Penny" (Ellington, John La Touche) - 3:02 Bonus track on CD reissue 15. "Pie Eye's Blues" [alternate take] - 3:32 Bonus track on CD reissue 16. 17. 18. 19.
"Sweet and Pungent" [alternate take] (Strayhorn) - 3:52 Bonus track on CD reissue "The Swinger's Jump" [alternate take] (Ellington) - 3:51 Bonus track on CD reissue "Blues in Orbit" [alternate take] (Strayhorn) - 2:39 Bonus track on CD reissue "Track 360" [alternate take] - 2:01 Bonus track on CD reissue
• Recorded at Radio Recorders, Los Angeles on February 4, 1958 (tracks 12 & 19) and February 12, 1958 (tracks 10 & 18) and at Columbia 30th Street Studio, New York on February 25, 1959 (track 11), December 2, 1959 (tracks 1, 3-5 & 13-16) and December 3, 1959 (tracks 2, 6-9 & 17).
Personnel • • • • • • • • • • • • • • • • •
Duke Ellington – piano (tracks 1, 3-6 & 8-19) Billy Strayhorn - piano (tracks 2 & 7) Ray Nance - trumpet Cat Anderson, Shorty Baker, Clark Terry - trumpet (tracks 10-12, 18 & 19) Fats Ford - trumpet (track 11) Britt Woodman - trombone Matthew Gee, Booty Wood - trombone (tracks 1-9 & 13-17) Quentin Jackson - trombone (tracks 10-12, 18 & 19) John Sanders - valve trombone (tracks 10-12, 18 & 19) Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone (tracks 1-9, 11 & 13-17) Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jimmy Woode - bass Jimmy Johnson - drums (tracks 1-9 & 13-17) Sam Woodyard - drums (tracks 10-12, 18 & 19)
152
Blues in Orbit
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 18, 2010 [2] Nastos, M. G. Allmusic Review (http:/ / www. allmusic. com/ album/ r138143) accessed May 17, 2010
153
154
1960 The Nutcracker Suite (Duke Ellington album) The Nutcracker Suite
Studio album by Duke Ellington Released
1960
Recorded
May 26 & 31, June 3, 21 & 22, 1960
Genre
Jazz
Label
Columbia Duke Ellington chronology
Blues in Orbit (1959)
The Nutcracker Suite (1960)
Piano in the Background (1960)
The Nutcracker Suite is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1960 featuring jazz interpretations of "The Nutcracker" by Tchaikovsky.[1] The album was rereleased on CD as part of Three Suites along with Ellington's reworking of Grieg's "Peer Gynt Suite" and "Suite Thursday" his tribute to John Steinbeck in 1990.
The Nutcracker Suite (Duke Ellington album)
Reception The Allmusic review awarded the album 4½ stars.[2]
Track listing All compositions by Pyotr Ilyich Tchaikovsky 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Overture" - 3:22 "Toot Toot Tootie Toot (Dance of the Reed-Pipes)" - 2:30 "Peanut Brittle Brigade [March]" - 4:37 "Sugar Rum Cherry (Dance of the Sugar-Plum Fairy)" - 3:05 "Entr'acte" - 1:53 "Volga Vouty (Russian Dance)" - 2:52 "Chinoiserie (Chinese Dance)" - 2:50 "Dance of the Floreadores (Waltz of the Flowers)" - 4:04 "Arabesque Cookie (Arabian Dance)" - 5:44 • Recorded at Radio Recorders, Los Angeles on May 26 (tracks 1 & 5), & 31 (track 2), June 3 (tracks 4 & 8), 21 (tracks 3 & 7) & 22 (tracks 6 & 9), 1960.
Personnel • • • • • • • • • • •
Duke Ellington – piano Willie Cook, Fats Ford, Ray Nance, Clark Terry - trumpet Lawrence Brown, Booty Wood, Britt Woodman - trombone Juan Tizol - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Aaron Bell - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 27, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r138238) accessed May 27, 2010
155
Piano in the Background
156
Piano in the Background Piano in the Background
Studio album by Duke Ellington Released
1960
Recorded
May 31, June 2, 20, 21, 28, 29 & 30, 1960
Genre
Jazz
Label
Columbia Duke Ellington chronology
The Nutcracker Suite (1960)
Piano in the Background (1960)
Swinging Suites by Edward E. and Edward G. (1960)
Piano in the Background is an album by American pianist, composer and bandleader Duke Ellington recorded and released on the Columbia label in 1960.[1]
Reception The Allmusic review by Thom Jurek awarded the album 4 stars and stated "designed to showcase a series of new arrangements for the Ellington Orchestra, it also offers the composer and bandleader as a pianist leading the band... In all, this and the two discs that were reissued as companions to this one, Piano in the Foreground and Blues in Orbit, mark a highly creative and productive time in Ellington's long career".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6.
"Happy Go Lucky Local" - 3:02 "What Am I Here For" - 4:08 "Medley: Kinda Dukish/Rockin' in Rhythm" (Ellington Harry Carney, Irving Mills) - 5:52 "Perdido" (Juan Tizol) - 6:49 "I'm Beginning to See the Light" (Ellington, Don George, Johnny Hodges, Harry James) - 2:06 "Midriff" (Billy Strayhorn) - 4:29
Piano in the Background 7. "It Don't Mean a Thing (If It Ain't Got That Swing)" (Ellington, Mills) - 4:33 8. "Main Stem" - 4:15 9. "Take the "A" Train" (Strayhorn) - 5:33 10. "Lullaby of Birdland" (George Shearing) - 5:23 Bonus track on CD reissue 11. "The Wailer" (Gerald Wilson) - 4:25 Bonus track on CD reissue 12. "Dreamy Sort of Thing" (Strayhorn) - 3:56 Bonus track on CD reissue 13. "Lullaby of Birdland" [alternate take] (Shearing) - 5:27 Bonus track on CD reissue 14. "Harlem Air Shaft" - 4:03 Bonus track on CD reissue • Recorded at Radio Recorders, Los Angeles on May 31, 1960 (tracks 4 & 5), June 2, 1960 (track 7), June 20, 1960 (tracks 3, 10, 12 & 13), June 22 (track 8), June 28, 1960 (tracks 6 & 9), June 29, 1960 (track 2) & June 30, 1960 (tracks 1 & 11) and March 3, 1961 (track 14)
Personnel • • • •
Duke Ellington – piano Willie Cook, Fats Ford, Eddie Mullins, Ray Nance - trumpet Lawrence Brown, Booty Wood, Britt Woodman - trombone Juan Tizol - valve trombone
• • • • • • •
Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone clarinet, bass clarinet Aaron Bell - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 14, 2010 [2] Jurek, T. Allmusic Review (http:/ / www. allmusic. com/ album/ r682150) accessed May 14, 2010
157
Swinging Suites by Edward E. and Edward G.
158
Swinging Suites by Edward E. and Edward G. Swinging Suites by Edward E. & Edward G.
Studio album by Duke Ellington Released
1960
Recorded
June 28, 29 & 30, and October 10, 1960
Genre
Jazz
Label
Columbia Duke Ellington chronology
Piano in the Background (1960)
Swinging Suites by Edward E. & Edward G. (1960)
Unknown Session (1960)
Swinging Suites by Edward E. & Edward G. (also known as Peer Gynt Suite/Suite Thursday) is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1960 featuring a jazz interpretation of "Peer Gynt" by Grieg and Ellington's tribute to John Steinbeck "Suite Thursday".[1] The album was rereleased on CD in as Three Suites along with Ellington's reworking of Tchaikovsky's "The Nutcracker" in 1990.
Reception The Allmusic review awarded the album 4½ stars.[2]
Track listing All compositions by Duke Ellington except as inicated 1. 2. 3. 4. 5. 6. 7.
"Morning Mood" (Grieg) - 4:24 "In the Hall of the Mountain King" (Grieg) - 2:33 "Solvejg's Song" (Grieg) - 3:59 "Ase's Death" (Grieg) - 3:47 "Anitra's Dance" (Grieg) - 2:58 "Misfit Blues" - 4:09 "Schwiphti" - 3:04
Swinging Suites by Edward E. and Edward G. 8. "Zweet Zurzday" - 3:56 9. "Lay-By" - 4:50 • Recorded at Radio Recorders, Los Angeles on June 28 (tracks 1 & 5), June 29 (tracks 3 & 4), June 30 (track 2), and October 10 (tracks 6-9), 1960.
Personnel • Duke Ellington – piano • Willie Cook, Fats Ford, Eddie Mullins, Ray Nance, Gerald Wilson (track 2), Britt Woodman (tracks 1-5) trumpet • Lawrence Brown, Matthew Gee, Booty Wood - trombone • Juan Tizol - valve trombone • Jimmy Hamilton - clarinet, tenor saxophone • Johnny Hodges (tracks 1-5), Paul Horn (tracks 6-9) - alto saxophone • Russell Procope - alto saxophone, clarinet • Paul Gonsalves - tenor saxophone • Harry Carney - baritone saxophone • Aaron Bell - bass • Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 28, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r153895) accessed May 28, 2010
159
Unknown Session
160
Unknown Session Unknown Session
Studio album by Duke Ellington Released
1979
Recorded
July 14, 1960
Genre
Jazz
Length
38:36
Label
Columbia Duke Ellington chronology
Swinging Suites by Edward E. and Edward G. (1960)
Unknown Session (1960)
Piano in the Foreground (1961)
Unknown Session is an album by American pianist, composer and bandleader Duke Ellington recorded in 1960 but not released on the Columbia label until 1979.[1]
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "these renditions are quite enjoyable, swing hard and sound fresh. Ellington fans should pick this one up".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7.
"Everything But You" (Ellington, Don George, Harry James) - 3:32 "Black Beauty" - 3:16 "All Too Soon" (Ellington, Carl Sigman) - 3:12 "Something to Live For" (Ellington, Billy Strayhorn) - 2:45 "Mood Indigo" (Barney Bigard, Ellington, Irving Mills) - 3:48 "Creole Blues [Excerpt from Creole Rhapsody]" - 2:30 "Don't You Know I Care (Or Don't You Care to Know)" (Mack David, Ellington) - 2:57
Unknown Session 8. "A Flower Is a Lovesome Thing" (Strayhorn) - 3:12 9. "Mighty Like the Blues" (Leonard Feather) - 3:19 10. "Tonight I Shall Sleep (With a Smile on My Face)" (Ellington, Irving Gordon) - 2:42 11. "Dual Highway" (Ellington, Johnny Hodges) - 2:52 12. "Blues" - 4:57 • Recorded at Radio Recorders, Los Angeles on July 14, 1960
Personnel • • • • • • • •
Duke Ellington – piano Ray Nance - trumpet Lawrence Brown - trombone Johnny Hodges - alto saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Aaron Bell - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 28, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138272) accessed May 28, 2010
161
162
1961 Piano in the Foreground Piano in the Foreground
Studio album by Duke Ellington Released
1961
Recorded
March 1 & 2, 1961
Genre
Jazz
Label
Columbia Duke Ellington chronology
Piano in the Background (1960)
Piano in the Foreground (1961)
The Great Summit (1961)
Piano in the Foreground is an album by American pianist, composer and bandleader Duke Ellington recorded and released on the Columbia label in 1961.[1] It features Ellington in a small group setting.
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "This rare trio session by Duke Ellington was the first of several in the early '60s that featured his piano in a variety of settings. It is particularly interesting hearing Ellington, along with three standards and a blues, performing some of his rarer compositions... One wishes that today's revivalists when playing "the Duke Ellington Songbook" would bring back some of his true obscurities such as the ones on this somewhat forgotten session".[2]
Piano in the Foreground
Track listing :All compositions by Duke Ellington except as indicated 1. "I Can't Get Started" (Vernon Duke, Ira Gershwin) - 4:23 2. "Cong-Go" (Aaron Bell, Ellington) - 4:16 3. "Body and Soul" (Edward Heyman, Robert Sour, Frank Eyton, Johnny Green) - 4:49 4. "Blues for Jerry" - 4:38 5. "Fontainebleau Forest" - 2:53 6. "Summertime" (George Gershwin, Ira Gershwin, Dubose Heyward) - 3:52 7. "It's Bad to Be Forgotten" - 3:22 8. "A Hundred Dreams Ago" - 2:26 9. "So" - 4:33 10. "Searching (Pleading for Love)" - 1:49 11. "Springtime in Africa" (Bell, Ellington) - 3:46 12. "Lotus Blossom" (Billy Strayhorn) - 3:18 13. "All the Things You Are" (Oscar Hammerstein II, Jerome Kern) - 4:00 Bonus track on CD reissue 14. "All the Things You Are" [alternate take] (Hammerstein, Kern) - 3:51 Bonus track on CD reissue 15. "Piano Improvisation No. 2" - 3:25 Bonus track on CD reissue 16. "Piano Improvisation No. 3" - 2:48 Bonus track on CD reissue 17. "Piano Improvisation No. 4" - 1:53 Bonus track on CD reissue 18. "Piano Improvisation No. 1" - 9:45 Bonus track on CD reissue • Recorded: at Columbia Records 30th Street Studio on March 20, 1957 (tracks 15-18) (stereo) at Columbia Records 30th Street Studio on October 10, 1957 (tracks 13-14) (monaural) at Radio Recorders, Los Angeles on March 1, 1961 (tracks 1-11) & March 2, 1961 (track 12) (stereo)
Personnel • • • •
Duke Ellington – piano Aaron Bell - bass (#1-12) Jimmy Woode - bass (#13-18) Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 14, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r682151) accessed May 14, 2010
163
The Great Summit
164
The Great Summit The Great Summit: The Master Takes
Studio album by Duke Ellington and Louis Armstrong Released
1961 Januari 9, 2001 (reissue)
Recorded
April 3–4, 1961. RCA Victor's Studio One, New York City.
Genre
Jazz
Length
1:07:23
Label
Roulette (Blue Note)
Producer
Bob Thiele Professional reviews
Allmusic
link
[1] Duke Ellington chronology
Piano in the Foreground (1961)
The Great Summit: The Master Takes (1961)
Louis Armstrong chronology
A Rare Batch of Satch (1961)
The Great Summit: The Master Takes (1961)
Together for the First Time
I Love Jazz (1962)
Paris Blues (1961)
The Great Summit
165
Original album cover. The Great Reunion
Original album cover.
The Great Summit: The Master Takes is a 2001 Blue Note album by Duke Ellington and Louis Armstrong. It's a reissue of the two Roulette albums Together For The First Time (track 1–10) and The Great Reunion (track 11–17) from 1961. (These two albums have later resurfaced as a Roulette double-LP entitled The Duke Ellington/Louis Armstrong Years and in 1990 as a remastered CD called Together for the First Time/The Great Reunion.) The contents of this album is an all-Ellington program performed by himself and Louis Armstrong & His All-Stars. These 17 selections are the entire result of the only studio meeting by Duke Ellington and Louis Armstrong.
The Great Summit
The Great Summit: The Master Takes All songs composed by Duke Ellington solely (except where otherwise stated). 1. Duke's Place — 5:03 2. I'm Just a Lucky So and So — 3:09 Lyrics by Mack David. 3. Cottontail — 3:42 4. Mood Indigo — 3:57 Co-composer is Barney Bigard with lyrics by Irving Mills. 5. Do Nothin' till You Hear From Me — 2:38 Lyrics by Bob Russell. 6. The Beautiful American — 3:08 7. Black and Tan Fantasy — 3:59 Co-composer is James "Bubber" Miley. 8. Drop Me Off in Harlem — 3:49 Lyrics by Nick Kenny. 9. The Mooche — 3:38 Lyrics by Irving Mills. 10. In a Mellow Tone — 3:48 Lyrics by Milt Gabler. 11. It Don't Mean a Thing (If It Ain't Got That Swing) — 3:58 Lyrics by Irving Mills. 12. Solitude — 4:55 Lyrics by Eddie DeLange and Irving Mills. 13. Don't Get Around Much Anymore — 3:31 Lyrics by Bob Russell. 14. I'm Beginning to See the Light — 3:37 Co-composers are Don George, Johnny Hodges and Harry James. 15. Just Squeeze Me — 3:58 Lyrics by Lee Gaines. 16. I Got It Bad (And That Ain't Good) — 5:31 Co-composer is Paul Francis Webster. 17. Azalea — 5:02
The Making of the Great Summit Already on August 1, 2000 Blue Note had released the compilation The Great Summit: The Complete Sessions, which contained the reissue above plus a second CD with alternate takes (rehearsals, false starts etc). The alternate takes were digitally remastered in 2000. 1. 2. 3. 4. 5. 6.
In a Mellow Tone — 4:15 I'm Beginning to See the Light — 6:56 Do Nothin' till You Hear From Me — 5:42 Don't Get Around Much Anymore — 10:43 Duke's Place — 4:18 Drop Me Off in Harlem — 4:57
7. I'm Just a Lucky So and So — 4:37 8. Azalea — 8:05 9. Black and Tan Fantasy — 7:13
166
The Great Summit
167
10. Band Discussion on Cottontail — 1:08
Personnel • • • • • •
Duke Ellington (piano) Louis Armstrong (trumpet, vocals) Barney Bigard (clarinet) Danny Barcelona (drums) Mort Herbert (bass) Trummy Young (trombone)
Credits • Bob Thiele (producer) • Ray Hall (recording engineer) • Arnold Meyers (cover photograph)) -• Michael Cuscuna (reissue producer) • Ron McMaster (remix and remaster)
References [1] http:/ / www. allmusic. com/ album/ r512239
Paris Blues Paris Blues
Directed by
Martin Ritt
Produced by
Sam Shaw
Written by
Walter Bernstein, Irene Kamp, Jack Sher, Harold Flender (novel), Lulla Rosenfeld (adaptation)
Starring
Paul Newman, Joanne Woodward, Sidney Poitier, Louis Armstrong, Diahann Carroll
Music by
Duke Ellington
Cinematography Christian Matras Editing by
Roger Dwyer
Studio
United Artists
Release date(s)
27 September 1961
Paris Blues
168 Running time
98 minutes
Country
United States
Language
English
Paris Blues (1961) is an American feature film filmed on location in Paris, starring Sidney Poitier as expatriate jazz musician Eddie Cook, and Paul Newman as trombone-playing Ram Bowen.[1] [2] The two men romance two vacationing American tourists, Connie Lampson (Diahann Carroll) and Lillian Corning (Joanne Woodward) respectively. The film also deals with American racism of the time contrasted with Paris's kinder treatment of African Americans. The film also features trumpeter Louis Armstrong as Wild Man Moore and jazz pianist Aaron Bridgers; both play musicians within the film. It was produced by Sam Shaw, directed by Martin Ritt from a screenplay by Walter Bernstein, and with cinematography by Christian Matras. Paris Blues was released in the U. S. on September 27, 1961.
Cast • • • • • • • • • • • • •
Paul Newman as Ram Bowen Joanne Woodward as Lillian Corning Sidney Poitier as Eddie Cook Louis Armstrong as Wild Man Moore Diahann Carroll as Connie Lampson Barbara Laage as Marie Séoul André Luguet as René Bernard Marie Versini as Nicole Moustache as Mustachio the drummer Aaron Bridgers Bridgers as Pianist Guy Pederson as Bass Player Serge Reggiani as Michel Devigne Emilien Antille as Man with alto sax in jazz cave when Armstrong enters
• • • • • • • • • • • • • • • •
Roger Blin as Fausto the moor Charles Bouillaud as Luggage carrier in train Michel Dacquin as Guest at Devigne's party Hélène Dieudonné as The Pusher Michel Garland as Club 33 customer René Hell as Man with dog in the park Jo Labarrère as Club 33 customer Jack Lenoir as Club 33 waiter Frank Maurice as Luggage carrier on the platform Niko as Ricardo Michel Portal as Musician Claude Rollet as Club 33 customer Albert Simono as Guest at Devigne's party André Tomasi as Club 33 bartender María Velasco as Pianist Dominique Zard
Paris Blues
169
Soundtrack Paris Blues
Soundtrack album by Duke Ellington Released
1961
Recorded
May 2 & 3, 1961
Genre
Jazz
Label
United Artists Duke Ellington chronology
The Great Summit (1961)
Paris Blues (1961)
First Time! The Count Meets the Duke (1961)
Paris Blues is a soundtrack album by American pianist, composer and bandleader Duke Ellington recorded and released on the United Artists label in 1961 and reissued on Rykodisc in 1996 with additional dialogue from the film and the film trailer on CD-ROM.[3] It features performances by Ellington's Orchestra with Louis Armstrong guesting on two tracks.
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "Although not a classic, Paris Blues (both the film and the soundtrack) is worth owning by jazz collectors".[4] A review in Jazz Times by Stanley Dance, however, was quite critical of the release stating "both movie and music, in my opinion, were disappointing examples of how too many cooks spoil the broth... for the main NYC sessions, no less than five drummers were brought in, who lamentably failed to swing the big band as the absent Sam Woodyard could have done all by himself. One of the few moments of truth occurs in the finale, "Paris Blues," when Johnny Hodges is briefly heard".[5]
Paris Blues
Track listing All compositions by Duke Ellington except as indicated 1. "Take the "A" Train' (Billy Strayhorn) - 2:14 2. You Know Something? - 0:24 3. "Battle Royal" - 4:31 4. "Bird Jungle" - 1:59 5. What's Paris Blues? - 0:45 6. "Mood Indigo" (Ellington, Barney Bigard, Irving Mills) - 3:15 7. "Autumnal Suite" - 3:14 8. "Nite" - 3:32 9. "Wild Man Moore" - 1:49 10. "Paris Stairs" - 3:05 11. I Wasn't Shopping - 0:21 12. "Guitar Amour" - 2:02 13. A Return Reservation - 0:33 14. "Paris Blues" - 5:53 • Recorded at Reeves Sound Studios, New York on May 2 & 3, 1961
Personnel • • • • • • • • • • • • • •
Duke Ellington – piano Louis Armstrong - trumpet (tracks 3 & 9) Cat Anderson, Willie Cook, Ed Mullens, Ray Nance, Clark Terry - trumpet Louis Blackburn, Lawrence Brown, Murray McEachern, Britt Woodman - trombone Juan Tizol - valve trombone Arthur Clark, Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges, Oliver Nelson - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Harry Smiles - oboe Les Spann - guitar, flute Aaron Bell - bass Sonny Greer, Dave Jackson, Jimmy Johnson, Philly Joe Jones, Max Roach - drums
References [1] [2] [3] [4] [5]
Variety film review; September 27, 1961, page 7. Harrison's Reports film review; September 23, 1961, page 150. A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 14, 2010 Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r170155) accessed May 14, 2010 Dance, S. Paris Blues Soundtrack Review (http:/ / jazztimes. com/ articles/ 7704-paris-blues-soundtrack-duke-ellington), Jazz Times, March 1999.
External links • Paris Blues (http://www.imdb.com/title/tt0055278/) at the Internet Movie Database • Paris Blues (http://tcmdb.com/title/title.jsp?stid=16151) at the TCM Movie Database
170
First Time! The Count Meets the Duke
171
First Time! The Count Meets the Duke First Time! The Count Meets the Duke
Studio album by Duke Ellington Released
1961
Recorded
July 6, 1961
Genre
Jazz
Label
Columbia Duke Ellington chronology
Paris Blues (1961)
First Time! The Count Meets the Duke (1961)
The Girl's Suite and The Perfume Suite (1957-1961)
Count Basie chronology
The Count Basie Story (1961)
First Time! The Count Meets the Duke (1961)
The Legend (1961)
First Time! The Count Meets the Duke is an album by American pianists, composers and bandleaders Duke Ellington and Count Basie with their combined Orchestras recorded and released on the Columbia label in 1961.[1]
First Time! The Count Meets the Duke
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars calling it "a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Battle Royal" - 5:33 "To You" (Benny Davis, Tommy Dorsey, Thad Jones, Ted Shapiro) - 3:53 "Take the "A" Train (Billy Strayhorn) - 3:46 "Corner Pocket" [aka "Until I Met You"] (Freddie Green, Donald Wolf) - 4:53 "Wild Man" [aka "Wild Man Moore"] - 6:20 "Segue in C" (Frank Wess) - 8:22 "B D B" (Ellington, Strayhorn) - 4:43 "Jumpin' at the Woodside" (Count Basie) - 3:09 "One More Once" - 3:25 Bonus track on CD reissue
10. 11. 12. 13. 14. 15.
"Take the "A" Train" [alternate take] (Strayhorn) - 5:50 Bonus track on CD reissue "Jumpin' at the Woodside" [alternate take] (Basie) - 3:14 Bonus track on CD reissue "B D B" [alternate take] (Ellington, Strayhorn) - 4:30 Bonus track on CD reissue "Blues in Hoss' Flat" (Basie, Frank Foster) - 3:13 Bonus track on CD reissue "Wild Man" [alternate take] - 5:55 Bonus track on CD reissue "Battle Royal" [alternate take] - 6:32 Bonus track on CD reissue
• Recorded at 30th Street Studio, New York on July 6, 1961
Personnel • Duke Ellington, Count Basie – piano • Cat Anderson, Willie Cook, Eddie Mullens, Ray Nance, Sonny Cohn, Lennie Johnson, Thad Jones, Snooky Young - trumpet • Louis Blackburn, Lawrence Brown, Henry Coker, Quentin Jackson, Benny Powell - trombone • Juan Tizol - valve trombone • Jimmy Hamilton - clarinet, tenor saxophone • Johnny Hodges - alto saxophone • Russell Procope, Marshall Royal - alto saxophone, clarinet • Frank Wess - alto saxophone, tenor saxophone • Paul Gonsalves, Frank Foster, Budd Johnson - tenor saxophone • Harry Carney, Charlie Fowlkes - baritone saxophone • Freddie Green - guitar • Aaron Bell, Eddie Jones - bass • Sam Woodyard, Sonny Payne - drums
172
First Time! The Count Meets the Duke
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138199) accessed May 17, 2010
173
174
1962 Featuring Paul Gonsalves Featuring Paul Gonsalves
Studio album by Duke Ellington Recorded
May 1, 1962
Genre
Jazz
Label
Fantasy Duke Ellington chronology
All American In Jazz (1962)
Featuring Paul Gonsalves (1962)
Studio Sessions 1957 & 1962 (1957-62)
Featuring Paul Gonsalves is an album by American pianist, composer and bandleader Duke Ellington recorded in 1962 for the Fantasy label.[1] The album features performances highlighting saxophonist Paul Gonsalves.
Reception The Allmusic review by Stephen Cook awarded the album 4 stars and stated "Gonsalves turns this one-off session into one of the more enjoyable titles in Ellington's catalog".[2]
Track listing All compositions by Duke Ellington except as indicated. 1. 2. 3. 4. 5.
"C Jam Blues" (Barney Bigard, Ellington) - 5:14 "Take the "A" Train" (Billy Strayhorn) - 5:43 "Happy Go Lucky Local" - 5:03 "Jam With Sam" - 3:18 "Caravan" (Ellington, Irving Mills, Juan Tizol) - 6:12
Featuring Paul Gonsalves 6. "Just A-Sittin' and A-Rockin'" (Ellington, Lee Gaines, Strayhorn) - 4:49 7. "Paris Blues" - 3:30 8. "Ready, Go!" (Ellington, Strayhorn) - 5:01 • Recorded at A & R Studio, New York on May 1, 1962
Personnel • • • • • • • • • • •
Duke Ellington – piano Ray Nance - cornet Cat Anderson, Bill Berry, Roy Burrowes - trumpet Lawrence Brown, Leon Cox - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges, Russell Procope - alto saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Aaron Bell - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 16, 2010 [2] Cook, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138197) accessed June 16, 2010
175
Studio Sessions 1957 & 1962
176
Studio Sessions 1957 & 1962 Studio Sessions 1957 & 1962
Studio album by Duke Ellington Released
1987
Recorded January 17 & 29, 1957, February 1957, March 29, 1962, May 28, 1962 and June 6, 1962 Genre
Jazz
Label
LMR
Producer Duke Ellington Duke Ellington chronology
Featuring Paul Gonsalves (1962)
Studio Sessions 1957 & 1962 (1957-62)
Midnight in Paris (1962)
Studio Sessions 1957 & 1962 is the seventh volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated "these sets allow one to hear Duke experimenting with his ensemble. Some selections were essentially works-in-progress that would develop within the next few years; others were quickly discarded originals or rearrangements of older tunes".[2]
Track listing :All compositions by Duke Ellington 1. 2. 3. 4. 5.
Things Ain't What They Used to Be (Mercer Ellington) - 3:19 "Something Sexual" - 2:16 "The Riff" - 2:25 "Bluer" - 2:14 "Wailing 'Bout" - 2:48
Studio Sessions 1957 & 1962 6. "I Cover the Waterfront" (Johnny Green, Edward Heyman) - 3:27 7. "Blues a la Willie Cook" - 4:03 8. "Slow Blues Ensemble" - 3:13 9. "Circle of Fourths" (Ellington, Billy Strayhorn) - 2:12 10. "Perdido" (Juan Tizol) - 3:12 11. "Three Trumps" - 2:46 12. "Deep Blues" (Ellington, [[McAlpin, Rose 3:30 13. "Things Ain't What They Used to Be" (Mercer Ellington]]) - 6:51 14. "Paris Blues" - 2:49 15. "I Got It Bad (And That Ain't Good)" (Ellington, Paul Francis Webster) - 3:15 16. "Circle Blues" - 5:46 17. "Perdido" (Tizol) - 3:15 18. "The Sky Fell Down" - 4:30 19. "Cotton Tail" - 3:04 20. "Passion Flower" (Strayhorn) - 4:22 • Recorded at Universal Studios, Chicago on January 17, 1957 (tracks 3-6), January 29, 1957 (tracks 7-12), February 1957 (tracks 1 & 2), at A&R Studio, New York on March 29, 1962 (tracks 13-16), and at Bell Sound Studio, New York on May 28, 1962 (tracks 17, 18 & 20), and June 6, 1962 (track 19).
Personnel • • • • • • • • • • • • • • •
Duke Ellington – piano (tracks 1-12, 14 & 17-20) Billy Strayhorn - piano (tracks 13, 15 & 16) Ray Nance -cornet (tracks 13-20), trumpet ( (tracks 1, 3, 4, 7, 8 & 11) Cat Anderson (track 1 & 17-20), Bill Berry (track 14 & 17-20), Roy Burrowes (track 14 & 17-20), Willie Cook (tracks 1, 3, 4, 7, 8 & 11), Eddie Mullens (track 14), Clark Terry (tracks 1, 3, 4 & 8-11) - trumpet Lawrence Brown (track 13-20), Leon Cox (track 14 & 17-20), Quentin Jackson (track 1), Britt Woodman (track 1) - trombone John Sanders - valve trombone (track 1) Chuck Connors - bass trombone (track 14 & 17-20) Jimmy Hamilton - clarinet, tenor saxophone (track 1, 14 & 17-20) Russell Procope - alto saxophone, clarinet (track 1, 14 & 17-20) Johnny Hodges - alto saxophone (tracks 1, 2, 13-20) Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone (track 1 & 13-20) Aaron Bell (track 13-20), Jimmy Woode (tracks 1-12)- bass Sonny Greer (track 14), Sam Woodyard (tracks 1-13, 15-20) - drums Unidentified choir (track 2)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 22, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r161760) accessed June 22, 2010
177
Midnight in Paris (album)
178
Midnight in Paris (album) Midnight in Paris
Studio album by Duke Ellington Released
1962
Recorded
January 30 & 31, June 21 & 26, 1962
Genre
Jazz
Label
Columbia Duke Ellington chronology
Studio Sessions 1957 & 1962 (1957-62)
Midnight in Paris (1962)
Duke Ellington Meets Coleman Hawkins (1962)
Midnight in Paris is an album by American pianist, composer and bandleader Duke Ellington recorded in 1962 for the Columbia label.[1] The album features performances of compositions inspired by or associated with Paris.
Reception The Allmusic review by Scott Yanow awarded the album 1½ stars and stated "One of the odder Duke Ellington collections... Pretty music but far from essential".[2]
Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Under Paris Skies" "I Wish You Love" "Mademoiselle De Paris" "Comme Çi Comme Ça" "Speak To Me Of Love" "A Midnight In Paris" "My Heart Sings" "Guitar Amour" "The Petite Waltz"
Midnight in Paris (album) 10. 11. 12. 13.
"Paris Blues" "Javapachacha" "No Regrets" "The River Seine"
• Recorded at Columbia Studio A, New York on January 30, 1962 (tracks 5, 8 & 10), January 31, 1962 (tracks 4, 9 & 11), February 27, 1962 (track 1), June 21, 1962 (tracks 3 & 6), and June 26, 1962 (tracks 2, 7, 12 & 13).
Personnel • • • • • • • •
Duke Ellington – piano (tracks 1-3, 6, 7, 12 & 13) Billy Strayhorn - piano (tracks 4, 5 & 8-11) Ray Nance - cornet Cat Anderson, Shorty Baker (tracks 1, 4, 5 & 8-11), Bill Berry (tracks 2, 5, 7, 8, & 11-13), Roy Burrowes (tracks 1-3, 6, 7, 12 & 13), Howard McGhee (tracks 4, 9 & 11) - trumpet Lawrence Brown, Buster Cooper (tracks 1-3, 6, 7, 12 & 13), Lyle Cox (tracks 4, 5 & 8-11) - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone
• • • • •
Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Aaron Bell - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 16, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138228) accessed June 16, 2010
179
Duke Ellington Meets Coleman Hawkins
180
Duke Ellington Meets Coleman Hawkins Duke Ellington Meets Coleman Hawkins
Studio album by Duke Ellington and Coleman Hawkins Released
February 1963
Recorded
August 18, 1962
Genre
Jazz
Length
44:51
Label
Impulse! (A-26, AS-26)
Producer
Bob Thiele Professional reviews
Allmusic
link
[1] Duke Ellington chronology
Midnight in Paris (1962)
Duke Ellington Meets Coleman Hawkins (1963)
Studio Sessions, New York 1962 (1962)
Coleman Hawkins chronology
Alive! (1962)
Duke Ellington Meets Coleman Hawkins (1963)
Desafinado (1963)
Duke Ellington Meets Coleman Hawkins is a jazz album by Duke Ellington and Coleman Hawkins recorded on August 28, 1962 and released in February 1963 by Impulse! Records.[2] In 1995, the New York Times described it as "one of the great Ellington albums, one of the great Hawkins albums and one of the great albums of the 1960's"[3] .
Duke Ellington Meets Coleman Hawkins
Track listing All songs composed by Duke Ellington ((except where otherwise stated). 1. Limbo Jazz — 5:15 2. Mood Indigo — 5:56 (co-composer is Barney Bigard) 3. Ray Charles' Place — 4:05 4. Wanderlust — 5:00 (co-composer is Johnny Hodges) 5. You Dirty Dog — 4:20 6. Self-Portrait (of the Bean) — 3:53 7. The Jeep is Jumpin' — 4:50 (co-composer is Johnny Hodges) 8. The Ricitic — 5:53 9. Solitude[4] — 5:51 (co-composer is Eddie DeLange)
Personnel Performance • • • • • • • •
Duke Ellington (piano) Coleman Hawkins (tenor saxophone) Aaron Bell (bass) Lawrence Brown (trombone) Harry Carney (bass clarinet, baritone saxophone) Johnny Hodges (alto saxophone) Ray Nance (violin, cornet) Sam Woodyard (drums)
Credits • • • • • •
Bob Thiele (producer) Rudy Van Gelder (engineer) Joe Alper (photography) Jason Claiborne (graphic design) Stanley Dance (liner notes) Hollis King (art direction)
— • Michael Cuscuna (liner notes, reissue producer) • Erick Labson (digital remastering)
181
Duke Ellington Meets Coleman Hawkins
Notes [1] http:/ / www. allmusic. com/ album/ r138159 [2] Billboard, Feb. 9, 1963, p. 29. [3] Watrous, Peter. (December 17, 1995) "Duke Ellington Meets Coleman Hawkins" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9C00EFDF1439F934A25751C1A963958260) New York Times. Accessed September 19, 2007. [4] CD reissue only. Solitude was until the 1995 CD reissue never part of the album. Originally issued on the compilation album The Definitive Jazz Scene-Volume 1 (Impulse! A-99) in the 1960's.
182
Money Jungle
183
Money Jungle Money Jungle
Studio album by Duke Ellington with Charles Mingus and Max Roach Released
February 1963
Recorded
September 17, 1962 Sound Makers, New York City
Genre
Jazz
Length
48:25
Label
United Artists Records Blue Note
Producer
Alan Douglas Professional reviews
• •
Allmusic Allmusic
[1] [2] Exp. ed.
Duke Ellington chronology
Studio Sessions, New York 1962 (1962)
Money Jungle (1963)
Duke Ellington & John Coltrane (1963)
Money Jungle is a jazz album by Duke Ellington with Charles Mingus and Max Roach recorded on September 17, 1962 and released in February 1963 by United Artists Jazz.[3] The almost all-Ellington repertoire on this album is not only reworks of older compositions, as Ellington wrote the bulk of the material specifically for the LP. All songs composed by Duke Ellington solely (except where otherwise stated).
Money Jungle
LP (1963 — United Artists Records UAJ 14017) Side one 1. 2. 3. 4.
Money Jungle — 5:20 Le Fleurs Africaines (African Flower) — 3:36 Very Special — 4:26 Warm Valley — 3:32
Side two 1. Wig Wise — 3:20 2. Caravan — 4:12 Music by Juan Tizol (lyrics by Irving Mills). 3. Solitude — 5:33
CD (1987 — Blue Note CDP 7 46398 2) This 1987 reissue on CD changed the order of the songs and added four previously unreleased works written for this session (+two alternate takes). 1. Very Special — 4:27 2. A Little Max (Parfait) — 2:58 3. A Little Max (Parfait) — 3:56 Alternate take. 4. Fleurette Africaine (African Flower) — 3:37 5. REM Blues — 4:17 6. Wig Wise — 3:19 7. Switch Blade — 5:25 8. Caravan — 4:14 9. Money Jungle — 5:30 10. Solitude — 4:44 Alternate take. 11. Solitude — 5:34 12. Warm Valley — 3:34 13. Backward Country Boy Blues — 6:19
CD (2002 — Blue Note 38227) On this reissue we're back with the original ordering of the first seven songs — with the other four songs added at the end (+four alternate takes). 1. 2. 3. 4. 5. 6. 7. 8.
Money Jungle — 5:29 Fleurette Africaine (African Flower) — 3:36 Very Special — 4:26 Warm Valley — 3:32 Wig Wise — 3:20 Caravan — 4:12 Solitude — 5:33 Switch Blade – 5:24
9. A Little Max (Parfait) – 2:58 10. REM Blues – 4:18 11. Backward Country Boy Blues – 6:33
184
Money Jungle 12. Solitude – 4:44 Alternate take. 13. Switch Blade – 5:13 Alternate take. 14. A Little Max (Parfait) — 2:57 Alternate take. 15. REM Blues — 5:45 Alternate take.
Personnel • Duke Ellington (piano) • Charles Mingus (bass) • Max Roach (drums)
References [1] http:/ / www. allmusic. com/ album/ r138229 [2] http:/ / www. allmusic. com/ album/ r597536 [3] Billboard, Feb. 9, 1963, p. 28.
185
Duke Ellington & John Coltrane
186
Duke Ellington & John Coltrane Duke Ellington & John Coltrane
Studio album by Duke Ellington and John Coltrane Released
February 1963
Recorded
September 26, 1962 Van Gelder Studio, Englewood Cliffs
Genre
Jazz
Length
35:05
Label
Impulse! (A-30, AS-30)
Producer
Bob Thiele Professional reviews
•
Allmusic
[1]
Duke Ellington chronology
Money Jungle (1963)
Duke Ellington & John Coltrane (1963)
Afro-Bossa (1963)
John Coltrane chronology
Coltrane (1962)
Duke Ellington & John Coltrane (1963)
Ballads (1963)
Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962 and released in February 1963 on Impulse! Records.[2] For Ellington, it was one of many collaborations with fellow jazz-greats in the early 1960s, including Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach and Charles Mingus. More unusually, it placed him in a jazz quartet setting (in this case, sax, piano, bass and drums), rather than his usual one in a big band.[3] The quartet was filled out by the bassist and drummer from either of their bands. The tracks they recorded featured Ellington
Duke Ellington & John Coltrane standards ("In a Sentimental Mood"), new Ellington compositions and a new Coltrane composition ("Big Nick").[4] For Coltrane, it was an opportunity to work with one of jazz's all-time greats. It was one of several albums he recorded in the early 1960s in a more conservative and accessible style, alongside John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style and age (Ellington was 63 and Coltrane 36 when the tracks were recorded), the two interact seamlessly and subtly, neither one outshining the other. Coltrane felt very honoured to work with Ellington: "I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven't caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn't have had the same spontaneity. And they mightn't have been any better!" (Excerpt from the CD booklet.)
Track listing 1. "In a Sentimental Mood" – 4:14 (Duke Ellington) 2. "Take The Coltrane" – 4:42 (Billy Strayhorn) 3. "Big Nick" – 4:30 (John Coltrane) 4. "Stevie" – 4:22 (Duke Ellington) 5. "My Little Brown Book" – 5:20 (Billy Strayhorn) 6. "Angelica" – 6:00 (Duke Ellington) 7. "The Feeling of Jazz" – 6:00 (Bobby Troup/Duke Ellington/George T. Simon)
Personnel • • • • • •
Duke Ellington (piano) John Coltrane (tenor saxophone, except on "Big Nick", where he plays soprano saxophone) Jimmy Garrison (bass on tracks 2,3,6) Aaron Bell (bass on tracks 1,4,5,7) Elvin Jones (drums on tracks 1-3, 6) Sam Woodyard (drums on tracks 4,5,7)
References [1] http:/ / www. allmusic. com/ album/ r138151 [2] Billboard, Feb. 9, 1963, p. 28. [3] "Duke Ellington: 'Duke Ellington & John Coltrane'" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=4555589). NPR. . Retrieved 2010-05-20. [4] "John Coltrane" (http:/ / www. warr. org/ trane. html). WARR. . Retrieved 2010-05-20.
187
Studio Sessions, New York 1962
188
Studio Sessions, New York 1962 Studio Sessions, New York 1962
Studio album by Duke Ellington Released
1987
Recorded
July 25 and September 12 & 13, 1962.
Genre
Jazz
Label
LMR Duke Ellington chronology
Duke Ellington Meets Coleman Hawkins (1962)
Studio Sessions, New York 1962 (1962)
Money Jungle (1962)
Studio Sessions, New York 1962 is the third volume of The Private Collection a series of recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "One of the strongest in The Private Collection... Recommended".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7.
"E.S.P." - 4:44 "Blue, Too (The Shepherd)" - 4:08 "Tune Up" - 3:25 "Take It Slow" (Billy Strayhorn) - 2:57 "Telstar" - 2:33 "To Know You Is to Love You" - 2:32 "Like Late" - 3:41
Studio Sessions, New York 1962 8. "Major" - 4:06 9. "Minor" - 1:58 10. ""G" for Groove" - 4:17 11. "The Lonely Ones" (Ellington, Don George) - 2:54 12. "Monk's Dream" (Thelonious Monk) - 2:26 13. "Frere Monk" - 2:24 14. "Cordon Bleu" - 4:19 15. "New Concerto for Cootie" (Ellington, Elwyn Fraser, Cootie Williams) - 2:32 16. "September 12th Blues" - 5:05 • Recorded at A& R Studio, New York on July 25, 1962 (tracks 2-5 & 7-10), September 12, 1962 (tracks 1, 6 & 16), September 13, 1962 (tracks 11-15).
Personnel • • • •
Duke Ellington – piano (tracks 1, 4, 5 & 7-16) Billy Strayhorn - piano (tracks 4, 5, 7 & 14) Ray Nance - cornet (tracks 1, 6 & 11-16) Cat Anderson, Bill Berry, Roy Burrowes, Cootie Williams - trumpet (tracks 1, 6, & 11-16)
• • • • • • • • • •
Lawrence Brown (tracks 1, 6, & 11-16), Buster Cooper, Britt Woodman (tracks 2-5, 7-10), - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone (tracks 1, 6, & 11-16) Johnny Hodges - alto saxophone (tracks 1-6 & 11-16) Russell Procope - alto saxophone, clarinet (tracks 1, 6, & 11-16) Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone (tracks 1-6 & 11-15) Aaron Bell - bass Sam Woodyard - drums Milt Grayson - vocals (tracks 6 & 11)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 21, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r189204) accessed June 21, 2010
189
Recollections of the Big Band Era
190
Recollections of the Big Band Era Recollections of the Big Band Era
Studio album by Duke Ellington Released
1974
Recorded November 29, 1962, December 11, 13, 14, 20 & 29, 1962 & January 3 & 4, 1963 Genre
Jazz
Length
74:18 (CD Reissue)
Label
Reprise Duke Ellington chronology
Will the Big Bands Ever Return? (1963)
Recollections of the Big Band Era (1962-63)
Afro-Bossa (1963)
Recollections of the Big Band Era is an album by American pianist, composer and bandleader Duke Ellington recorded in 1962 & 1963 for the Reprise label but not released until 1974 on the Atlantic label.[1] The album features performances of compositions associated with big bands led by artists such as Count Basie, Fletcher Henderson, Louis Armstrong, Cab Calloway and others by the Duke Ellington's Orchestra. The 1989 CD reissue included 11 bonus tracks that originally appeared on Will the Big Bands Ever Come Back? which was released on Reprise in 1965.[2]
Recollections of the Big Band Era
Reception The Allmusic review by Bruce Eder awarded the album 3 stars and stated "The material is done in a smooth, swinging style, more laid-back than what the Count Basie orchestra of the same period would have done with this same stuff but with enough fire and boundless elegance to make it more than worthwhile... this is sort of a concept album, and a rather good one at that".[3]
Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Minnie the Moocher" (Cab Calloway, Clarence Gaskill, Irving Mills) - 2:47 "For Dancers Only" (Sy Oliver, Don Raye, Vic Schoen) - 3:04 "It's a Lonesome Old Town (When You're Not Around)" (Charles Kisco, Harry Tobias) - 2:20 "Cherokee" (Ray Noble) - 2:54 "The Midnight Sun Will Never Set" (Dorcas Cochran, Quincy Jones, Henri Salvador) - 3:06 "Let's Get Together" (Chick Webb) - 2:40 "I'm Getting Sentimental Over You" (George Bassman, Ned Washington) - 3:25 "Chant of the Weed" (Don Redman) - 3:26 "Ciribiribin" (Alberto Pestalozza) - 3:28
10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.
"Contrasts" (Jimmy Dorsey) - 2:45 "Christopher Columbus" (Chu Berry, Andy Razaf) - 3:05 "Auld Lang Syne" (Robert Burns, Traditional) - 2:19 "Tuxedo Junction" (Erskine Hawkins, Bill Johnson, Buddy Feyne) - 3:27 Bonus track on CD reissue "Smoke Rings" (Gene Gifford, Ned Washington) - 2:51 Bonus track on CD reissue "Artistry in Rhythm" (Stan Kenton) - 3:17 Bonus track on CD reissue "The Waltz You Saved for Me" (Gus Kahn, Wayne King) - 2:27 Bonus track on CD reissue "Woodchopper's Ball" (Joey Bishop, Woody Herman) - 3:15 Bonus track on CD reissue "Sentimental Journey" (Les Brown, Bud Green, Ben Homer) - 2:29 Bonus track on CD reissue "When It's Sleepy Time Down South" (Clarence Muse, Leon René, Otis René) - 3:17 Bonus track on CD reissue "One O'Clock Jump" (Count Basie) - 7:20 Bonus track on CD reissue "Goodbye" (Gordon Jenkins) - 3:04 Bonus track on CD reissue "Sleep, Sleep, Sleep" (Earl Lebieg) - 2:45 Bonus track on CD reissue "Rhapsody in Blue" (George Gershwin) - 4:47 Bonus track on CD reissue
• Recorded at Fine Studios, New York on November 29, 1962 (tracks 6-8, 11, 20 & 21), December 11, 1962 (tracks 3, 9 & 13), December 13, 1962 (tracks 1 & 18), December 14, 1962 (tracks 2 & 19), December 20, 1962 (tracks 10, 22 & 23), December 29, 1962 (track 12), January 3, 1962 (tracks 5, 15 & 17), and January 4, 1963 (tracks 4, 14 & 16).
Personnel • • • • • • •
Duke Ellington – piano Ray Nance - cornet Cat Anderson, Roy Burrowes, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone
• Russell Procope - alto saxophone, clarinet • Paul Gonsalves - tenor saxophone • Harry Carney - baritone saxophone, clarinet, bass clarinet
191
Recollections of the Big Band Era • Ernie Shepard - bass • Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 11, 2010 [2] Hovan, C. A. Duke Ellington:The Reprise Studio Recordings Review (http:/ / www. allaboutjazz. com/ php/ article. php?id=4969) All About Jazz, January 1, 2000. [3] Eder, B. Allmusic Review (http:/ / www. allmusic. com/ album/ r138250) accessed May 11, 2010
192
193
1963 Afro-Bossa Afro-Bossa
Studio album by Duke Ellington Released
April 1963
Recorded
November 29, 1962, December 20, 1962 & January 4 & 5, 1963
Genre
Jazz
Label
Reprise Duke Ellington chronology
Duke Ellington & John Coltrane (1963)
Afro-Bossa (1963)
The Great Paris Concert (1963)
Afro-Bossa is an album by American pianist, composer and bandleader Duke Ellington recorded and released on the Reprise label in 1963.[1]
Afro-Bossa
Reception The Allmusic review by Ken Dryden awarded the album 4 stars and stated "This is easily one of Duke Ellington's essential studio recordings of the 1960s, though it isn't as widely recognized as it ought to be".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. "Afro-Bossa" - 4:22 2. "Purple Gazelle" - 2:44 3. "Absinthe" (Billy Strayhorn) - 3:34 4. "Moonbow" - 2:33 5. "Sempre Amoré" - 3:14 6. "Caliné (Silk Lace)" - 2:31 7. "Tigress" (Strayhorn) - 3:06 8. "Angu" - 2:42 9. "Volupté" - 2:44 10. "Bonga" - 2:49 11. "Pyramid" (Ellington, Irving Gordon, Irving Mills, Juan Tizol) - 3:03 12. "Eighth Veil" (Ellington, Strayhorn) - 2:48 • Recorded at Fine Studios, New York on November 29, 1962 (track 9), December 20, 1962 (tracks 6 & 11), January 4, 1963 (track 10), and January 5, 1963 (tracks 1-5, 7 & 8).
Personnel • • • • • • • • • • • • •
Duke Ellington – piano (tracks 1, 2, 4-7 & 9-11) Billy Strayhorn - piano (tracks 3 & 8) Ray Nance - cornet Cat Anderson, Roy Burrowes, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet Ernie Shepard - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 11, 2010 [2] Dryden, K. Allmusic Review (http:/ / www. allmusic. com/ album/ r151365) accessed May 11, 2010
194
The Great Paris Concert
195
The Great Paris Concert The Great Paris Concert
Live album by Duke Ellington Released
1973
Recorded
Feb 1, 1963-Feb 23, 1963
Genre
jazz
Length
118:34
Label
Atlantic
Producer
(Reissue) Ilhan Mimaroglu, Bob Porter Professional reviews
Allmusic
link
[1] Duke Ellington chronology
Afro-Bossa (1963)
The Great Paris Concert (1963)
The Symphonic Ellington (1963)
The Great Paris Concert is a 1973 live double album by jazz legend Duke Ellington preserving pieces of a series of performances given in Paris during February 1963. Several of the tracks were previously edited and included in Duke Ellington's Greatest Hits. Those edited tracks were included on the 1989 CD re-release of The Great Paris Concert.
The Great Paris Concert
Track listing All tracks written by Duke Ellington unless otherwise noted. All tracks live. 1. "Kinda Dukish" – 1:52 2. "Rockin' in Rhythm" (Harry Carney, Ellington, Irving Mills) – 3:47 3. "On the Sunny Side of the Street" (Dorothy Fields, Jimmy McHugh) – 2:58 4. "The Star-Crossed Lovers" (Ellington, Billy Strayhorn) – 4:18 5. "All of Me" (Gerald Marks, Seymour Simons) – 2:35 6. "Theme from the Asphalt Jungle" – 4:08 7. "Concerto for Cootie" – 2:31 8. "Tutti for Cootie" (Ellington, Jimmy Hamilton) – 2:31 9. "Suite Thursday: Misfit Blues" (Ellington, Strayhorn) – 3:39 10. "Suite Thursday: Schwiphti" (Ellington, Strayhorn) – 2:50 11. "Suite Thursday: Zweet Zurzday" (Ellington, Strayhorn) – 3:55 12. "Suite Thursday: Lay-By" (Ellington, Strayhorn) – 6:25 13. "Perdido" (Ervin Drake, H.J. Lengsfelder, Juan Tizol) – 5:22 14. "The Eighth Veil" (Ellington, Strayhorn) – 2:33 15. "Rose of the Rio Grande" (Ross Gorman, Edgar Leslie, Harry Warren) – 2:41 16. 17. 18. 19. 20.
"Cop Out" – 6:58 "Bula" – 4:42 "Jam With Sam" – 3:51 "Happy Go Lucky Local" – 3:25 "Tone Parallel to Harlem" – 14:05
Additional tracks on 1989 re-release • "Don't Get Around Much Anymore" (Ellington, Bob Russell) – 2:33 2. "Do Nothin' Till You Hear From Me" (Ellington, Russell) – 4:33 3. "Black and Tan Fantasy" (Ellington, Bubber Miley) – 2:43 4. "Creole Love Call" – 2:08 5. "The Mooche" – 5:38 6. "Things Ain't What They Used to Be" (Mercer Ellington, Ted Persons) – 2:53 7. "Pyramid" (Ellington, Irving Gordon, Mills, Tizol) – 3:25 8. "The Blues" – 3:36 9. "Echoes of Harlem" – 3:32 10. "Satin Doll" – (Ellington, Mercer, Strayhorn) – 2:27
Personnel • • • • • • •
Cat Anderson – trumpet Lawrence Brown – trombone Roy Burrowes – trumpet Harry Carney – clarinet, saxophone Chuck Connors – trombone Buster Cooper – trombone Duke Ellington – piano
• Paul Gonsalves – saxophone • Milt Grayson – vocals • Jimmy Hamilton – clarinet, saxophone
196
The Great Paris Concert • • • • • • • • • • • •
Johnny Hodges – saxophone Ray Nance – violin, cornet Russell Procope – clarinet, saxophone Ernie Shephard – bass Cootie Williams – trumpet Sam Woodyard – drums Stanley Dance – liner notes Ilhan Mimaroglu – reissue producer, production coordination, editing, sequencing, original collating Giuseppe Pino – liner notes, photography Popsie – liner notes Bob Porter – reissue producer Fred Seligo – liner notes
References [1] http:/ / www. allmusic. com/ album/ r104730
197
The Symphonic Ellington
198
The Symphonic Ellington The Symphonic Ellington
Studio album by Duke Ellington Released
1964
Recorded
January 31, February 8, 14 & 21, 1963
Genre
Jazz
Label
Reprise Duke Ellington chronology
The Great Paris Concert (1963)
The Symphonic Ellington (1963)
Duke Ellington's Jazz Violin Session (1963)
The Symphonic Ellington is an album by American pianist, composer and bandleader Duke Ellington recorded and released on the Reprise label in 1963.[1] The album features recordings of Ellington's orchestra with the Paris Symphony Orchestra, the Stockholm Symphony Orchestra, the Hamburg Symphony Orchestra, and the La Scala Symphony Orchestra.
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "With most of his all-star soloists heard from in this program and a complete avoidance of trying to make his music sound so-called "respectable" or self-consciously third stream, Ellington's arrangements keep the strings from weighing down the proceedings and the music is actually quite successful".[2]
Track listing :All compositions by Duke Ellington 1. 2. 3. 4.
"Night Creature 1st Movement: Blind Bug" - 4:10 "Night Creature 2nd Movement: Stalking Monster" - 7:51 "Night Creature 3rd Movement: Dazzling Creature" - 4:01 "Non-Violent Integration" - 5:27
The Symphonic Ellington 5. "La Scala, She Too Pretty to Be Blue" - 6:14 6. "Harlem" - 14:03 • Recorded at Salle Wagram, Paris on January 31, 1963 (tracks 3 & 6), at Solna-Sundbyberg, Sweden on February 8, 1963 (tracks 1 & 2), at Hamburg, Germany on February 14, 1963 (track 4) and at at Studio Zanibelli, Milan, Italy on February 21, 1963 (track 5).
Personnel • • • • • • • • • •
Duke Ellington – piano Ray Nance - cornet Cat Anderson, Roy Burrowes, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clainet, bass clarinet
• • • • • •
Ernie Shepard - bass Sam Woodyard - drums The Paris Symphony Orchestra (tracks 3 & 6) The Stockholm Symphony Orchestra (tracks 1 & 2) The Hamburg Symphony Orchestra (track 4) The La Scala Symphony Orchestra (track 5)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r735538) accessed May 10, 2010
199
Duke Ellington's Jazz Violin Session
200
Duke Ellington's Jazz Violin Session Duke Ellington's Jazz Violin Session
Studio album by Duke Ellington Released
1976
Recorded
February 22, 1963
Genre
Jazz
Label
Atlantic Duke Ellington chronology
The Symphonic Ellington (1963)
Duke Ellington's Jazz Violin Session (1963)
Serenade To Sweden (1963)
Duke Ellington's Jazz Violin Session is an album by American pianist, composer and bandleader Duke Ellington recorded in 1963 but not released on the Atlantic label until 1976.[1] The album features members of Ellington's orchestra performing with Stephane Grappelli and Svend Asmussen.
Reception The Allmusic review by Thom Jurek awarded the album 3½ stars and stated "The soloist and group interplay are gentle, swinging, and utterly and completely graceful and elegant. There is a lighthearted tenderness in this set that borders on sentimentality without ever going there. And the feeling is loose, relaxed, and full of warmth throughout".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. "Take the "A" Train" (Billy Strayhorn) - 4:22 2. "In a Sentimental Mood" (Ellington, Manny Kurtz, Irving Mills) - 3:47 3. "Don't Get Around Much Anymore" (Ellington, Bob Russell) - 3:58 4. "Day Dream" (Ellington, Strayhorn) - 3:11 5. "Cotton Tail" - 4:39
Duke Ellington's Jazz Violin Session 6. "Pretty Little One" (Strayhorn) - 4:25 7. "Tricky's Licks" - 3:18 8. "Blues in C" - 3:54 9. "String Along With Strings" - 6:26 10. "Limbo Jazz" - 5:25 11. "The Feeling of Jazz" (Ellington, George T. Simon, Bobby Troup) - 3:22 • Recorded at Barclay Studios, Paris on February 22, 1963.
Personnel • • • • • • • •
Duke Ellington – piano Stephane Grappelli, Ray Nance - violin Svend Asmussen - viola Buster Cooper - trombone Russell Procope - alto saxophone Paul Gonsalves - tenor saxophone Billy Strayhorn - piano Ernie Shepard - bass
• Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Jurek, T. Allmusic Review (http:/ / www. allmusic. com/ album/ r714190) accessed May 10, 2010
201
Serenade to Sweden
202
Serenade to Sweden Serenade to Sweden
Studio album by Duke Ellington & Alice Babs Released
1966
Recorded
February 28 & March 1, 1963
Genre
Jazz
Label
Reprise Duke Ellington chronology
Duke Ellington's Jazz Violin Session (1963)
Serenade to Sweden (1963)
Studio Sessions New York 1963 (1963)
Serenade to Sweden is an album by American pianist, composer and bandleader Duke Ellington and vocalist Alice Babs recorded in 1963 and released on the Reprise label in 1966.[1] The album was Alice Babs debut has yet to be released on CD.
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"Serenade to Sweden" - 3:10 "The Boy in My Dreams" - 2:30 "Stoona" - 2:53 "La De Doody Doo" - 2:15 "Azure" - 2:50 "Come Sunday" - 4:50 "C Jam Blues" - 2:36 "I Didn't Know About You" (Ellington, Bob Russell) - 4:10
9. "Satin Doll" (Ellington, Billy Strayhorn, Johnny Mercer) - 2:55 10. "Take Love Easy" - 3:22 11. "Babsie" - 2:05
Serenade to Sweden 12. "(I Want) Something to Live For" - 2:48 13. "I'm Beginning to See the Light" (Ellington, Don George, Johnny Hodges, Harry James) - 2:38 14. "Untitled Lullaby" - 2:33 • Recorded at Studio Hoche, Paris on February 28 (tracks 5, 9 & 14) and March 1 (tracks 1-4, 6-8 & 10-13), 1963.
Personnel • • • • • •
Duke Ellington – piano (tracks 1-11, 13 & 14) Alice Babs - vocals Unknown - french horn (tracks 5, 9 & 14) Billy Strayhorn - piano (track 12) Kenny Clark (tracks 1-4, 6-8 & 10-13), Gilbert Rovere (tracks 5, 9 & 14) - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 14, 2010
203
Studio Sessions New York 1963
204
Studio Sessions New York 1963 Studio Sessions New York 1963
Studio album by Duke Ellington Released
1987
Recorded
April 17 & 18, May 15, and July 18, 1963.
Genre
Jazz
Label
LMR Duke Ellington chronology
Serenade to Sweden (1963)
Studio Sessions New York 1963 (1963)
My People (1963)
Studio Sessions New York 1963 is the fourth volume of The Private Collection a series of recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "filled with previously unknown Ellington compositions, a stockpile of fresh material well worth a full investigation by contemporary musicians. Throughout all but the four full-band tracks, the focus is on cornetist Ray Nance, who is the only brass player present on most of this set. Johnny Hodges, Jimmy Hamilton and Paul Gonsalves also receive a good sampling of solo space on this strong entry in The Private Collection program. ".[2]
Studio Sessions New York 1963
Track listing :All compositions by Duke Ellington except as indicated 1. "Bad Woman" - 4:36 2. "Jeep's Blues" (Ellington, Johnny Hodges) - 4:08 3. "Stoona" - 4:33 4. "Serenade to Sweden" - 2:38 5. "Harmony in Harlem" (Ellington, Hodges, Irving Mills) - 4:20 6. "Action in Alexandria" - 2:31 7. "Tajm" - 3:21 8. "Isfahan" (Ellington, Billy Strayhorn) - 3:19 9. "Killian's Lick" - 4:30 10. "Blousons Noir" - 3:46 11. "Elysee" (Strayhorn) - 2:25 12. "Butter and Oleo!" - 4:37 13. "Got Nobody Now" (Hodges) - 2:36 14. "M.G." - 2:54 15. "Blue Rose" - 2:47 16. "July 18th Blues" - 5:32 • Recorded at A& R Studio, New York on April 17 (tracks 2, 9, 13 & 14), April 18 (tracks 10-12 & 15), May 15 (tracks 1& 3-5), and July 18, 1963 (tracks 6-8 & 16).
Personnel • • • • • • • • • • •
Duke Ellington – piano Ray Nance - cornet Cat Anderson, Rolf Ericson, Eddie Preston, Cootie Williams - trumpet (tracks 6-8 & 16) Lawrence Brown, Buster Cooper - trombone (tracks 6-8 & 16) Chuck Connors - bass trombone (tracks 6-8 & 16) Johnny Hodges, Russell Procope - alto saxophone Jimmy Hamilton - clarinet, tenor saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Ernie Shepard - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 28, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138168) accessed June 28, 2010
205
My People (Duke Ellington album)
206
My People (Duke Ellington album) My People
Studio album by Duke Ellington Recorded
August 20, 21 & 27, 1963
Genre
Jazz
Length
42:16
Label
Flying Dutchman Duke Ellington chronology
Studio Sessions New York 1963 (1963)
My People (1963)
Ellington '65 (1965)
My People is an album by American pianist, composer and bandleader Duke Ellington written and recorded in 1963 for a stage show and originally released on the Bob Thiele's Flying Dutchman label and later released on CD on the Red Baron label.[1] The album features recordings of compositions by Ellington for a stage show presented in Chicago as part of the Century of Negro Progress Exposition in 1963.
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "Ellington created music whose message of racial harmony remains timeless. Due to the high quality of the "Black, Brown and Beige" suite and the shorter originals, this interesting set is more enloyable than one might expect".[2]
Track listing All compositions by Duke Ellington 1. 2. 3. 4. 5.
"Ain't But the One/Will You Be There?/99%" - 5:16 "Come Sunday/David Danced Before the Lord" - 6:09 "My Mother, My Father (Heritage)" - 2:50 "Montage" - 6:54 "My People/The Blues" - 8:56
My People (Duke Ellington album) 6. "Workin' Blues/My Man Sends Me/Jail Blues/Lovin' Lover" - 5:57 7. "King Fit the Battle of Alabam'" - 3:25 8. "What Color Is Virtue?" - 2:49 • Recorded at Universal Studios, Chicago on August 20 (tracks 1a, 2, 4, 5b, 6a, 6c & 7), August 21 (tracks 1b, 1c, 3, 5a & 8) and August 27 (tracks 6b & 6d), 1963.
Personnel • • • • • • • • • •
Duke Ellington – director, narration Ray Nance - cornet Bill Berry, Ziggy Harrell, Nat Woodard - trumpet Booty Wood, Britt Woodman - trombone Chuck Connors - bass trombone John Sanders - valve trombone Rudy Powell - alto saxophone Pete Clark, Russell Procope - alto saxophone, clarinet Harold Ashby - tenor saxophone, clarinet Bob Freedman - tenor saxophone
• • • • •
Billy Strayhorn - piano Joe Benjamin - bass Louis Bellson - drums Juan Amalbert - conga Joya Sherrill, Lil Greenwood, Jimmy McPhail, Irving Bunton Singers - vocals
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 28, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138232) accessed May 10, 2010
207
208
1964 Ellington '65 Ellington '65
Studio album by Duke Ellington Released
1965
Recorded
April 15, 16 & 27, 1964
Genre
Jazz
Label
Reprise Duke Ellington chronology
My People (1963)
Ellington '65 (1965)
Duke Ellington Plays Mary Poppins (1965)
Ellington '65 is an album by American pianist, composer and bandleader Duke Ellington recorded in 1964 and released on the Reprise label in 1965.[1] The album features recordings of popular tunes arranged by Ellington and Billy Strayhorn, a formula which was revisited on Ellington '66 (1966).
Ellington '65
Reception The Allmusic review by Matt Collar awarded the album 3 stars and stated "While Ellington '65 isn't a bad recording, it is by no means required listening and will most likely appeal to die-hard Ellington completists".[2]
Track listing 1. "Hello, Dolly!" (Jerry Herman) - 2:06 2. "Call Me Irresponsible" (Jimmy Van Heusen, Sammy Cahn) - 3:18 3. "Fly Me to the Moon (In Other Words)" (Bart Howard) - 2:30 4. "The Peking Theme (So Little Time)" (Dimitri Tiomkin, Paul Francis Webster) - 3:03 5. "Danke Schoen" (Milt Gabler, Bert Kaempfert) - 2:35 6. "More (Theme from Mondo Cane)" (Riz Ortolani, Nino Oliviero) - 2:55 7. "The Second Time Around" (Cahn, VanHeusen) - 3:43 8. "Never On Sunday" (Manos Hadjidakis) - 3:55 9. "I Left My Heart in San Francisco" (George Cory, Douglass Cross) - 3:02 10. "Blowin' in the Wind" (Bob Dylan) - 2:25 11. "Stranger on the Shore" (Acker Bilk) - 2:50 • Recorded at Fine Studios, New York on April 15 (tracks 2, 7, 8 & 11), April 16 (tracks 3, 4, 6 & 10), & April 27 (tracks 1, 5 & 9), 1964.
Personnel • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Rolf Ericson, Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves, Harry Carney - tenor saxophone Major Holley - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Collar, M. Allmusic Review (http:/ / www. allmusic. com/ album/ r167739) accessed May 10, 2010
209
Duke Ellington Plays Mary Poppins
210
Duke Ellington Plays Mary Poppins Duke Ellington Plays Mary Poppins
Studio album by Duke Ellington Released
1965
Recorded
September 6, 8 & 9, 1964
Genre
Jazz
Label
Reprise Duke Ellington chronology
Ellington '65 (1964)
Duke Ellington Plays Mary Poppins (1965)
Joya Sherrill Sings Duke (1965)
Duke Ellington Plays Mary Poppins is an album by American pianist, composer and bandleader Duke Ellington recorded in 1964 and released on the Reprise label in 1965.[1] The album features recordings of tunes from the 1964 musical film Mary Poppins arranged by Ellington and Billy Strayhorn.
Reception The Allmusic review by Scott Yanow awarded the album 3½ stars and stated "This disc is a surprising success. Duke Ellington was somehow persuaded into revising and recording a dozen songs from the score of Walt Disney's Mary Poppins, and the results are actually quite memorable".[2]
Track listing All compositions by Richard M. Sherman and Robert B. Sherman 1. 2. 3. 4.
"A Spoonful of Sugar" - 3:13 "Chim Chim Cher-ee" - 2:52 "Feed the Birds" - 3:42 "Let's Go Fly a Kite" - 2:31
5. "Stay Awake" - 2:28 6. "I Love to Laugh" - 2:29
Duke Ellington Plays Mary Poppins 7. "Jolly Holiday" - 3:04 8. "Sister Suffragette" - 3:05 9. "The Perfect Nanny" - 4:09 10. "Step in Time" - 2:46 11. "The Life I Lead" - 3:43 12. "Supercalifragilisticexpialidocious" - 2:27 • Recorded at Universal Studios, Chicago on September 6, 8 & 9, 1964.
Personnel • • • • • • • •
Duke Ellington – piano Cat Anderson, Herb Jones, Cootie Williams, Nat Woodard - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves, Eddie Johnson - tenor saxophone
• Harry Carney - baritone saxophone • John Lamb - bass • Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138160) accessed May 10, 2010
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1965 Ellington '66 Ellington '66
Studio album by Duke Ellington Released
1965
Recorded
January 19 & 21, 1965
Genre
Jazz
Label
Reprise Duke Ellington chronology
Joya Sherrill Sings Duke (1965)
Ellington '66 (1965)
Concert in the Virgin Islands (1965)
Ellinton '66 is an album by American pianist, composer and bandleader Duke Ellington recorded and released on the Reprise label in 1965.[1] The album won a Grammy Award for Best Instrumental Jazz Performance - Large Group or Soloist with Large Group in 1966.[2]
Ellington '66
Reception The Allmusic review by Matt Collar awarded the album 3½ stars and stated "Ellington '66 is yet another example of how the change in popular music toward an all rock & roll format found jazz musicians attempting crossover material with varying degrees of success... While Ellington '66 isn't a bad recording and actually bests '65 for sheer listening pleasure, it is by no means required listening and will most likely appeal to die-hard Ellington completists".[3]
Track listing 1. 2. 3. 4. 5. 6. 7. 8.
"Red Roses for a Blue Lady" (Sid Tepper, Roy C. Bennett) - 3:40 "Charade" (Henry Mancini, Johnny Mercer) - 2:40 "People" (Jule Styne, Bob Merrill) - 3:22 "All My Loving" (John Lennon, Paul McCartney) - 3:26 "A Beautiful Friendship" (Stanley Styne, Donald Kahn) 2:47 "I Want to Hold Your Hand" (Lennon, McCartney) - 2:04 "Days of Wine and Roses" (Mancini, Mercer) - 3:23 "I Can't Stop Loving You" (Don Gibson) - 3:57
9. "The Good Life" (Sacha Distel, Jack Reardon) - 3:16 10. "Satin Doll" (Duke Ellington, Johnny Mercer, Billy Strayhorn) - 2:31 11. "Moon River" (Mancini, Mercer) - 2:42 12. "Ellington '66" (Ellington) - 2:34 • Recorded at Fine Studios, New York on May 19, 1964 (tracks 2, 3, 8 & 9), January 19, 1965 (tracks 4, 7, 10 & 11) and January 21, 1965 (tracks 1, 5, 6 & 12).
Personnel • • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Herb Jones, Cootie Williams - trumpet Rolf Ericson - trumpet (tracks 2, 3, 8 & 9) Ray Nance - trumpet (tracks 1, 4-7 & 10-12) Mercer Ellington - trumpet (tracks 4, 7, 10 & 11) Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Paul Gonsalves, Harry Carney - tenor saxophone Peck Morrison - bass (tracks 2, 3, 8 & 9) John Lamb - bass (tracks 1, 4-7 & 10-12) Sam Woodyard - drums
213
Ellington '66
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Grammy Awards Database (http:/ / theenvelope. latimes. com/ factsheets/ awardsdb/ env-awards-db-search,0,7169155. htmlstory?searchtype=all& query=Duke+ Ellington& x=8& y=6) [3] Collar, M. Allmusic Review (http:/ / www. allmusic. com/ album/ r732218) accessed May 10, 2010
214
Concert in the Virgin Islands
215
Concert in the Virgin Islands Concert in the Virgin Islands
Studio album by Duke Ellington Released
1965
Recorded
March 4 & 17 and April 14, 1965
Genre
Jazz
Label
Reprise Duke Ellington chronology
Ellington '66 (1965)
Concert in the Virgin Islands (1965)
Ella at Duke's Place (1965)
Concert in the Virgin Islands is an album by American pianist, composer and bandleader Duke Ellington recorded and released on the Reprise label in 1965.[1] The album features studio recordings of a hypothetical program that Duke would present if invited to perform a concert in the Virgin Islands.
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "Although in his mid-60s, Duke Ellington proves on this program of mostly new music that he never declined nor lost his creativity".[2]
Track listing All compositions by Duke Ellington & Billy Strayhorn except as indicated 1. 2. 3. 4. 5.
"Island Virgin" - 4:08 "Virgin Jungle" - 3:45 "Fiddler on the Diddle" - 3:13 "Jungle Kitty" - 3:00 "Things Ain't What They Used to Be" (Mercer Ellington) - 2:56
6. "Big Fat Alice's Blues" - 3:58 7. "Chelsea Bridge" (Strayhorn) - 3:46
Concert in the Virgin Islands 8. "The Opener" - 2:50 9. "Mysterious Chick" - 3:15 10. "Barefoot Stomper" - 2:52 11. "Fade Up" (Jimmy Hamilton) - 3:31 • Recorded at Fine Studios, New York on March 4, 1965 (tracks 7, 8 & 11), March 17, 1965 (tracks 4 & 5), and April 14, 1965 (tracks 1-3, 6, 9 & 10).
Personnel • • • • • • • • •
Duke Ellington – piano Ray Nance, Cat Anderson, Herb Jones - trumpet Cootie Williams - trumpet (tracks 1-3 & 6-11) Howard McGhee - trumpet (tracks 4 & 5) Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet
• • • •
Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone John Lamb - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 10, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138140) accessed May 10, 2010
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Ella at Duke's Place
217
Ella at Duke's Place Ella at Duke's Place
Studio album by Ella Fitzgerald Released
1965
Recorded
October 18,19,20, 1965
Genre
Jazz
Length
47:04
Label
Verve
Producer
Norman Granz Professional reviews
•
Allmusic
[1]
link
Ella Fitzgerald chronology
Ella at Juan-Les-Pins (1964)
Ella at Duke's Place (1965)
Ella in Hamburg (1965)
Duke Ellington chronology
The Duke at Tanglewood (1965)
Ella at Dukes Place (1965)
A Concert of Sacred Music (1965)
Ella at Duke's Place is a 1965 (see 1965 in music) studio album by Ella Fitzgerald, accompanied by the Duke Ellington Orchestra. It is notable as the second (and last) studio album made by Fitzgerald and Ellington.
Ella at Duke's Place
Track listing 1. "Something to Live For" (Duke Ellington, Billy Strayhorn) – 3:35 2. "A Flower Is a Lovesome Thing" (aka "Passion") (Strayhorn) – 5:00 3. "Passion Flower" (Strayhorn) – 4:39 4. "I Like the Sunrise" – 3:26 5. "Azure" (Irving Mills) – 6:48 6. "Imagine My Frustration" (Strayhorn, Gerald Stanley Wilson) – 4:49 7. "Duke's Place" (aka "C Jam Blues") (Bill Katz, Ruth Roberts, Bob Thiele) – 4:13 8. "Brown-skin Gal (in the Calico Gown)" (Paul Francis Webster) – 5:05 9. "What Am I Here For?" (Frankie Laine) – 5:35 10. "Cotton Tail" – 3:41 All songs composed by Duke Ellington, with the exception of "A Flower Is a Lovesome Thing" and "Passion Flower". Lyricists indicated.
Personnel Recorded October 18,19,20 1965 at United Recorders, Hollywood, Los Angeles: Tracks 1-10 • • • • • • • • • • • • • • • • •
Ella Fitzgerald - Vocals Duke Ellington - Conductor, composer, lyricist, arranger, piano Jimmy Jones - Arranger, piano Cat Anderson - Trumpet Mercer Ellington - Trumpet Herb Jones - Trumpet Cootie Williams - Trumpet Lawrence Brown - Trombone Buster Cooper - Trombone Chuck Conners - Bass trombone Johnny Hodges - Alto Saxophone Russel Procope - Alto saxophone Paul Gonsalves - Tenor saxophone Jimmy Hamilton - Tenor saxophone, clarinet Harry Carney - Baritone saxophone, bass clarinet John Lamb - Bass Louis Bellson - Drums
Album produced by Norman Granz. Engineering by Val Valentin.
References [1] http:/ / www. allmusic. com/ album/ r138187
218
Duke Ellington's Sacred Concerts
219
Duke Ellington's Sacred Concerts In the last decade of his life, Duke Ellington wrote three Sacred Concerts: • 1965 - A Concert of Sacred Music • 1968 - Second Sacred Concert • 1973 - Third Sacred Concert Ellington called these concerts "the most important thing I have ever done". He said many times that he was not trying to compose a "mass." (liturgy). Critic Gary Giddins has characterized these concerts as Ellington bringing the Cotton Club revue to the church. [1]
A Concert of Sacred Music A Concert of Sacred Music
Live album by Duke Ellington Released
1966
Recorded
December 26, 1965
Genre
Jazz
Label
RCA Duke Ellington chronology
Ella at Duke's Place (1965)
A Concert of Sacred Music (1965)
The Stockholm Concert, 1966 (1966)
As early as October 1962, Rev. John S. Yaryan approached Ellington about performing at the new Grace Cathedral in San Francisco. The cathedral was to open in 3 or 4 years and all sorts of cultural events were to occur there in its first year. It was not until two years later that things such as the date and program were finalized. The concert premiered on September 16, 1965 and was recorded for Public Television. This performance was released on CD as A Concert of Sacred Music Live from Grace Cathedral and on DVD as Love You Madly/A Concert of Sacred Music at Grace Cathedral. The official album on RCA, A Concert of Sacred Music was recorded at two concerts at Fifth Avenue Presbyterian Church in New York on December 26, 1965. Additional material from these concerts, not found on the original album can be found in the 27 CD box set The Duke Ellington Centennial
Duke Ellington's Sacred Concerts Edition: The Complete RCA Victor Recordings (1927-1973). This concert is the only one to have compositions not specifically written for it. New World A-Commin', Come Sunday from Black Brown and Beige and Heritage (My Mother, My Father) from the show My People were performed in it. The song "In the Beginning God" was awarded a Grammy Award in 1967. After the first performance, it led to Ellington being invited to other churches to perform it. Ellington himself thought he was "God's messenger boy." [2]
Reception The Allmusic review by Richard S. Ginell awarded the album 5 stars and stated "the concert taps into Ellington's roots in showbiz and African-American culture as well as his evidently deep religious faith, throwing it all together in the spirit of universality and sealing everything with the stamps of his musical signatures".[3]
Track listing All compositions by Duke Ellington 1. "In the Beginning God" - 19:36 2. "Will You Be There?" - 1:23 3. "Ninety Nine Percent" - 2:23 4. "Ain't But the One" - 3:31 5. "New World a'Coming" - 9:56 6. "In the Beginning, God II" - 4:31 7. "Heritage" - 3:42 8. "The Lord's Prayer" - 3:16 9. "Come Sunday" - 5:30 10. "David Danced Before the Lord With All His Might" - 9:00 11. "The Lord's Prayer II" - 4:56 • Recorded at Fifth Avenue Presbyterian Church on December 26, 1965.
Personnel • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Mercer Ellington, Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper, Quentin Jackson - trombone Chuck Connors - bass trombone Russell Procope, Jimmy Hamilton - alto saxophone, clarinet Johnny Hodges - alto saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone John Lamb - bass Louie Bellson - drums Brock Peters, Ester Marrow, Jimmy McPhail - vocals The Herman McCoy Choir - choir Bunny Briggs - tapdancing (track 10)
220
Duke Ellington's Sacred Concerts
221
Second Sacred Concert Second Sacred Concert
Studio album by Duke Ellington Released
1968
Recorded
January 22 & February 19, 1968
Genre
Jazz
Label
Prestige Duke Ellington chronology
Yale Concert (1968)
Second Sacred Concert (1968)
Studio Sessions New York, 1968 (1968)
Ellington's Second Sacred Concert premiered at the Cathedral of St. John the Divine in New York on January 19, 1968 but no recording of this actual performance has surfaced. The Second Sacred Concert was then recorded on January 22 and February 19, 1968 at Fine Studio in New York and originally issued as a double LP on Prestige Records and reissued on one CD , minus the tracks, "Don't Get Down On Your Knees To Pray Until You Have Forgiven Everyone" and "Father Forgive".[4] All the tracks can be found in the 27 CD box set The Duke Ellington Centennial Edition: The Complete RCA Victor Recordings (1927-1973). This concert is the first time Swedish singer Alice Babs recorded with the Ellington Orchestra. In the concert she sang "Heaven" and the wordless vocal, "T.G.T.T. (To Good to Title)". Cootie Williams has a "growl" trumpet feature on "The Shepherd (Who Watches Over the Night Flock)". This piece is dedicated to Rev. John Garcia Gensel, Lutheran pastor to the jazz community. The climatic ending is "Praise God and Dance", which comes from Psalm 150.
Duke Ellington's Sacred Concerts
Reception The Allmusic review by Richard S. Ginell awarded the album 4 stars and stated "the material is fresh, not a patchwork of old and new like the first concert — and in an attempt to be as ecumenical as possible, Ellington reaches for novel techniques and sounds beyond his usual big band spectrum".[3]
Track listing All compositions by Duke Ellington 1. "Praise God" - 3:09 2. "Supreme Being" - 11:45 3. "Heaven" - 4:55 4. "Something 'Bout Believing" - 8:12 5. "Almighty God" - 6:32 6. "The Shepherd (Who Watches over the Flock)" - 7:10 7. "It's Freedom" - 13:00 8. "Meditation" - 3:10 9. "The Biggest and Busiest Intersection" - 3:57 10. "T.G.T.T. (Too Good to Title)" - 2:25 11. "Don't Get Down On Your Knees To Pray Until You Have Forgiven Everyone" - 5:13 Omitted from CD reissue 12. "Father Forgive" - 2:49 Omitted from CD reissue 13. "Praise God And Dance" - 10:49 • Recorded at Fine Studio in New York on January 22 (tracks 3, 5, 7, 10 & 13) and February 19 (tracks 1, 2, 4, 6, 8, 9, 11 & 12), 1968.
Personnel • • • • • • • • • • • • •
Duke Ellington – piano, narration Cat Anderson, Mercer Ellington, Money Johnson, Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper, Bennie Green - trombone Chuck Connors - bass trombone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Jimmy Hamilton - clarinet, tenor saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jeff Castleman - bass Sam Woodyard, Steve Little - drums Alice Babs, Devonne Gardner, Trish Turner, Roscoe Gill - vocals The AME Mother Zion Church Choir, Choirs Of St Hilda's and St. Hugh's School, Central Connecticut State College Singers, The Frank Parker Singers - choirs
Third Sacred Concert
222
Duke Ellington's Sacred Concerts
223
Third Sacred Concert
Live album by Duke Ellington Released
1975
Recorded
24 October, 1973
Genre
Jazz
Label
RCA Duke Ellington chronology
It Don't Mean a Thing If It Ain't Got That Swing (1973)
Third Sacred Concert (1973)
Eastbourne Performance (1973)
The Third Sacred Concert was built around the skills of Alice Babs, Harry Carney, and Ellington himself on the piano. It was premiered at Westminster Abbey in London, United Kingdom on October 24, 1973 and released on LP in 1975 but has only been issued on CD as part of the 24 disc The Duke Ellington Centennial Edition: The Complete RCA Victor Recordings (1927-1973) collection.[5] At this point in his life, Ellington knew he was dying. Author Janna Tull Steed has written that of all the concerts that Ellington is addressing God facing his mortality. [6] Alice Babs sings Is God a Three Letter Word for Love? and My Love. Tenor saxophonist Harold Ashby is featured on The Brotherhood, which is a tribute to The United Nations.
Reception The Allmusic review by Richard S. Ginell awarded the album 3 stars and stated "the weakest of the sacred concerts. It lacks the showbiz kick and exuberance of the first concert and even more eclectic impulses of the second, now burdened with a subdued solemnity and the sense that the ailing Ellington knew his time was drawing to a close (he would be dead exactly six months later)".[3]
Track listing All compositions by Duke Ellington 1. 2. 3. 4.
Introduction By Sir Colin Crowe - 1:28 Duke Ellington's Introduction - 1:26 "The Lord's Prayer: My Love" - 7:49 "Is God A Three-Letter Word For Love? (Part I)" - 4:27
Duke Ellington's Sacred Concerts 5. "Is God A Three-Letter Word For Love? (Part II)" - 3:46 6. "The Brotherhood" - 5:46 7. "Hallelujah" - 3:32 8. "Every Man Prays In His Own Language" - 11:10 9. "Ain't Nobody Nowhere Nothin' Without God" - 4:20 10. "The Majesty Of God" - 7:27 • Recorded at Westminster Abbey, London on October 24, 1973.
Personnel • • • • • • • •
Duke Ellington – piano, narration Johnny Coles, Mercer Ellington, Barrie Lee Hall, Money Johnson - trumpet Art Baron, Vince Prudente - trombone Chuck Connors - bass trombone Harold Minerve - alto saxophone, flute Russell Procope - alto saxophone Harold Ashby - clarinet, tenor saxophone Percy Marion - tenor saxophone
• • • • •
Harry Carney - baritone saxophone, clarinet, bass clarinet Joe Benjamin - bass Quentin White - drums Alice Babs, Tony Watkins - vocals John Alldis Choir - choir
Notes [1] [2] [3] [4] [5] [6]
Giddins, Gary Visions of Jazz: The First Century (ISBN 0195076753) page 491 Steed, Janna Tull Duke Ellington: A Spiritual Biography ISBN 0824523512 page 133 Ginell, R. S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138141) accessed June 8, 2010 A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 17, 2010 http:/ / earshot. org/ Events/ sacred. html Steed page 148
References • Steed, Janna Tull Duke Ellington: A Spiritual Biography (Lives & Legacies) ISBN 9780824523510
224
225
1966 The Stockholm Concert, 1966 The Stockholm Concert, 1966
Live album by Ella Fitzgerald Released
1966
Recorded
February 7, 1966
Genre
Jazz, Vocal jazz
Length
36:31
Label
Pablo
Producer
Norman Granz Professional reviews
•
Allmusic
link
[1]
Ella Fitzgerald chronology
Newport Jazz Festival: Live at Carnegie Hall (1973)
The Stockholm Concert, 1966 (1966)
Ella in Budapest, Hungary (1970)
Duke Ellington chronology
A Concert of Sacred Music (1965)
The Stockholm Concert, 1966 (1966)
The Popular Duke Ellington (1966)
The Stockholm Concert, 1966 is a 1966 (see 1966 in music) live album by the American jazz singer Ella Fitzgerald, accompanied by the Duke Ellington Orchestra.
The Stockholm Concert, 1966 It is notable as the last of Ella's four recorded collaborations with Duke Ellington, later this year Ella and the 'Duke' had recorded the epic Ella and Duke at the Cote D'Azur.
Track listing 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Imagine My Frustration" (Duke Ellington, Billy Strayhorn, Gerald Wilson) – 5:13 "Duke's Place" (Ellington, Bob Katz, Bob Thiele) – 4:43 "Satin Doll" (Ellington, Johnny Mercer, Strayhorn) – 3:08 "Something to Live For" (Ellington, Strayhorn) – 4:04 "Wives and Lovers" (Burt Bacharach, Hal David) – 2:11 "Só Danço Samba" ("Jazz Samba") (Vinícius de Moraes, Norman Gimbel, Antonio Carlos Jobim) – 4:14 "Let's Do It (Let's Fall in Love)" (Cole Porter) – 4:09 "Lover Man (Oh Where Can You Be?)" (Jimmy Davis, Ram Ramirez, Jimmy Sherman) – 4:50 "Cotton Tail" (Ellington) – 5:01
Personnel Recorded February 7, 1966, in Stockholm, Sweden: • • • • • • • • • • • • • • • • • • •
The Duke Ellington Orchestra William "Cat" Anderson — trumpet Mercer Ellington Cootie Williams— trumpet Herb Jones Lawrence Brown — trombone Chuck Connors Buster Cooper Johnny Hodges — alto saxophone Russell Procope Paul Gonsalves — tenor saxophone Harry Carney — baritone saxophone Jimmy Hamilton — clarinet, tenor saxophone Jimmy Jones — piano John Lamb — double bass Joe Comfort Sam Woodyard — drums Gus Johnson Duke Ellington — piano, arranger, bandleader.
Credits • Produced by Norman Granz • Mastered by Eric Miller & Greg Fulginiti
References [1] http:/ / www. allmusic. com/ album/ r138768
226
The Popular Duke Ellington
227
The Popular Duke Ellington The Popular Duke Ellington
Studio album by Duke Ellington Released
1967
Recorded
March 9, 10 & 11, 1966
Genre
Jazz
Label
RCA Duke Ellington chronology
The Stockholm Concert, 1966 (1966)
The Popular Duke Ellington (1966)
In the Uncommon Market (1963-66)
The Popular Duke Ellington is a studio album by American pianist, composer and bandleader Duke Ellington featuring many of the tunes associated with his orchestra rerecorded in 1966 and released on the RCA label in 1967.[1] .
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and states "Since the material is all very familiar, and mostly quite concise few surprises occur. But Ellington fans will enjoy this well-played effort".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6.
"Take the "A" Train" (Billy Strayhorn) - 4:40 "I Got It Bad (and That Ain't Good)" (Ellington, Paul Francis Webster) - 2:36 "Perdido" (Juan Tizol) - 3:14 "Mood Indigo" (Ellington, Barney Bigard, Irving Mills) 5:10 "Black and Tan Fantasy" (Ellington, James "Bubber" Miley) - 5:12 "The Twitch" - 3:11
7. "Solitude" (Ellington, Mills, Eddie DeLange) - 3:36 8. "Do Nothin' Till You Hear from Me" (Ellington, Bob Russell) - 1:55
The Popular Duke Ellington 9. "The Mooche" (Ellington, Mills) - 5:36 10. "Sophisticated Lady" (Ellington, Mills, Mitchell Parish) - 3:02 11. "Creole Love Call" - 3:56 12. "Caravan" (Ellington, Mills, Tizol) - 5:27 Bonus track on CD reissue 13. "Wings and Things" (Johnny Hodges) - 1:59 Bonus track on CD reissue 14. "Do Nothin' Till You Hear from Me" [alternate take] (Ellington, Russell) - 1:56 Bonus track on CD reissue • Recorded at RCA Hollywood Recording Studio B in Los Angeles, CA on May 9 (tracks 1, 2, 9, 12 & 14), May 10 (tracks 5, 6, 10 & 11) and May 11 (tracks 3, 4, 7, 8 & 13), 1966.
Personnel • • • • • • •
Duke Ellington – piano Cat Anderson, Mercer Ellington, Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Jimmy Hamilton - tenor saxophone, clarinet
• • • •
Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone John Lamb - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 7, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r717752) accessed May 7, 2010
228
In the Uncommon Market
229
In the Uncommon Market In the Uncommon Market
Live album by Duke Ellington Released
1986
Recorded
February 6 or 7, & 21, 1963 and July 27, 1966
Genre
Jazz
Length
49:45
Label
Pablo
Producer
Norman Granz Duke Ellington chronology
The Popular Duke Ellington (1966)
In the Uncommon Market (1963-66)
Ella and Duke at the Cote D'Azur (1966)
In the Uncommon Market is a live album by American pianist, composer and bandleader Duke Ellington recorded in Europe in 1963 1968 and released on the Pablo label in 1986.[1]
Reception The Allmusic review by Richard S. Ginell awarded the album 4½ stars and stated ""In the Uncommon Market," of course, refers to Europe, where Norman Granz caught the Ellington band numerous times with his tape machines in the 1960s. But it could also refer to the unusual repertoire featured on this collection".[2]
Track listing All compositions by Duke Ellington except as indicated 1. "Bula" - 4:44 2. "Silk Lace" - 5:18 3. "Asphalt Jungle" - 4:05 4. "Star-Crossed Lovers" (Ellington, Billy Strayhorn) - 4:19 5. "In a Sentimental Mood" (Ellington, Manny Kurtz, Irving Mills) - 3:47
In the Uncommon Market 6. "E.S.P." - 5:52 7. "Guitar Amour" - 7:35 8. "The Shepherd (First Concept)" - 5:33 9. "The Shepherd (Second Concept)" - 6:35 10. "Kinda Dukish" - 4:21 • Recorded in Stockholm, Sweden on February 6 or 7, 1963 (tracks 1-3 & 7), in Milan, Italy on February 21, 1963 (tracks 4-6) and St Paul de Vence, France on July 27, 1966 (tracks 8-10).
Personnel • • • • • • • •
Duke Ellington – piano Cat Anderson, Roy Burrowes, Cootie Williams - trumpet (tracks 1-7) Ray Nance - trumpet, violin (tracks 1-7) Lawrence Brown, Buster Cooper - trombone (tracks 1-7) Chuck Connors - bass trombone (tracks 1-7) Russell Procope - alto saxophone, clarinet (tracks 1-7) Johnny Hodges - alto saxophone (tracks 1-7) Jimmy Hamilton - clarinet, tenor saxophone (tracks 1-7)
• • • •
Paul Gonsalves - tenor saxophone (tracks 1-7) Harry Carney - baritone saxophone, clarinet, bass clarinet (tracks 1-7) John Lamb (tracks 8-10), Ernie Shephard (tracks 1-7) - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 14, 2010 [2] Ginell, R. S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138214) accessed June 14, 2010
230
Soul Call
231
Soul Call Soul Call
Live album by Duke Ellington Released
1967
Recorded July 10–29, 1966, at the Juan-les-Pins/Antibes Jazz Festival, Côte d'Azur Genre
Jazz
Length
54:41
Label
Verve
Producer Norman Granz Professional reviews •
Allmusic
link
[1]
Duke Ellington chronology
Ella and Duke at the Cote D'Azur (1967)
Soul Call (1965)
The Popular Duke Ellington (1961)
Soul Call is a 1967 live album by Duke Ellington and his orchestra, recorded live at the Juan-les-Pins/Antibes Jazz Festival on the Côte d'Azur.[2] Ella Fitzgerald appeared with Ellington and his band at the same festival, and a more complete version of Ellington's appearance at the festival is documented on the 1998 album Ella and Duke at the Cote D'Azur.
Track listing 1. "La Plus Belle Africaine" (Duke Ellington) – 14:00 2. "West Indian Pancake" (Ellington) – 4:41 3. "Soul Call" (Louie Bellson, Henry Bellson) – 3:09 4. "Skin Deep" (Bellson) – 13:03 5. "Jam with Sam" (Ellington) – 3:38 6. "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) – 4:20 Bonus track on Cd reissue 7. "Wings and Things" (Johnny Hodges) – 3:00 Bonus track on Cd reissue 8. "The Opener" (Ellington) – 3:16 Bonus track on Cd reissue 9. "Caravan" (Ellington, Mills, Juan Tizol) – 6:18 Bonus track on Cd reissue 10. "Kinda Dukish"/"Rockin' in Rhythm" (Ellington)/(Harry Carney, Ellington, Mills) – 5:55 Bonus track on Cd reissue
Soul Call 11. 12. 13. 14.
232 "Such Sweet Thunder" (Ellington, Strayhorn) – 3:36 Bonus track on Cd reissue "Madness in Great Ones" (Ellington, Strayhorn) – 4:42 Bonus track on Cd reissue "Main Stem" (Ellington) – 4:21 Bonus track on Cd reissue "Take the "A" Train" (Strayhorn) – 5:13 Bonus track on Cd reissue
• Recorded at Juan Les Pins on July 26 (track 9), July 27 (tracks 2, 4-6, 8 & 10), July 28 (tracks 1, 3 & 11-14) and July 29 (track 7)
Personnel Performance • • • • • • •
Duke Ellington - piano, leader Cat Anderson, Mercer Ellington, Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Johnny Hodges - alto saxophone Russell Procope - alto saxophone, clarinet Jimmy Hamilton - tenor saxophone, clarinet
• • • •
Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clarinet, bass clarinet John Lamb - bass Sam Woodyard - drums
References [1] http:/ / www. allmusic. com/ album/ r138261 [2] Soul Call (http:/ / www. allmusic. com/ album/ r138261) at Allmusic
Ella and Duke at the Cote D'Azur
233
Ella and Duke at the Cote D'Azur Ella and Duke at the Cote D'Azur
Live album by Ella Fitzgerald Released
1967
Recorded
June 26-July 29, 1966
Genre
Jazz, Vocal jazz
Length
497:02
Label
Verve
Producer
Norman Granz Professional reviews
•
Allmusic
link
[1]
Ella Fitzgerald chronology
Whisper Not (1966)
Ella and Duke at the Cote D' Azur (1966)
Brighten the Corner (1967)
Duke Ellington chronology
In the Uncommon Market (1963-66)
Ella and Duke at the Cote D' Azur (1966)
The Far East Suite (1966)
Ella and Duke at the Cote D'Azur is a 1967 live album by Ella Fitzgerald, accompanied by the big band of Duke Ellington. It was recorded live in Juan-les-Pins, on the French riviera, between June 26 and July 29, 1966. The album was released as a double-LP in 1967. In 1998, Verve Records released the concert on compact disc, in both a two-CD version and a complete eight-CD version.
Ella and Duke at the Cote D'Azur
Track listing Original album and double CD release Disc one 1. 2. 3. 4. 5. 6. 7. 8.
"Mack the Knife" (Marc Blitzstein, Bertolt Brecht, Kurt Weill) – 4:52 "That Old Circus Train Turn-Around Blues" (Duke Ellington) – 11:29 "Lullaby of Birdland" (George Shearing, George David Weiss) – 2:53 "Trombonio-Bustioso-Issimo" (Cat Anderson) – 4:05 "Goin' Out of My Head" (Teddy Randazzo, Bobby Weinstein) – 3:01 "How Long Has This Been Going On?" (George Gershwin, Ira Gershwin) – 2:50 "Diminuendo In Blue"/"Blow By Blow" (Ellington) – 7:36 "Jive Jam" (Ellington) – 8:50
Disc two 1. "It Don't Mean a Thing (If It Ain't Got That Swing)" (Ellington, Irving Mills) – 7:13 2. "All Too Soon" (Ellington, Carl Sigman) – 7:39 3. "Misty" (Johnny Burke, Erroll Garner) – 3:04 4. "So Danco Samba" (Antonio Carlos Jobim, Vinicius de Moraes, Norman Gimbel) – 5:46 5. "Rose of the Rio Grande" (Ross Gorman, Edgar Leslie, Harry Warren) – 3:09 6. "The More I See You" (Mack Gordon, Warren) – 3:56 7. "The Matador (El Viti)" (Ellington) – 4:09 8. "Just Squeeze Me (But Please Don't Tease Me)" (Ellington, Lee Gaines) – 3:47 9. "The Trip" (Ellington) – 4:44 10. "Things Ain't What They Used To Be" (Mercer Ellington, Ted Persons) – 2:11
Eight disc full concert release 1998 Verve CD Reissue, 314-539 033-2 Disc one 1. "Diminuendo In Blue" & "Blow By Blow" (Duke Ellington) – 8:06 2. "Caravan" (Ellington, Irving Mills, Juan Tizol) – 6:06 3. "Rose of the Rio Grande" (Ross Gorman, Edgar Leslie, Harry Warren) – 2:51 4. "Tutti For Cootie" (Ellington, Jimmy Hamilton) – 6:24 5. "Skin Deep" (Louie Bellson) – 10:49 6. "Passion Flower" (Billy Strayhorn) – 4:51 7. "Things Ain't What They Used to Be" (Mercer Ellington, Ted Persons) – 3:02 8. "Wings and Things" (Johnny Hodges) – 10:27 9. "The Star-Crossed Lovers" (D. Ellington, Strayhorn) – 4:20 10. "Such Sweet Thunder" (D. Ellington, Strayhorn) – 3:24 11. "Madness In Great Ones" (D. Ellington, Strayhorn) – 5:23 12. "Kinda Duckish"/"Rockin' In Rhythm" (Harry Carney, D. Ellington, Mills) – 5:07 13. "Things Ain't What They Used to Be" – 2:35
234
Ella and Duke at the Cote D'Azur Disc two 1. "Main Stem" (D. Ellington) – 3:53 2. Medley: "Black and Tan Fantasy"/"Creole Love Call"/"The Mooche" (D. Ellington, Bubber Miley) – 8:55 3. "West Indian Pancake" (D. Ellington) – 4:45 4. "El Viti" (Gerald Wilson) – 4:01 5. "The Opener" (D. Ellington) – 3:01 6. "La Plus Belle Africane" (D. Ellington) – 11:50 7. "Azure" (D. Ellington, Mills) – 7:44 8. Duke Ellington introduces Ella Fitzgerald – 1:05 9. "Let's Do It, Let's Fall in Love" (Cole Porter) – 4:08 10. "Satin Doll" (D. Ellington, Johnny Mercer, Strayhorn) – 3:16 11. "Cotton Tail" (D. Ellington) – 7:07 12. "Take the "A" Train" (Strayhorn) – 5:47 Disc three 1. "Take the "A" Train" – 0:55 2. "Such Sweet Thunder" – 3:06 3. "Half the Fun" (D. Ellington, Strayhorn) – 4:24 4. "Madness In Great Ones" – 5:26 5. "The Star-Crossed Lovers" – 4:21 6. "I Got It Bad (and That Ain't Good)" (D. Ellington, Paul Francis Webster) – 2:18 7. "Things Ain't What They Used To Be" – 2:28 8. "Wings and Things" – 8:26 9. "Kinda Dukish"/"Rockin' In Rhythm" – 5:10 10. "Chelsea Bridge" (Strayhorn) – 4:18 11. "Skin Deep" – 12:12 12. "Sophisticated Lady" (D. Ellington, Mills, Parish) – 4:13 13. "Jam With Sam" (D. Ellington) – 3:19 14. "Things Ain't What They Used To Be" – 2:18 Disc four 1. "Soul Call" (Bellson) – 2:41 2. "West Indian Pancake" – 4:37 3. "El Viti" – 1:19 4. "The Opener" – 3:08 5. "La Plys Belle Africane" – 13:23 6. "Take the "A" Train" – 4:24 7. "Trombonio-Bustoso-Issimo" (Cat Anderson) – 4:21 8. "Such Sweet Thunder" – 3:11 9. "Half the Fun" – 4:15 10. "Madness In Great Ones" – 4:15 11. "The Star Crossed Lovers" – 4:20 12. "Prelude to a Kiss" (D. Ellington, Strayhorn) – 4:26 13. "Things Ain't What They Used To Be" – 2:27
235
Ella and Duke at the Cote D'Azur Disc five 1. "The Old Circus Train Turn-Around Blues" (D. Ellington) – 11:29 2. "Thou Swell" (Richard Rodgers, Lorenz Hart) – 1:39 3. "Satin Doll" – 2:42 4. "Wives and Lovers" (Burt Bacharach, Hal David) – 2:22 5. "Something to Live For" – 4:13 6. "Let's Do It, Let's Fall in Love" – 4:06 7. "The More I See You" (Mack Gordon, Warren) – 3:57 8. "Goin' Out of My Head" – 3:01 9. "So Danco Samba" (Antonio Carlos Jobim, Vinicius de Moraes, Norman Gimbel) – 5:49 10. "Lullaby of Birdland" (George Shearing, George David Weiss) – 2:53 11. "How Long Has This Been Going On?" (George Gershwin, Ira Gershwin) – 3:07 12. "Mack the Knife" (Marc Blitzstein, Bertolt Brecht, Kurt Weill) – 5:01 Disc six 1. Medley: "Black and Tan Fantasy"/"Creole Love Call"/"The Mooche" (Duke Ellington, Bubber Miley) – 9:42 2. "Soul Call" – 4:33 3. "West Indian Pancake" – 4:43 4. "El Viti" – 4:09 5. "La Plus Belle Africane" – 12:30 6. "Such Sweet Thunder" – 3:12 7. "Half the Fun" – 4:20 8. "Madness In Great Ones" – 5:00 9. "The Star Crossed Lovers" – 4:08 10. "Wings and Things" – 3:22 11. "Things Ain't What They Used to Be" – 1:58 12. "Thou Swell" – 2:00 13. "Satin Doll" – 2:42 14. "Wives and Lovers" – 2:29 15. "Something to Live For" (D. Ellington, Strayhorn) – 3:23 16. "Let's Do It (Let's Fall in Love)" – 3:26 Disc seven 1. "Sweet Georgia Brown" (Ben Bernie, Kenneth Casey, Maceo Pinkard) – 3:36 2. "Goin' Out of My Head" – 3:34 3. "So Danco Samba" – 6:07 4. "Lullaby of Birdland" – 3:06 5. "Moment of Truth" (Tex Satterwhite, Frank Scott) – 2:14 6. "Misty" (Johnny Burke, Erroll Garner) – 3:26 7. "Mack the Knife" – 5:36 8. "Cotton Tail" – 7:13 9. "The Trip" (D. Ellington) – 4:44 10. "Juve Jam" (D. Ellington) – 9:34 11. "All Too Soon" (D. Ellington, Carl Sigman) – 7:18 12. "The Old Circus Train Turn-Around Blues" – 7:18 13. "It Don't Mean a Thing (If It Ain't Got That Swing)" (D. Ellington, Mills) – 7:14 14. "Just Squeeze Me (But Please Don't Tease Me)" (D. Ellington, Lee Gaines) – 4:27
236
Ella and Duke at the Cote D'Azur Disc eight 1. "The Old Circus Train Turn-Around Blues" – 1:09 2. "The Old Circus Train Turn-Around Blues" – 1:31 3. "The Old Circus Train Turn-Around Blues" – 1:50 4. "The Old Circus Train Turn-Around Blues" – 1:11 5. "The Old Circus Train Turn-Around Blues" – 2:40 6. "The Old Circus Train Turn-Around Blues" – 3:38 7. "The Old Circus Train Turn-Around Blues" – 2:00 8. "Blue Fuse No. 2" (D. Ellington) – 1:39 9. "Blue Fuse No. 2" – 0:44 10. "Blue Fuse No. 1" (D. Ellington) – 0:37 11. "Blue Fuse No. 1" – 0:51 12. "Blue Fuse No. 1" – 2:57 13. "The Shepherd" (D. Ellington) – 2:33 14. "The Old Circus Train Turn-Around Blues" – 4:44 15. "The Old Circus Train Turn-Around Blues" – 8:07 16. "Tingling Is a Happiness" (D. Ellington) – 4:00
Personnel • Ella Fitzgerald – vocals • Duke Ellington Orchestra: • • • • • • • • • • • • • • • • • •
Cat Anderson – trumpet Lawrence Brown – trombone Harry Carney – clarinet, baritone sax Buster Cooper – trombone, claves Duke Ellington – piano, arranger Mercer Ellington – trumpet Paul Gonsalves – tenor sax Jimmy Hamilton – clarinet, tenor sax Johnny Hodges – alto sax Jim Hughart – bass Herbie Jones – trumpet, guiro John Lamb – bass Ray Nance – vocals Russell Procope – clarinet, alto sax Grady Tate – drums Ben Webster – tenor sax Cootie Williams – trumpet Sam Woodyard – drums
237
Ella and Duke at the Cote D'Azur
Additional personnel • • • • • • • • • • • • • • • •
Chika Azuma – art direction Claude Carriere – liner notes Deborah Hay – editorial assistant Chris Herles – mastering Norman Granz – liner notes Tom Greenwood – production assistant Suha Gur – mastering Jean-Pierre Leloir – photography Brian Priestley – liner notes Peter Pullman – liner notes, booklet editor Kevin Reeves – mastering Richard Seidel – executive producer Cynthia Sesso – photo research Robert Silverberg – production assistant Billy Strayhorn – arranger Michael Ullman – liner notes
• Suzanne White – package design, package coordinator • Ben Young – liner notes, supervisor
References [1] http:/ / www. allmusic. com/ album/ r374613
238
The Far East Suite
239
The Far East Suite The Far East Suite
Studio album by Duke Ellington Released
1967
Recorded
December 1966
Genre
Jazz
Length
60:54
Label
Bluebird/RCA
Producer
Brad McKuen Professional reviews
•
Allmusic
link
[1]
Duke Ellington chronology
The Popular Duke Ellington (1967)
The Far East Suite (1967)
...And His Mother Called Him Bill (1968)
The Far East Suite is an album by Duke Ellington and his orchestra, recorded in New York City on 19 December to 21 December 1966. The nine compositions on the original album were all composed by Ellington and Billy Strayhorn (except for one by Ellington); a 1995 reissue (called somewhat misleadingly The Far East Suite — Special Mix) added four previously unreleased alternative takes. In 2003, Bluebird Records issued the LP on a digipak with additional bonus takes. The album's title is something of a misnomer, since only one track – "Ad Lib on Nippon", inspired by a 1964 tour of Japan – is strictly speaking concerned with a country in the "Far East". The rest of the music on the album was inspired by a world tour undertaken by Ellington and his orchestra in 1963, which took in Beirut, Amman, Kabul, New Delhi, Sri Lanka, Tehran, Madras, Mumbai, Baghdad, and Cairo (visits to Istanbul, Nicosia, Cairo, Alexandria, Athens, and Thessaloniki were postponed when the news of the assassination of John F. Kennedy reached the tour party). In early 1964, while on tour in England, Ellington and Strayhorn performed four pieces of music for the first time ("Mynah", "Depk", "Agra", and "Amad"), which they called "Expressions of the Far East". By the time of the
The Far East Suite recording sessions in late 1966 Ellington and Strayhorn had added four more pieces. One, the latter's "Isfahan" was formerly known as "Elf", and had in fact been written months prior to the 1963 tour. Ellington very rarely performed the pieces that made up The Far East Suite. "Isfahan" later became a jazz standard, while the LP had a big impact on the Asian American jazz movement. In 1999, Anthony Brown recorded the entire suite with his Asian-American Orchestra. Unlike the 1967 album, Brown's version used Eastern instruments along with standard jazz instruments.
Track listing (All compositions by Ellington & Strayhorn except 9. by Ellington.) 1. 2. 3. 4. 5. 6. 7.
"Tourist Point of View" – 5:09 "Bluebird of Delhi (Mynah)" – 3:18 "Isfahan" – 4:02 "Depk" – 2:38 "Mount Harissa" – 7:40 "Blue Pepper (Far East of the Blues)" – 3:00 "Agra" – 2:35
8. "Amad" – 4:26 9. "Ad Lib on Nippon" – 11:34 10. 11. 12. 13.
Bonus tracks "Tourist Point of View" (alternative take) – 4:58 "Bluebird of Delhi (Mynah)" (alternative take) – 3:08 "Isfahan" (alternative take) – 4:11 "Amad" (alternative take) – 4:15
Personnel • • • • • • • • • • • • • • •
Cootie Williams — trumpet William "Cat" Anderson — trumpet Mercer Ellington — trumpet & flugelhorn Herbie Jones — trumpet & flugelhorn Lawrence Brown — trombone Buster Cooper — trombone Chuck Connors — trombone Jimmy Hamilton — clarinet & tenor saxophone Johnny Hodges — alto saxophone Russell Procope — alto saxophone & clarinet Paul Gonsalves — tenor saxophone Harry Carney — baritone saxophone Duke Ellington — piano John Lamb — bass Rufus Jones — drums
240
The Far East Suite
References [1] http:/ / www. allmusic. com/ album/ r212665
241
242
1967 Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York Studio Sessions 1957, 1965, 1966, 1967, San Francisco, Chicago, New York
Studio album by Duke Ellington Released
1987
Recorded
January 1957, March 17, 1965, April 14, 1965, August 30, 1965, December 28, 1966 and July 11, 1967
Genre
Jazz
Length
63:05
Label
LMR
Producer
Duke Ellington Duke Ellington chronology
The Greatest Jazz Concert in the World (1967)
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York (1957-67)
...And His Mother Called Him Bill (1967)
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York is the eighth volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated the album "features particularly strong moments from trumpeter Cat Anderson, altoist Johnny Hodges and tenorman Paul Gonsalves on many little-played Ellington compositions ".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8. 9.
"Countdown" - 2:32 "When I'm Feeling Kinda Blue" - 5:50 "El Viti" (Gerald Wilson) - 3:21 "Draggin' Blues" - 6:10 "Cotton Tail" - 3:42 "Now Ain't It" - 4:16 "The Last Go-Round" - 3:32 "Moon Mist" - 6:13 "Skillipoop" - 2:00
10. 11. 12. 13. 14. 15. 16. 17.
"Banquet Scene (Timon of Athens)" - 2:20 "Love Scene" ([[ Barer, Ellington 3:08 "Rod la Rocque" - 4:13 "Rhythm Section Blues" - 3:09 "Lele" - 3:07 "Ocht O'Clock Rock" - 3:16 "Lady" (Ellington, Irving Mills, Mitchell Parish) - 3:33 "Rondolet" - 2:43
• Recorded in Chicago late January 1957 (track 8), at Fine Studios, New York on March 17, 1965 (tracks 9 & 10), at Coast Recorders Studio, San Francisco on April 14, 1965 (tracks 11-13) and August 30, 1965 (tracks 1-3) at RCA Studio B, New York on December 28, 1966 (tracks 4-7) and July 11, 1967 (tracks 14-17).
Personnel • Duke Ellington – piano • Ray Nance -cornet (tracks 9 & 10), trumpet (track 8) • Nat Adderley (tracks 1-3 & 11-13), Cat Anderson, Willie Cook (track 8), Mercer Ellington (tracks 1-3 & 11-17), Herb Jones (tracks 9, 10 & 14-17), Howard McGhee (tracks 9 & 10), Allen Smith (tracks 1-3 & 11-13), Clark Terry (track 8), Cootie Williams (tracks 4-7 & 14-17) - trumpet • Lawrence Brown (tracks 1-3 & 8-17), Buster Cooper (tracks 1-3 & 8-17), Quentin Jackson (track 8), Britt Woodman (track 8) - trombone • John Sanders - valve trombone (track 8) • Chuck Connors - bass trombone (tracks 1-3 & 8-17) • Jimmy Hamilton - clarinet, tenor saxophone (tracks 1-3 & 8-17) • Russell Procope - alto saxophone, clarinet (tracks 1-3 & 8-17) • Johnny Hodges - alto saxophone • Paul Gonsalves - tenor saxophone • Harry Carney - baritone saxophone • John Lamb (track 1-7 & 9-17), Jimmy Woode (track 8)- bass
243
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York • Louis Bellson (tracks 1-3 & 11-13), Chris Columbus (tracks 14-17), Rufus Jones (tracks 4-7), Sam Woodyard (tracks 8-10) - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 23, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r161761) accessed June 23, 2010
244
The Jaywalker
245
The Jaywalker The Jaywalker
Studio album by Duke Ellington Released
2004
Recorded
March 29 & August 18, 1966 and March 23, April 24 & June 23, 1967
Genre
Jazz
Label
Storyville Duke Ellington chronology
Berlin '65 - Paris '67 (1965-7)
The Jaywalker (1966-67)
The Greatest Jazz Concert in the World (1967)
The Jaywalker is a studio album by American pianist, composer and bandleader Duke Ellington featuring tracks recorded in 1966 and 1967 and released on the Storyville label in 2004.[1] .
Reception The Allmusic review by Ken Dryden awarded the album 3½ stars and states "some tracks are obviously not as polished as his later (and better-known) studio or live recordings. But it is always fascinating to hear works in progress by Ellington... Serious collectors of Ellington will enjoy this compilation".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"The Shepherd" - 6:29 "Up Jump" - 3:06 "Rue Bleu" - 3:02 "Chromatic Love Affair" - 4:02 "Salomé" (Raymond Fol) - 4:14 "Blood Count" (Billy Strayhorn) - 3:50 "El Viti" - 3:27 "Kixx" - 3:55
The Jaywalker 9. "Eggo" -5:37 10. "I'm Hip Too" - 0:36 11. "Amta" - 2:51 12. "Warr" - 4:23 13. "Little Purple Flower" - 4:32 14. "Traffic Cop" - 3:50 15. "Untitled Blues" - 4:52 16. "Polícia" - 1:42 17. "The B.O. of Traffic" - 0:43 18. "Mac" - 2:37 19. "Traffic Extension" - 5:37 20. "Star" - 0:54 21. "Cross Climax" - 0:27 22. "B.O. Man" - 3:11 23. "Tin Soldier" - 2:24 • Recorded at RCA Studio in New York on March 29, 1966 (track 7), August 18, 1966 (track 23), March 23, 1967 (tracks 14-22), April 24, 1967 (tracks 8-13) and June 23, 1967 (tracks 1-6).
Personnel • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Mercer Ellington (tracks 1-7 & 23), Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Jimmy Hamilton - tenor saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone, clainet, bass clarinet Jimmy Jones - piano (tracks 1-6) John Lamb - bass Chris Columbus (tracks 1-6), Bobby Durham (tracks 8-22), Sam Woodyard (tracks 7 & 23) - drums Emanuel Abdul-Rahim - congas (tracks 8-22)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 11, 2010 [2] Dryden, K. Allmusic Review (http:/ / www. allmusic. com/ album/ r701433) accessed May 7, 2010
246
...And His Mother Called Him Bill
247
...And His Mother Called Him Bill ...And His Mother Called Him Bill
Studio album by Duke Ellington Released
1968
Recorded
August 28, 1967 -November 15, 1967
Genre
Jazz
Length
61:18
Label
Bluebird/RCA
Producer
Steve Backer, Brad McCuen Professional reviews
•
Allmusic
link
[1]
Duke Ellington chronology
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York (1967)
...And His Mother Called Him Bill (1967)
Francis A. & Edward K. (1967)
...And His Mother Called Him Bill is a 1967 album by Duke Ellington. He recorded the album in the wake of the death of his long-time music partner Billy Strayhorn. All of the songs featured were written or co-written by Strayhorn. Some were Strayhorn's last works ("Blood Count" and "The Intimacy Of The Blues") while others were rarely, if ever, recorded with Ellington's band. Because of this, Strayhorn's best known tune, "Take the "A" Train," wasn't recorded for this release. The album was first released in 1967 on RCA Victor, has since been reissued several times on compact disc: first in 1987 by RCA Records/Bluebird Records, then in 1993 by Flying Dutchman Records, and finally by BMG in 2000. Two special reissues were also released, one in America and one in France, though both had the same track listing. They were released in 2002 by RCA and 2001 by BMG International, respectively.
...And His Mother Called Him Bill
Track listing Original release 1. "Boo-Dah" (Billy Strayhorn) - 3:32 2. "U.M.M.G. (Upper Manhattan Medical Group)" (Strayhorn) - 3:13 3. "Blood Count" (Strayhorn) - 4:19 4. "Smada" (Duke Ellington, Strayhorn) - 3:20 5. "Rock Skippin' at the Blue Note" (Ellington, Strayhorn) - 3:02 6. "Rain Check" (Strayhorn) - 4:37 7. "Midriff" (Strayhorn) - 4:31 8. "My Little Brown Book" (Strayhorn) - 4:13 9. "Lotus Blossom" (Strayhorn) - 3:57 10. "Snibor" (Strayhorn) - 4:19 11. "After All" (Strayhorn) - 3:48 12. "All Day Long" (Strayhorn) - 2:57 13. "Lotus Blossom" (Strayhorn) - 5:01 14. "Day Dream" (Ellington, John La Touche, Strayhorn) - 4:20 15. "The Intimacy of the Blues" (Strayhorn) - 3:02 16. "Charpoy" (Strayhorn) - 3:07
American and French reissues 1. "Snibor" (Strayhorn) - 4:16 2. "Boo-Dah" (Strayhorn) - 3:28 3. "Blood Count" (Strayhorn) - 4:18 4. "U.M.M.G." (Strayhorn) - 3:14 5. "Charpoy" (Strayhorn) - 3:07 6. "After All" (Strayhorn) - 3:52 7. "The Intimacy of the Blues" (Strayhorn) - 2:58 8. "Rain Check" (Strayhorn) - 4:37 9. "Day Dream " (Ellington, Latouche, Strayhorn) - 4:25 10. "Rock Skippin' at the Blue Note" (Ellington, Strayhorn) - 3:02 11. "All Day Long" (Strayhorn) - 2:58 12. "Lotus Blossom" (Strayhorn) - 3:54 13. "Acht O'Clock Rock" (Ellington) - 2:23 14. "Rain Check [alternate take]" (Strayhorn) - 5:22 15. "Smada [alternate take]" (Ellington, Strayhorn) - 3:21 16. "Smada [alternate take]" (Ellington, Strayhorn) - 3:20 17. "Midriff [alternate take]" (Strayhorn) - 4:35 18. "My Little Brown Book [alternate take]" (Strayhorn) - 4:13 19. "Lotus Blossom [alternate take]" (Strayhorn) - 4:56
248
...And His Mother Called Him Bill
Personnel Band: • • • • • • • • • •
Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams - trumpet Aaron Bell, Jeff Castleman - bass Lawrence Brown, Chuck Connors, Buster Cooper - trombone Harry Carney - clarinet, saxophone (baritone) Duke Ellington - piano Paul Gonsalves - clarinet, saxophone (tenor) Jimmy Hamilton, Johnny Hodges, Russell Procope - clarinet, saxophone (alto) Steve Little, Sam Woodyard - drums John Sanders - trombone (valve) Clark Terry - flugelhorn
Production: • Steve Backer - executive producer • Ed Begley - original recordings • Ray Hall - remixing • • • • •
Daniel Maffia - illustrations Brad McCuen - producer Ed Michel - reissue producer Robert Palmer - liner notes Neal Pozner, J.J. Stelmach - art direction
Awards • 1969 Grammy Award - Best Large Jazz Ensemble Performance; Album - Duke Ellington
References [1] http:/ / www. allmusic. com/ album/ r138211
249
Francis A. & Edward K.
250
Francis A. & Edward K. Francis A. & Edward K.
Studio album by Frank Sinatra Released
1968
Recorded
December 11-12, 1967, Hollywood, Los Angeles, California
Genre
Vocal jazz
Length
35:14
Label
Reprise Professional reviews
•
Allmusic
link
[1]
Frank Sinatra chronology
The World We Knew (1967)
Francis A. & Edward K. (1968)
Frank Sinatra's Greatest Hits (1968)
Duke Ellington chronology
...And His Mother Called Him Bill (1967)
Francis A. & Edward K. (1968)
Yale Concert (1968)
Francis A. & Edward K. is a 1968 studio album by Frank Sinatra with Duke Ellington and his big band. This was the first time that Sinatra had worked with Ellington and the sessions were finished on Sinatra's fifty second birthday.
Francis A. & Edward K.
Track listing 1. 2. 3. 4. 5. 6. 7. 8.
"Follow Me" (Alan Jay Lerner, Frederick Loewe) – 3:56 "Sunny" (Bobby Hebb) – 4:15 "All I Need Is the Girl" (Stephen Sondheim, Jule Styne) – 5:01 "Indian Summer" (Victor Herbert, Al Dubin) – 4:14 "I Like the Sunrise" (Duke Ellington) – 5:02 "Yellow Days" (Alvaro Carrillo, Alan Bernstein) – 5:00 "Poor Butterfly" (Raymond Hubbell, John Golden) – 4:29 "Come Back to Me" (Burton Lane, Lerner) – 3:22
Personnel • Frank Sinatra - vocals • Duke Ellington and His Orchestra • Billy May - arranger, conductor
References [1] http:/ / www. allmusic. com/ album/ r138201
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252
1968 Yale Concert Yale Concert
Live album by Duke Ellington Released
1973
Recorded
January 26, 1968
Genre
Jazz
Label
Fantasy Duke Ellington chronology
Francis A. & Edward K. (1967)
Yale Concert (1968)
Second Sacred Concert (1968)
Yale Concert is a live album by American pianist, composer and bandleader Duke Ellington recorded at Woolsey Hall, Yale University in New Haven, Connecticut in 1968 and released on the Fantasy label in 1973.[1]
Yale Concert
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "The great Duke Ellington Orchestra was still intact and in its late prime at the time of this performance from 1968. With the death of Billy Strayhorn the year before, Ellington (perhaps sensing his own mortality) accelerated his writing activities, proving that even as he neared 70, he was still at his peak".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"The Little Purple Flower, Parts 1 & 2" - 10:47 "Put-Tin" - 3:58 "A Chromatic Love Affair" - 3:58 "Boola Boola" (Allan M. Hirsh) - 3:18 "A Johnny Hodges Medley: Warm Valley/Drag" (Strayhorn) - 7:59 "Salome" (Raymond Fol) - 3:28 "Swamp Goo" - 4:33 "Up Jump" - 3:08
9. "Take the "A" Train" (Strayhorn) - 3:35 • Recorded at Woolsey Hall, Yale University in New Haven, Connecticut on January 26, 1968.
Personnel • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Mercer Ellington, Herb Jones, Cootie Williams - trumpet Lawrence Brown, Buster Cooper - trombone Chuck Connors - bass trombone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Jimmy Hamilton - clarinet, tenor saxophone Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Jeff Castleman - bass Sam Woodyard - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 10, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138281) accessed June 10, 2010
253
Studio Sessions New York, 1968
254
Studio Sessions New York, 1968 Studio Sessions New York, 1968
Studio album by Duke Ellington Released
1987
Recorded
November 6, 1968 and June 15, 1970
Genre
Jazz
Length
64:59
Label
LMR
Producer
Duke Ellington Duke Ellington chronology
Second Sacred Concert (1968)
Studio Sessions New York, 1968 (1968)
70th Birthday Concert (1969)
Studio Sessions New York, 1968 is the ninth volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated "Even after 30 years of playing some of these standards, Ellington found new ways to re-arrange... Lots of surprises on this fine CD".[2]
Track listing :All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5.
"I Can't Get Started" (Vernon Duke, Ira Gershwin) - 4:27 "Waiting for You" - 4:10 "Knuf" - 2:32 "Gigl" - 5:01 "Meditation" - 2:34
Studio Sessions New York, 1968 6. "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) - 2:53 7. "Just Squeeze Me (But Please Don't Tease Me)" (Ellington, Lee Gaines) - 4:14 8. "Mood Indigo" (Barney Bigard, Ellington, Mills) - 4:43 9. "In a Sentimental Mood" (Ellington, Manny Kurtz, Mills) - 2:52 10. "I Let a Song Go Out of My Heart" (Ellington, Mills, Henry Nemo, John Redmond) - 4:02 11. "Don't Get Around Much Anymore" (Mercer Ellington) - 4:02 12. "Reva" - 4:14 13. "Ortseam" - 2:04 14. "Cool and Groovy" (Ellington, Cootie Williams) 2:29 15. "Elos" - 5:39 16. "C Jam Blues" (Bigard, Ellington) - 9:03 • Recorded at National Recording Studio, New York on November 23, 1968 (track 1), November 29, 1968 (tracks 2-12), and December 3, 1968 (tracks 13-16).
Personnel • Duke Ellington – piano • Cat Anderson, Willie Cook, Money Johnson, Cootie Williams - trumpet (tracks 2-16) • • • • • • • • •
Lawrence Brown, Buster Cooper - trombone (tracks 2-16) Chuck Connors - bass trombone (tracks 2-16) Johnny Hodges - alto saxophone (tracks 2-16) Russell Procope - alto saxophone, clarinet (tracks 2-16) Harold Ashby - tenor saxophone, clarinet Paul Gonsalves - tenor saxophone (tracks 2-16) Harry Carney - baritone saxophone (tracks 2-16) Jeff Castleman - bass, electric bass (track 3) Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 25, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r138173) accessed June 25, 2010
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1969 70th Birthday Concert (Duke Ellington album) 70th Birthday Concert
Live album by Duke Ellington Released
1970
Recorded
November 25 & 26, 1969
Genre
Jazz
Label
Solid State Duke Ellington chronology
Second Sacred Concert (1968)
70th Birthday Concert (1969)
Latin American Suite (1968-70)
70th Birthday Concert is a live album by American pianist, composer and bandleader Duke Ellington recorded in England recorded at the Free Trade Hall in Manchester, England and originally released on the Solid State label in 1970.[1] The album was later reissued on CD on the Blue Note label in 1995.
70th Birthday Concert (Duke Ellington album)
257
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and stated The live performance gives listeners a good idea as to just how Duke's ensemble sounded in concert, and it serves as both a retrospective and a display of the strengths of Ellington's mighty band... This gem is essential for all serious jazz collections.[2]
Track listing All songs written and composed by Duke Ellington, except where noted. No. Title 1. "Kinda Dukish/Rockin' in Rhythm"
Writer(s) Ellington, Harry Carney, Irving Mills
2. "B.P. Blues"
Length 5:53 4:41
3. "Take the "A" Train"
Billy Strayhorn
5:48
4. "Tootie for Cootie"
Ellington, Jimmy Hamilton
6:27
5. "4:30 Blues"
4:21
6. "El Gato"
Cat Anderson
4:22
7. "Black Butterfly"
Ellington, Irving Mills
4:46
8. "Things Ain't What They Used to Be"
Mercer Ellington
3:02
9. "Layin' on Mellow"
5:04
10. "Satin Doll"
Ellington, Strayhorn, Johnny Mercer
5:37
11. "Azure"
Ellington, Mills
4:57
12. "In Triplicate" 13. "Perdido"
6:55 Juan Tizol
14. "Fifi" 15. "Medley: Prelude to a Kiss I'm Just a Lucky So-and-So I Let a Song Go Out of My Heart Do Nothin' Till You Hear From Me Just Squeeze Me (But Please Don't Tease Me) Don't Get Around Much Anymore Mood Indigo Sophisticated Lady Caravan"
3:41 Ellington, Mills, Gordon Ellington, David Ellington, Mills, Nemo, Redmond Ellington, Russell Ellington, Gaines Ellington, Russell Ellington, Mills, Bigard Ellington, Mills, Parish Tizol
16. "Black Swan" 17. "Final Ellington Speech (Satin Doll)"
3:22
15:11
9:23 Ellington, Strayhorn, Mercer
2:05
• Recorded at Colston Hall in Bristol, England on November 25 (track 10) and Free Trade Hall in Manchester, England on November 26 (tracks 1-9 & 10-17), 1969.
70th Birthday Concert (Duke Ellington album)
Personnel • • • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Mercer Ellington, Rolf Ericson, Cootie Williams - trumpet Lawrence Brown - trombone Chuck Connors - bass trombone Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone Norris Turney - clarinet, alto saxophone, tenor saxophone, flute Harold Ashby - tenor saxophone, flute Paul Gonsalves - tenor saxophone Harry Carney - clarinet, bass clarinet, baritone saxophone Wild Bill Davis - organ Victor Gaskin - bass Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 17, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r151388) accessed May 17, 2010
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1970 Latin American Suite Latin American Suite
Studio album by Duke Ellington Released
1972
Recorded
November 5, 1968 & January 7, 1970
Genre
Jazz
Length
36:43
Label
Fantasy
Producer
Duke Ellington Duke Ellington chronology
70th Birthday Concert (1969)
Latin American Suite (1968-70)
The Pianist (1966-70)
Latin American Suite is a studio album by American pianist, composer and bandleader Duke Ellington mainly recorded in 1968, with one track completed in 1970, and released on the Fantasy label in 1972.[1]
Latin American Suite
Reception The Allmusic review by Ken Dryden awarded the album 3 stars and states "It's a shame that Ellington chose not to keep any of these originals in his repertoire once work was completed on this album".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7.
"Oclupaca" - 4:20 "Chico Cuadradino" (Ellington, Mercer Ellington) - 5:00 "Eque" - 3:30 "Tina" - 4:34 "The Sleeping Lady and the Giant Who Watches over Her" - 7:25 "Latin American Sunshine" - 6:52 "Brasilliance" - 5:02 • Recorded at National Recording Studio in New York, NY on November 5, 1968 (tracks 1-3 & 5-7) and January 7, 1970 in Las Vegas, Nevada (track 4).
Personnel • • • • • • • • • • •
Duke Ellington – piano Cat Anderson, Willie Cook, Mercer Ellington, Cootie Williams - trumpet (tracks 1-3 & 5-7) Lawrence Brown, Buster Cooper - trombone (tracks 1-3 & 5-7) Chuck Connors - bass trombone, tenor saxophone (tracks 1-3 & 5-7) Johnny Hodges - alto saxophone (tracks 1-3 & 5-7) Russell Procope - alto saxophone, clarinet (tracks 1-3 & 5-7) Paul Gonsalves tenor saxophone (tracks 1-3 & 5-7) Harold Ashby - tenor saxophone, clarinet (tracks 1-3 & 5-7) Harry Carney - baritone saxophone (tracks 1-3 & 5-7) Jeff Castleman (tracks 1-3 & 5-7), Paul Kondziela (track 4) - bass Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 1, 2010 [2] Dryden, K. Allmusic Review (http:/ / www. allmusic. com/ album/ r138224) accessed June 1, 2010
260
The Pianist (album)
261
The Pianist (album) The Pianist
Studio album by Duke Ellington Released
1974
Recorded
July 18, 1966 and January 7, 1970
Genre
Jazz
Length
72:17
Label
Fantasy
Producer
Duke Ellington Duke Ellington chronology
Latin American Suite (1968-70)
The Pianist (1966-70)
New Orleans Suite (1970)
The Pianist is a studio album by American pianist, composer and bandleader Duke Ellington compiled from sessions in 1966 and 1970, and released on the Fantasy label in 1974.[1]
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and states "Duke Ellington had so many talents (composer, arranger, bandleader, personality) that his skills as a pianist could easily be overlooked. Fortunately he did record a fair amount of trio albums through the years so there is plenty of evidence as to his unique style which was both modern and traditional at the same time".[2]
Track listing All compositions by Duke Ellington 1. 2. 3. 4.
"Don Juan" - 2:36 "Slow Blues" - 4:00 "Looking Glass" - 2:55 "The Shepherd" [Take 1] - 5:50
The Pianist (album) 5. "The Shepherd" [Take 2] - 6:35 6. "Tap Dancer's Blues" - 2:53 7. "Sam Woodyard's Blues" - 6:37 8. "Duck Amok" - 3:43 9. "Never Stop Remembering Bill" - 4:29 10. "Fat Mess" - 2:58 • Recorded at RCA Studio A in New York, NY on July 18, 1966 (tracks 1-7), and in Las Vegas, Nevada on January 7, 1970 (tracks 8-10).
Personnel • Duke Ellington – piano • John Lamb (tracks 1-7), Paul Kondziela (tracks 8-10), Victor Gaskin (tracks 8-10) - bass • Sam Woodyard (tracks 1-7), Rufus Jones (tracks 8-10) - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 11, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138243) accessed June 11, 2010
262
New Orleans Suite
263
New Orleans Suite New Orleans Suite
Studio album by Duke Ellington Released
1970
Recorded
April 27 & May 13, 1970
Genre
Jazz
Label
Atlantic Duke Ellington chronology
The Pianist (1966-70)
New Orleans Suite (1970)
Orchestral Works (1970)
New Orleans Suite is a studio album by American pianist, composer and bandleader Duke Ellington recorded and released on the Atlantic label in 1970.[1] . The album features the final recordings of Johnny Hodges who died between recording sessions. The album won a Grammy Award for Best Jazz Performance by a Big Band in 1971.[2]
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and states "Interesting if not essential music with a few memorable themes being the main reason to acquire this release".[3] The Penguin Guide to Jazz includes the album as part of its suggested "Core Collection," and awards it a four-star rating.[4]
Track listing All compositions by Duke Ellington 1. 2. 3. 4. 5. 6.
"Blues for New Orleans" - 7:40 "Bourbon Street Jingling Jollies" - 4:00 "Portrait of Louis Armstrong" - 3:02 "Thanks for the Beautiful Land on the Delta" - 3:38 "Portrait of Wellman Braud" - 4:05 "Second Line" - 6:00
New Orleans Suite 7. "Portrait of Sidney Bechet" - 3:55 8. "Aristocracy a la Jean Lafitte" - 3:57 9. "Portrait of Mahalia Jackson" - 4:53 • Recorded at National Recording Studio in New York, NY on April 27 (tracks 1, 2, 4, 6 & 8) and May 13 (tracks 3, 5, 7 & 9), 1970.
Personnel • • • • • • • • • •
Duke Ellington – piano Cootie Williams, Frank Stone - trumpet Money Johnson, Al Rubin - trumpet (tracks 1, 2, 4, 6 & 8) Cat Anderson - trumpet (tracks 3, 5, 7 & 9) Booty Wood, Julian Priester - trombone Malcolm Taylor - bass trombone (tracks 1, 2, 4, 6 & 8) Chuck Connors - bass trombone (tracks 3, 5, 7 & 9) Russell Procope - alto saxophone, clarinet Johnny Hodges - alto saxophone (tracks 1, 2, 4, 6 & 8) Norris Turney - clarinet, alto saxophone, flute
• • • • • •
Harold Ashby - clarinet, tenor saxophone Paul Gonsalves - tenor saxophone Harry Carney - clarinet, bass clarinet, baritone saxophone Wild Bill Davis - organ Joe Benjamin - bass Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed April 13, 2010 [2] Grammy Awards Database (http:/ / theenvelope. latimes. com/ factsheets/ awardsdb/ env-awards-db-search,0,7169155. htmlstory?searchtype=all& query=Duke+ Ellington& x=8& y=6) [3] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138235) accessed April 13, 2010 [4] Cook, Richard; Brian Morton (2008) [1992] (in English). The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (9th ed.). New York: Penguin. p. 439. ISBN 978-0-14-103401-0.
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Orchestral Works
265
Orchestral Works Orchestral Works
Studio album by Duke Ellington Released
1970
Recorded
May 28, 1970
Genre
Jazz
Label
Decca Duke Ellington chronology
New Orleans Suite (1970)
Orchestral Works (1970)
The Suites, New York 1968 & 1970 (1968-70)
Orchestral Works is an album by American pianist, composer and bandleader Duke Ellington with the Cincinnati Symphony Orchestra conducted by Erich Kunzel recorded and released on the Decca label in 1970.[1] .
Reception The Allmusic review by Scott Yanow awarded the album 2 stars and states "fine but one misses his [Ellington's] illustrious orchestra. Interesting but not essential music".[2]
Track listing All compositions by Duke Ellington 1. 2. 3. 4. 5. 6.
Poetic Commentary "A" - 1:43 "New World A-Comin'" - 11:20 Poetic Commentary "B" - 2:36 "Harlem/The Golden Broom and The Green Apple" - 14:14 Poetic Commentary "C" - 1:32 "Stanza 1: The Golden Broom" - 10:18
7. Poetic Commentary "D" - 1:20 8. "Stanza 2: The Green Apple" - 4:30
Orchestral Works 9. Poetic Commentary "E" - 1:32 10. "Stanza 3: The Handsome Traffic Policeman" - 5:57 • Recorded May 28, 1970 in Cincinnati, Ohio.
Personnel • Duke Ellington – piano • The Cincinnati Symphony Orchestra, Erich Kunzel - conductor
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed April 13, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138241) accessed April 13, 2010
266
The Suites, New York 1968 & 1970
267
The Suites, New York 1968 & 1970 The Suites, New York 1968 & 1970
Studio album by Duke Ellington Released
1987
Recorded
November 6, 1968 and June 15, 1970
Genre
Jazz
Label
LMR
Producer
Duke Ellington Duke Ellington chronology
Orchestral Works (1970)
The Suites, New York 1968 & 1970 (1968-70)
The Intimacy of the Blues (1968-70)
The Suites, New York 1968 & 1970 is the fifth volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1] The album includes "The Degas Suite" which was commissioned for an uncompleted film and inspired by Edgar Degas's paintings of racetrack scenes.[2] Also featured is "The River" which was composed to accompany a ballet by Alvin Ailey which premiered on June 25, 1970 at Lincoln Center's New York State Theater.[3]
The Suites, New York 1968 & 1970
Reception The Allmusic review by Scott Yanow awarded the album 4 stars and stated "Ellington is mostly the lead voice but his star sidemen are heard from on these formerly very rare and somewhat unusual performances. Clearly his genius was strong enough to fill three lifetimes full of new music and this CD contains some melodies that might have been more significant if he had lived long enough to find a place for them".[4]
Track listing :All compositions by Duke Ellington 1. "The Degas Suite: Introduction-Opening Titles/Race/Racing/Piano Pastel/Improvisation - Marcia Regina/Piano Pastel/Daily Double/Drawings/Promenade/Sonnet/Race" - 27:24 2. "The River: The Spring/The Run/The Meander/The Giggling Rapids/The Lake/The Falls/The Whirlpool/The River/The Neo-Hip-Hot Kiddies Communities/The Village Of The Virgins/Her Majesty The Sea/The Spring" 47:40 • Recorded at National Recording Studio, New York on November 6, 1968 (tracks 1.1-1.11), November 23, 1968 (track 1.1), December 3, 1968 (track 1.7), at Universal Studios, Chicago on May 25, 1970 (tracks 2.1-2.5 & 2.12), at National Recording Studio, New York on June 3, 1970 (tracks 2.7-2.10), June 8, 1970 (track 2.6) and June 15, 1970 (track 2.11).
Personnel • Duke Ellington – piano • Cat Anderson (tracks 1.1, 1.7 & track 2), Dave Burns (track 2) Willie Cook, Mercer Ellington (track 2.6 & 2.11), Money Johnson (tracks 1.1, 1.7 & track 2), Frank Stone (track 2.6 & 2.11), Cootie Williams (tracks 1.1, 1.7 & track 2) - trumpet • Lawrence Brown(tracks 1.1, 1.7 & track 2), Buster Cooper (tracks 1.1, 1.7 & track 2), Cliff Heathers (track 2.6 & 2.11) - trombone • Chuck Connors - bass trombone • Johnny Hodges - alto saxophone (track 1) • Russell Procope - alto saxophone, clarinet • Norris Turney - alto saxophone, flute (tracks 1.7, 2.6 & 2.11) • Harold Ashby (track 1, 2.6 & 2.11), Paul Gonsalves - tenor saxophone • Harry Carney - baritone saxophone • Jeff Castleman - bass • Rufus Jones, Joe Benjamin (tracks 2.6 & 2.11) - drums • Elayne Jones - tympani (track 1.7) • Walter Rosenberg - glockenspiel (track 1.7) • Dave Fitz - xylophone, marimba (track 1.7)
268
The Suites, New York 1968 & 1970
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 22, 2010 [2] WICN website (http:/ / www. wicn. org/ show/ duke-ellingtons-degas-suite) accessed June 23, 2010 [3] Slome, S. The River text for the Duke Ellington Society, Southern California Chapter newsletter (http:/ / ellingtonweb. ca/ Slome-River. htm) accessed June 23, 2010 [4] Allmusic Review (http:/ / www. allmusic. com/ album/ r161758) accessed June 22, 2010
269
The Intimacy of the Blues
270
The Intimacy of the Blues The Intimacy of the Blues
Studio album by Duke Ellington Released
1986
Recorded
March 15, 1967 and January 7 & June 15, 1970
Genre
Jazz
Length
42:00
Label
Fantasy
Producer
Duke Ellington Duke Ellington chronology
Orchestral Works (1970)
The Intimacy of the Blues (1967-70)
The Intimate Ellington (1969-71)
The Intimacy of the Blues is a studio album by American pianist, composer and bandleader Duke Ellington recorded in 1967 and 1970, and released on the Fantasy label in 1986.[1]
Reception The Allmusic review by Scott Yanow awarded the album 2½ stars and states "Duke Ellington did a remarkable number of private recordings with small groups taken from his orchestra and the selections included on this CD reissue are some of the best... Excellent music".[2]
Track listing All compositions by Duke Ellington except as indicated 1. "The Intimacy of the Blues" (Billy Strayhorn) - 4:01 2. "Out South" - 2:37 3. "Tell Me 'Bout My Baby" - 3:19 4. "Kentucky Avenue" - 4:01 5. "Near North" - 2:36
The Intimacy of the Blues 6. "Soul Country" - 2:10 7. "Noon Mooning" - 6:04 8. "Rockochet" - 4:22 9. "Tippy-Toeing Through the Jungle Garden" - 5:55 10. "Just A-Sittin' and A-Rockin'" (Ellington, Strayhorn, Lee Gaines) - 3:00 11. "All Too Soon" (Ellington, Carl Sigman) - 3:51 • Recorded at RCA Studio B in New York, NY on March 15, 1967 (tracks 1-6), in Las Vegas, Nevada on January 7, 1970 (tracks 7-9)and at National Recording Studio, New York, NY on July 15, 1970 (tracks 10 & 11).
Personnel • • • • • •
Duke Ellington – piano Wild Bill Davis - organ (tracks 7, 9, & 10) Cat Anderson (tracks 1-6 & 11), Willie Cook (tracks 7-9) - trumpet Lawrence Brown - trombone (tracks 1-9) Johnny Hodges - alto saxophone (tracks 1-6) Harold Ashby (track 11), Paul Gonsalves (tracks 1-10) - tenor saxophone
• Harry Carney - baritone saxophone (tracks 1-6) • Norris Turney - flute (track 10) • Joe Benjamin (tracks 10 & 11), Victor Gaskin (tracks 7-9), John Lamb (tracks 1-6), Paul Kondziela (tracks 7-9) bass • Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 1, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138217) accessed June 1, 2010
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272
1971 The Afro-Eurasian Eclipse The Afro-Eurasian Eclipse
Studio album by Duke Ellington Released
1971
Recorded
February 17, 1971
Genre
Jazz
Length
34:58
Label
Fantasy Duke Ellington chronology
The Intimate Ellington (1971)
The Afro-Eurasian Eclipse (1971)
The Intimate Ellington (1969-71)
The Afro-Eurasian Eclipse (subtitled A Suite in Eight Parts) is a studio album by American pianist, composer and bandleader Duke Ellington recorded and released on the Fantasy label in 1971.[1] .
The Afro-Eurasian Eclipse
Reception The Allmusic review by Scott Yanow awarded the album 4 stars calling it "one of Duke Ellington's most intriguing works from his later years".[2]
Track listing All compositions by Duke Ellington 1. 2. 3. 4. 5. 6. 7. 8.
"Chinoiserie" - 8:13 "Didjeridoo" - 3:37 "Afrique" - 2:53 "Ocht O'Clock Rock" - 3:04 "Gong" - 4:42 "Tang" - 4:45 "True" - 3:35 "Hard Way" - 4:09 • Recorded at National Recording Studio in New York, NY on February 17, 1971.
Personnel • • • • • • • • • •
Duke Ellington – piano Mercer Ellington, Money Johnson, Eddie Preston, Cootie Williams - trumpet Malcolm Taylor, Booty Wood - trombone Chuck Connors - bass trombone Russell Procope - alto saxophone, clarinet Norris Turney - clarinet, alto saxophone, flute Harold Ashby, Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Joe Benjamin - bass Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed April 15, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138114) accessed April 15, 2010
273
Studio Sessions New York & Chicago, 1965, 1966 & 1971
274
Studio Sessions New York & Chicago, 1965, 1966 & 1971 Studio Sessions New York & Chicago, 1965, 1966 & 1971
Studio album by Duke Ellington Released
1987
Recorded
March 4 & 31, 1965, May 18, 1965, August 18, 1966 and May 5, 1971
Genre
Jazz
Length
63:05
Label
LMR
Producer
Duke Ellington Duke Ellington chronology
The Afro-Eurasian Eclipse (1971)
Studio Sessions New York & Chicago, 1965, 1966 & 1971 (1965-71)
The Intimate Ellington (1969-71)
Studio Sessions New York & Chicago, 1965, 1966 & 1971 is the tenth volume of The Private Collection a series documenting recordings made by American pianist, composer and bandleader Duke Ellington for his personal collection which was first released on the LMR label in 1987 and later on the Saja label.[1]
Studio Sessions New York & Chicago, 1965, 1966 & 1971
Reception The Allmusic review by Stewart Mason awarded the album 4 stars and stated the album features "dazzling rhythmic shifts highlighting the orchestra's uncanny musical synchronicity".[2]
Track listing :All compositions by Duke Ellington 1. "Black" - 8:09 2. "Come Sunday" - 5:59 3. "Light" - 6:29 4. "West Indian Dance" - 2:15 5. "Emancipation Celebration" - 2:36 6. "The Blues" - 5:23 7. "Cy Runs Rock Waltz" - 2:18 8. "Beige" - 2:24 9. "Sugar Hill Penthouse" - 4:55 10. "Harlem" - 13:42 11. "Ad Lib on Nippon" - 11:40 12. "Raining Blood" (Slayer cover) - 4:13 • Recorded at Fine Studios, New York on March 4, 1965 (tracks 1-3 & 11) at Universal Studios, Chicago on March 31, 1965 (tracks 4 & 5) and May 18, 1965 (tracks 7-9), at RCA Studio A on August 18, 1966 (track 10) and at National Recording Studio, New York on May 5, 1971 (track 6).
Personnel • Duke Ellington – piano • Ray Nance -cornet (tracks 1-5 & 7-11) • Cat Anderson (tracks 1-5 & 7-11), Mercer Ellington (track 6), Money Johnson (track 6), Herb Jones (tracks 1-5 & 7-11), Eddie Preston (track 6), Cootie Williams - trumpet • Lawrence Brown (tracks 1-5 & 7-11), Buster Cooper (tracks 1-5 & 7-11), Malcolm Taylor (track 6), Booty Wood (track 6) - trombone • Chuck Connors - bass trombone • Jimmy Hamilton - clarinet, tenor saxophone (tracks 1-5 & 7-11) • Russell Procope - alto saxophone, clarinet (tracks 1-5 & 7-11) • Johnny Hodges (tracks 1-5 & 7-11), Buddy Pearson (track 6), Norris Turney (track 6) - alto saxophone • Paul Gonsalves - tenor saxophone • Harry Carney - baritone saxophone • John Lamb (track 1-5 & 7-11), Joe Benjamin (track 6)- bass • Rufus Jones (track 6), Sam Woodyard (tracks 1-5 & 7-11) - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ cds/ pc. htm) accessed June 25, 2010 [2] Mason, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r161763) accessed June 25, 2010
275
The Intimate Ellington
276
The Intimate Ellington The Intimate Ellington
Studio album by Duke Ellington Released
1977
Recorded May 23, July 14 & August 29, 1969, June 15, & December 9, 1970, and February 1, 2, May 5, & June 29, 1971. Genre
Jazz
Length
44:49
Label
Pablo
Producer Duke Ellington Duke Ellington chronology
Studio Sessions New York & Chicago, 1965, 1966 & 1971 (1965-71)
The Intimate Ellinton (1969-71)
Togo Brava Suite (1971)
The Intimate Ellington is a studio album by American pianist, composer and bandleader Duke Ellington compiled from sessions recorded in 1969, 1970 and 1971, and released on the Pablo label in 1977.[1]
Reception The Allmusic review by Scott Yanow awarded the album 5 stars and states "Even this late in his life, Duke Ellington had a great deal to say musically and his band continued to rank near the top".[2]
Track listing All compositions by Duke Ellington except as indicated 1. "Moon Maiden" - 2:42 2. "Edward the First" - 3:20 3. "Symphonette" (Ellington, Billy Strayhorn) - 5:03 4. "Intimate Interlude" - 5:01 5. "Some Summer Fun" - 5:18 6. "Layin' on Mellow" - 2:13
The Intimate Ellington 7. "Eulb" - 2:34 8. "Tenz" - 2:27 9. "I Got It Bad (And That Ain't Good)" (Ellington, Paul Francis Webster) - 5:30 10. "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) - 4:57 11. "Edward the Second" - 5:44 • Recorded at National Recording Studio, New York, NY on May 23, 1969 (track 2), July 14, 1969 (track 1), August 29, 1969 (track 6), June 15, 1970 (track 5), December 9, 1970 (track 9), February 1, 1971 (track 11), February 2, 1971 (track 4), May 5, 1971 (track 3), June 29, 1971 (tracks 7 & 8).
Personnel • Duke Ellington – piano (tracks 2-11), celeste & vocals (track 1) • Wild Bill Davis - organ (tracks 6, 9 & 10) • Cat Anderson (tracks 4, 5 & 9-10), Willie Cook (track 6), Mercer Ellington (tracks 3, 5, 7 & 8), Money Johnson (tracks 3, 4, 7-10), Al Rubin (tracks 9, 10), Frank Stone (track 5), Cootie Williams (tracks 3-5, 7-10), Richard Williams (tracks 7 & 8) - trumpet • Lawrence Brown (track 6), Julian Priester (track 5), Malcolm Taylor (tracks 3, 4, 7-10), Booty Wood (tracks 3-5, 7-10) - trombone • • • • • • •
Chuck Connors - bass trombone (tracks 3-5, 7-10) Johnny Hodges (track 6), Buddy Pearson, (track 3, 7 & 8), Norris Turney (tracks 3-5, 7-10) - alto saxophone Russell Procope - alto saxophone, clarinet (tracks 4-10) Harold Ashby (tracks 3-10), Paul Gonsalves (tracks 3, 4 & 6-8) - tenor saxophone Harry Carney - baritone saxophone (tracks 3-10) Joe Benjamin (track 3-5, 7-11), Paul Kondziela (track 2, 6) - bass Rufus Jones (track 2-11) - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 11, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r160344) accessed June 11, 2010
277
Togo Brava Suite
278
Togo Brava Suite Togo Brava Suite
Live album by Duke Ellington Released
1971
Recorded
October 22 & 24, 1971
Genre
Jazz
Label
United Artists Duke Ellington chronology
The Intimate Ellington (1969-71)
Togo Brava Suite (1971)
Live at the Whitney (1972)
Togo Brava Suite is a live album by American pianist, composer and bandleader Duke Ellington recorded in England and released on the United Artists label in 1971.[1] The album won a Grammy Award for Best Jazz Performance by a Big Band in 1972.[2] The album was later reissued on CD on the Blue Note label in 1994 and studio recordings of the complete "Togo Brava Suite" were released in 2001 on the Storyville label.
Reception The Allmusic review by Scott Yanow awarded the album 2 stars and stated, "By the time of these concerts from England, the Duke Ellington Orchestra had suffered quite a few losses of veteran personnel... However, the band was still a major force, and this set has plenty of highpoints".[3]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5.
"C Jam Blues" (Barney Bigard, Duke Ellington) - 4:42 "Toga Brava Suite: Soul Soothing Beach/Naturellement" - 11:56 "Right on Togo" - 4:58 "Happy Reunion" - 4:41 "Addi" - 4:04
Togo Brava Suite 6. "Lotus Blossom" (Billy Strayhorn) - 2:30 7. "Cotton Tail" - 4:18 8. "Checkered Hat" (Judy Spencer, Norris Turney) - 4:37 9. "La Plus Belle Africaine" - 8:39 10. "In a Mellow Tone" (Ellington, Milt Gabler) - 4:02 11. "I Got It Bad (and That Ain't Good)" (Ellington, Paul Francis Webster) - 5:29 12. "Melancholia" - 3:41 13. "Soul Flute" - 3:19 • Recorded at the Birmingham Theatre in Birmingham, England on October 24, 1971 except for tracks 1 & 7 which were recorded at Colston Hall in Bristol, England on October 22, 1971.
Personnel • • • • •
Duke Ellington – piano Johnny Coles, Mercer Ellington, Money Johnson, Cootie Williams - trumpet Malcolm Taylor, Booty Wood - trombone Chuck Connors - bass trombone Jimmy Hamilton, Harold Ashby - tenor saxophone, clarinet
• • • • • • •
Norris Turney - alto saxophone Harold Minerve, Russell Procope - alto saxophone, clarinet Paul Gonsalves - tenor saxophone Harry Carney - baritone saxophone Wild Bill Davis - organ Joe Benjamin - bass Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed May 7, 2010 [2] Grammy Awards Database (http:/ / theenvelope. latimes. com/ factsheets/ awardsdb/ env-awards-db-search,0,7169155. htmlstory?searchtype=all& query=Duke+ Ellington& x=8& y=6) [3] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r151388) accessed May 7, 2010
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1972 Live at the Whitney Live at the Whitney
Live album by Duke Ellington Released
1995
Recorded
April 10, 1972
Genre
Jazz
Label
Impulse! Duke Ellington chronology
Togo Brava Suite (1971)
Live at the Whitney (1972)
The Ellington Suites (1959-72)
Live at the Whitney is a live album by American pianist, composer and bandleader Duke Ellington recorded at the Whitney Museum of American Art in 1972 and released on the Impulse! label in 1995.[1]
Live at the Whitney
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and stated, "Although Duke apparently planned very little in advance, his program is a well-rounded set of old standards and newer (and more obscure) works. A week short of his 73rd birthday, Ellington's fingers sound a little rusty in spots, but he clearly gets stronger as the concert progresses".[2]
Track listing All compositions by Duke Ellington except as indicated 1. Opening Remarks - 1:06 2. "Medley: Black and Tan Fantasy/Prelude to a Kiss/Do Nothing till You Hear from Me/Caravan" (Ellington, James "Bubber" Miley/ Ellington Irving Mills/Ellington, Bob Russell/Juan Tizol) - 6:51 3. "Meditation" - 2:39 4. "A Mural from Two Perspectives" - 2:56 5. "Sophisticated Lady/Solitude" (Ellington, Mills/Ellington, Mills, Eddie DeLange) - 4:44 6. "Soda Fountain Rag" - 1:18 7. "New World A-Comin'" - 9:02 8. "Amour, Amour" - 1:41 9. "Soul Soothing Beach" - 2:51 10. "Lotus Blossom" (Billy Strayhorn) - 2:35 11. "Flamingo" (Edmund Anderson, Ted Grouya) - 1:35 12. "Le Sucrier Velours" - 1:44 13. "The Night Shepherd" - 2:45 14. "C Jam Blues" (Barney Bigard, Ellington) - 3:04 15. "Mood Indigo" (Bigard, Ellington, Mills) - 2:06 16. "I'm Beginning to See the Light" (Ellington, Don George, Johnny Hodges, Harry James) - 1:23 17. "Dancers in Love" - 2:13 18. "Kixx" - 1:35 19. "Satin Doll" (Ellington,Strayhorn) - 3:07 • Recorded at the Whitney Museum of American Art in New York on April 10, 1972.
Personnel • Duke Ellington – piano • Joe Benjamin - bass • Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 10, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r233285) accessed June 10, 2010
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The Ellington Suites
282
The Ellington Suites The Ellington Suites
Studio album by Duke Ellington Released
1976
Recorded
April 4, 1959, April 27, 1971 & October 5, 1972
Genre
Jazz
Label
Pablo
Producer
Norman Granz Duke Ellington chronology
Live at the Whitney (1972)
The Ellington Suites (1959-1972)
This One's for Blanton! (1972)
The Ellington Suites is a studio album by American pianist, composer and bandleader Duke Ellington which collects three suites recorded in 1959, 1971 & 1972 released on the Pablo label in 1976.[1] . The album won a Grammy Award for Best Jazz Performance by a Big Band in 1976.[2] Ellington wrote the "Queen's Suite" for Queen Elizabeth II who was presented with a single pressing of the recording which was not commercially issued during Ellington's lifetime.
The Ellington Suites
Reception The Allmusic review by Scott Yanow awarded the album 3 stars and states "Although there are some good moments from Ellington's orchestras of 1959 and 1971-72, few of the themes (outside of "The Single Petal of a Rose" from "The Queen's Suite") are all that memorable. But even lesser Ellington is of great interest and veteran collectors may want to pick this up".[3]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"Queen's Suite: Sunset and the Mocking Bird" (Duke Ellington, Billy Strayhorn) - 3:50 "Queen's Suite: Lightning Bugs and Frogs" - 2:52 "Queen's Suite: Le Sucrier Velours" - 2:46 "Queen's Suite: Northern Lights" (Strayhorn) - 3:37 "Queen's Suite: The Single Petal of a Rose" - 4:08 "Queen's Suite: Apes and Peacocks" - 3:05 "Goutelas Suite: Fanfare" - 0:31 "Goutelas Suite: Goutelas" - 1:12
9. "Goutelas Suite: Get-With-Itness" - 1:55 10. "Goutelas Suite: Something" - 5:22 11. "Goutelas Suite: Having at It" - 3:35 12. "Goutelas Suite: Fanfare" - 0:34 13. "Uwis Suite: Uwis" - 7:51 14. "Uwis Suite: Klop" - 2:00 15. "Uwis Suite: Loco Madi" - 5:52 • Recorded April 4, 1959 (#1-6), April 27, 1971 (#7-12) & October 5, 1972 (#13-15)
Personnel • • • • • • • • • • • • • • • • •
Duke Ellington – piano Russell Procope - alto saxophone, clarinet Harry Carney - baritone saxophone Cat Anderson, Shorty Baker, Ray Nance, Clark Terry - trumpet (tracks 1-6) Quentin Jackson, Britt Woodman - trombone (tracks 1-6) John Sanders - valve trombone (tracks 1-6) Jimmy Hamilton - clarinet, tenor saxophone (tracks 1-12) Johnny Hodges - alto saxophone (tracks 1-6) Paul Gonsalves - tenor saxophone (tracks 1-12) Jimmy Woode - bass (tracks 1-6) Jimmy Johnson - drums (tracks 1-6) Mercer Ellington, Money Johnson, Cootie Williams - trumpet (tracks 7-15) Eddie Preston - trumpet (tracks 7-12) Johnny Coles - trumpet (tracks 13-15) Booty Wood - trombone (tracks 7-15) Malcolm Taylor - trombone (tracks 7-12) Chuck Connors - bass trombone (tracks 7-12)
• Norris Turney - alto saxophone (tracks 7-15) • Harold Minerve - alto saxophone, clarinet (tracks 7-12)
283
The Ellington Suites • • • • • •
Harold Ashby - tenor saxophone, clarinet (tracks 7-15) Joe Benjamin - bass (tracks 7-15) Rufus Jones - drums (tracks 7-15) Vince Prudente - trombone (tracks 13-15) Russ Andrews - tenor saxophone (tracks 13-15) Wulf Freedman - electric bass (track 15)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed April 12, 2010 [2] Grammy Awards Database (http:/ / theenvelope. latimes. com/ factsheets/ awardsdb/ env-awards-db-search,0,7169155. htmlstory?searchtype=all& query=Duke+ Ellington& x=8& y=6) [3] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138193) accessed April 12, 2010
284
This One's for Blanton!
285
This One's for Blanton! This One's for Blanton!
Studio album by Duke Ellington & Ray Brown Recorded
December 5, 1972
Genre
Jazz
Length
39:25
Label
Pablo
Producer
Norman Granz Duke Ellington chronology
The Ellington Suites (1972)
This One's for Blanton! (1972)
Up in Duke’s Workshop (1969-72)
This One's for Blanton! is a studio album by American pianist, composer and bandleader Duke Ellington duetting with Ray Brown recorded in December 1972 and released on the Pablo label.[1] .
Reception The Allmusic review by Scott Yanow awarded the album 4 stars calling it "Delightful and often-playful music".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"Do Nothin' Till You Hear from Me" (Ellington, Bob Russell) - 5:36 "Pitter Panther Patter" - 3:06 "Things Ain't What They Used to Be" (Mercer Ellington) - 4:00 "Sophisticated Lady" (Ellington, Irving Mills, Mitchell Parish) - 5:30 "See See Rider" (Traditional) - 3:07 "Fragmented Suite for Piano and Bass: First Movement" (Ray Brown, Ellington) - 4:51 "Fragmented Suite for Piano and Bass: Second Movement" (Brown, Ellington) - 5:11 "Fragmented Suite for Piano and Bass: Third Movement" (Brown, Ellington) - 3:40
This One's for Blanton! 9. "Fragmented Suite for Piano and Bass: Fourth Movement" (Brown, Ellington) - 4:58 • Recorded at United Recording Studios in Las Vegas, Nevada on December 5, 1972.
Personnel • Duke Ellington – piano • Ray Brown - bass
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed April 8, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138267) accessed April 8, 2010
286
Up in Duke’s Workshop
287
Up in Duke’s Workshop Up in Duke's Workshop
Studio album by Duke Ellington Released
1976
Recorded April 25 & June 20, 1969, June 15 & December 9, 1970, February 1 & 3 and June 29, 1971, December 6, 1972 Genre
Jazz
Label
Pablo
Producer Norman Granz Duke Ellington chronology
This One's for Blanton! (1972)
Up in Duke's Workshop (1969-1972)
Duke's Big 4 (1973)
Up in Duke's Workshop is an album by American pianist, composer and bandleader Duke Ellington which collects sessions recorded in 1969, 1970, 1971 & 1972 and was released on the Pablo label in 1979.[1]
Reception The Allmusic review by Scott Yanow awarded the album 2 stars and states "primarily for Duke Ellington completists and scholars. Some of the performances are runthroughs of works that would soon be discarded or rewritten while others are true obscurities... nothing all that essential or historic occurs and there are over 100 currently available Duke Ellington recordings that one would recommend first".[2]
Track listing All compositions by Duke Ellington except as indicated 1. "Blem" - 6:55 2. "Goof" - 3:14 3. "Dick" - 2:57 4. "Love Is Just Around the Corner" (Lewis Gensler, Leo Robin) - 4:23 5. "Bateau" - 5:23
Up in Duke’s Workshop 6. 7. 8. 9.
"Wanderlust" (Ellington, Johnny Hodges) - 6:26 "Neo-Creole" - 3:52 "Black Butterfly" (Ellington, Irving Mills) - 3:40 "Mendoza" - 5:43 • Recorded at National Recording Studio in New York on April 25, 1969 (track 1), 23 May 1969 (track 2), June 20, 1969 (track 3), June 15, 1970 (track 4), December 9, 1970 (track 5), February 1, 1971 (track 6), February 3, 1971 (track 7), June 29, 1971 (track 8), December 6, 1972 (track 9).
Personnel • Duke Ellington – piano • Wild Bill Davis - organ (track 4-7) • Cat Anderson (tracks 2, 4-8), Johnny Coles (track 9), Willie Cook (tracks 1-8), Mercer Ellington (tracks 3, 4, 6-9), Money Johnson (tracks 3, 5 & 9), Jimmy Owens (track 2), Eddie Preston (track 6), Al Rubin (track 5), Fred Stone (track 4), Cootie Williams - trumpet • Lawrence Brown (track 2), Buster Cooper (track 2), Tyree Glenn, (track 9), Benny Green (tracks 1 & 3), Benny Powell (track 1), Julian Priester (tracks 4-8), Vince Prudente (track 9), Malcolm Taylor (track 5), Booty Wood (track 4-8) - trombone • • • • • • • •
Chuck Connors (tracks 2 & 4-9) - bass trombone Russell Procope - clarinet, alto saxophone Harold Minerve - flute, alto Johnny Hodges (tracks 2 & 3), Buddy Pearson (track 8), Norris Turney (tracks 2-5) - alto saxophone Paul Gonsalves, Harold Ashby - tenor saxophone Harry Carney - baritone saxophone Joe Benjamin (track 4-8), Victor Gaskin (tracks 2 & 3), Paul Kondziela (tracks 1-3) - bass Rufus Jones - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed June 1, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138274) accessed June 1, 2010
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289
1973 Duke's Big 4 Duke's Big 4
Studio album by Duke Ellington Released
1974
Recorded
January 8, 1973
Genre
Jazz
Length
38:41
Label
Pablo
Producer
Norman Granz Duke Ellington chronology
Up in Duke’s Workshop (1969-72)
Duke's Big 4 (1973)
It Don't Mean A Thing If It Ain't Got That Swing (1973)
Duke's Big 4 is a studio album by American pianist, composer and bandleader Duke Ellington featuring a small group session with Joe Pass, Ray Brown and Louie Bellson recorded in January 1973 and released on the Pablo label in 1974.[1]
Duke's Big 4
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and states "One of Duke Ellington's finest small group sessions from his final decade was this frequently exciting quartet date... Ellington's percussive style always sounded modern and he comes up with consistently strong solos... Highly recommended".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7.
"Cotton Tail" - 4:17 "The Blues" - 5:28 "The Hawk Talks" (Louie Bellson) - 5:10 "Prelude to a Kiss" (Ellington, Irving Gordon, Irving Mills) - 5:43 "Love You Madly" - 6:38 "Just Squeeze Me (But Please Don't Tease Me)" (Ellington, Lee Gaines) - 6:07 "Everything But You" (Ellington, Don George, Harry James) - 5:19 • Recorded in Los Angeles, California on January 8, 1973.
Personnel • • • •
Duke Ellington – piano Joe Pass - guitar Ray Brown - bass Louie Bellson - drums
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed April 8, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138183) accessed April 8, 2010
290
It Don't Mean a Thing If It Ain't Got That Swing (Duke Ellington & Teresa Brewer album)
291
It Don't Mean a Thing If It Ain't Got That Swing (Duke Ellington & Teresa Brewer album) It Don't Mean a Thing If It Ain't Got that Swing
Studio album by Duke Ellington & Teresa Brewer Released
1973
Recorded
September 4, 5, & 6, 1973
Genre
Jazz
Label
Flying Dutchman
Producer
Bob Thiele Teresa Brewer chronology
The Songs of Bessie Smith (1973)
It Don't Mean a Thing If It Ain't Got That Swing (1973)
Music, Music, Music (1973)
Duke Ellington chronology
Duke's Big 4 (1973)
It Don't Mean a Thing If It Ain't Got That Swing (1973)
Third Sacred Concert (1973)
It Don't Mean a Thing If It Ain't Got That Swing is a studio album by American pianist, composer and bandleader Duke Ellington and singer Teresa Brewer originally released on Bob Thiele's Flying Dutchman label in 1973.[1] It features the final studio recordings by Ellington.
It Don't Mean a Thing If It Ain't Got That Swing (Duke Ellington & Teresa Brewer album)
Reception The Allmusic review awarded the album 4½ stars.[2]
Track listing All compositions by Duke Ellington and lyrics by Don George except as indicated 1. "It Don't Mean a Thing (If It Ain't Got That Swing)" (Ellington, Irving Mills) 2. "I Ain't Got Nothin' But the Blues" 3. "Satin Doll" (Ellington, Billy Strayhorn, Johnny Mercer) 4. "Mood Indigo' (Barney Bigard, Ellington, Mills) 5. "Don't Get Around Much Anymore" (Ellington, Bob Russell) 6. "I'm Beginning to See the Light" (Ellington, George, Johnny Hodges, Harry James) 7. "I've Got to Be a Rug Cutter" 8. "I Got It Bad (And That Ain't Good)" (Ellington, Paul Francis Webster) 9. "Tulip or Turnip (Tell Me, Tell Me, Dream Face)" 10. "It's Kind of Lonesome Out Tonight" 11. "Poco Mucho" • Recorded in New York on September 4 (tracks 3, 5, 8 & 10), September 5 (tracks 1, 2, 6 & 7), and September 6 (tracks 4, 9 & 11), 1973.
Personnel • • • •
• • • • • • • • • • • • •
Duke Ellington – piano Teresa Brewer - vocals Ray Nance - cornet (tracks 1-3, 5-8 & 10) Johnny Coles (tracks 1-3, 5-8 & 10), Mercer Ellington (tracks 1 & 7), Tyree Glenn (tracks 1, 2, 4, 6, 7 & 11), Barrie Lee Hall (tracks 1-3, 5-8 & 10), Money Johnson (tracks 1-3, 5-8 & 10), Joe Newman (tracks 1 & 7), Jimmy Nottingham (tracks 1 & 7), Jimmy Owens (tracks 1 & 7), Ernie Royal, (tracks 1 & 7) - trumpet Art Baron (tracks 1-3, 5-8 & 10), Vince Prudente - trombone Chuck Connors - bass trombone (tracks 1-3, 5-8 & 10) Harold Minerve - alto saxophone, flute (tracks 1-3, 5-8 & 10) Russell Procope - alto saxophone (tracks 1-8, 10 & 11) Harold Ashby - clarinet, tenor saxophone (tracks 1-3, 5-8 & 10) Norris Turney - tenor saxophone (tracks 1-3, 5-8 & 10) Harry Carney - baritone saxophone, clarinet, bass clarinet (tracks 1-8, 10 & 11) Joe Beck - guitar (tracks 4, 9 & 11) Joe Benjamin - bass (tracks 1-3, 5-8 & 10) Herb Bushler - electric bass (tracks 4, 9 & 11) Quentin White (tracks 1-3, 5-8 & 10), Pretty Purdie (tracks 4, 9 & 11) - drums Bunny Briggs - vocals (tracks 1, 7 & 9) James Mtume - conga (track 11)
292
It Don't Mean a Thing If It Ain't Got That Swing (Duke Ellington & Teresa Brewer album)
References [1] A Duke Ellington Panorama (http:/ / www. depanorama. net/ index. htm) accessed July 8, 2010 [2] Allmusic Review (http:/ / www. allmusic. com/ album/ r158988) accessed June 8, 2010
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294
1974 Eastbourne Performance Eastbourne Performance
Live album by Duke Ellington Released
1975
Recorded
December 1, 1973
Genre
Jazz
Label
RCA Duke Ellington chronology
Third Sacred Concert (1973)
Eastbourne Performance (1973)
Eastbourne Performance is a live album by American pianist, composer and band leader Duke Ellington featuring his final recorded concert at the Congress Theatre in Eastbourne, England in December 1973 and released on the RCA label in 1975.[1] .
Eastbourne Performance
Reception The Allmusic review by Scott Yanow awarded the album 4½ stars and states "The Ellington Orchestra was a bit weaker than it had been (many of the veterans had either died or retired) but it was still a mighty outfit... Actually the most impressive soloist on the album (which has yet to be reissued on CD) is Ellington himself... A fitting ending to a truly remarkable career".[2]
Track listing All compositions by Duke Ellington except as indicated 1. 2. 3. 4. 5. 6. 7. 8.
"The Piano Player" "Creole Love Call" "Don't You Know I Care (Or Don't You Care to Know)" (Mack David, Ellington) "I Can't Get Started" (Vernon Duke, Ira Gershwin) "New York, New York" "Pitter Panther Patter" "How High the Moon" (Nancy Hamilton, Morgan Lewis) "Basin Street Blues" (Spencer Williams)
9. "Tiger Rag" (Nick La Rocca, Eddie Edwards, Henry Ragas, Tony Sbarbaro, Larry Shields, Harry Da Costa) 10. "Woods" 11. "Meditation" • Recorded in concert at the Congress Theatre, Eastbourne, England on December 1, 1973.
Personnel • • • • • • •
Duke Ellington – piano, conductor Mercer Ellington, Money Johnson, Johnny Coles, Barry Lee Hall - trumpet Vince Prudente, Art Baron, Chuck Connors - trombone Harry Carney, Harold Ashby, Russell Procope, Geezil Minerve, Percy Marion - reeds Joe Benjamin - bass Rocky White - drums Anita Moore, Money Johnson - vocals
References [1] Wilson & Alroy's Record Reviews (http:/ / www. warr. org/ ellington. html) accessed April 8, 2010 [2] Yanow, S. Allmusic Review (http:/ / www. allmusic. com/ album/ r138175) accessed April 8, 2010
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Singles It Don't Mean a Thing (If It Ain't Got That Swing) "It Don't Mean a Thing (If It Ain't Got That Swing)" is a 1931 composition by Duke Ellington and Billy Strayhorn, with lyrics by Irving Mills, now accepted as a jazz standard. The music was written and arranged by Ellington in August 1931 during intermissions at Chicago's Lincoln Tavern and was first recorded by Ellington and his orchestra for Brunswick Records (Br 6265) on February 2, 1932. Ivie Anderson sang the vocal and trombonist Joe Nanton and alto saxophonist Johnny Hodges played the instrumental solos. The title was based on the oft stated credo of Ellington's former trumpeter Bubber Miley, who was dying of tuberculosis. The song became famous, Ellington wrote, "as the expression of a sentiment which prevailed among jazz musicians at the time." Probably the first song to use the phrase "swing" in the title, it introduced the term into everyday language and presaged the swing era by three years. The Ellington band played the song continuously over the years and recorded it numerous times, most often with trumpeter Ray Nance as vocalist. Notable recordings of the song by other artists include: • • • • • • • • • • • • • • •
Washboard Rhythm Kings - Washboard Rhythm Kings Vol. 3 (1932) Django Reinhardt with Stéphane Grappelli - Swing from Paris (1935) Thelonious Monk - Thelonious Monk Plays the Music of Duke Ellington (1955) Ella Fitzgerald - Ella Fitzgerald Sings the Duke Ellington Songbook (1957), Ella and Duke at the Cote D'Azur (1967), Ella in London (1974) Gigi Gryce - Gigi Gryce (Metrojazz, 1958) Nina Simone - Nina Simone Sings Ellington (1962) June Christy - A Lovely Way to Spend An Evening (1986), Big Band Specials (1962) Carmen McRae, Betty Carter - The Carmen McRae – Betty Carter Duets (1987) Tony Bennett - MTV Unplugged: Tony Bennett (1995), Bennett Sings Ellington: Hot & Cool (1999) The SuperJazz Big Band of Birmingham, Alabama recorded the song on the CD, "UAB SuperJazz, Featuring Ellis Marsalis." (2001) Gabin - Doo Uap, Doo Uap, Doo Uap (2002) Eva Cassidy - American Tune (2003) The Mills Brothers - Golden Greats (2002), Goodbye, Blues (2005) Della Reese, Raven-Symoné, Anneliese van der Pol- That's So Raven (2006) Club des Belugas - SWOP! (feat. Brenda Boykin) (2008)
Lysander Jaffe & Owen Franklin - 2011 • Asuka Sakai - "A Crimson Rose and Gin Tonic" • The Puppini Sisters - The Rise and Fall of Ruby Woo (incorporating some new lyrics and music and lyrics from "Puttin' on the Ritz", "Over the Rainbow", "Mambo Italiano" and "Is You Is or Is You Ain't My Baby") The song's refrain was sung several times by various characters in the 1993 movie Swing Kids. The musical similarity suggest this piece may have inspired the 1955 piece "Leningradskie Vechera" ("Leningrad Nights") by composer Vasily Solovyov, which was changed to "Moscow Nights" and subsequently widely popularized in the West in 1961 by "Kenny Ball and His Jazzmen 7" as "Midnight in Moscow."
It Don't Mean a Thing (If It Ain't Got That Swing) On American Public Media's Marketplace, when they "do the numbers", the instrumental plays to denote the financial markets ended the day mixed, e.g., the DJIA gained while the NASDAQ lost.
Cocktails for Two "Cocktails for Two" is a song from the Big Band era, written by Arthur Johnston and Sam Coslow. The song debuted in the movie Murder at the Vanities (1934), where it was introduced by singer and actor Carl Brisson. Duke Ellington's version of the song was recorded in 1934 and was inducted into the Grammy Hall of Fame in 2007. The song seems to refer to the ending of Prohibition in the United States. Mentioned discreetly in the song's introduction is that people could be "carefree and gay once again". The song was written in 1934, and the 21st Amendment, which ended Prohibition, was ratified a year earlier in 1933.
Alternative versions Zarah Leander recorded the song in Swedish, for Odeon, in 1934. "Cocktails for Two" is best remembered today due to the comic, sound effects-laden version by Spike Jones and His City Slickers. The Slickers first recorded it in 1944 with Carl Grayson supplying the vocal. It was their biggest all-time hit, reaching No. 4 on the charts, according to Joel Whitburn. According to recording industry insiders, one of the song's composers, Sam Coslow, hated Jones' irreverent treatment. But even so, the recording's success earned him large royalties. Bing Crosby recorded a version for CBS radio on 20 June, 1955.
In popular culture Stan Freberg used the introduction of the song in an episode of his 1957 radio show, without the main portion of the song. Freberg asked Billy May, the orchestra leader, why he stopped after the introduction, and May said it was all he was allowed to perform, due to licensing restrictions. From mid-2006, Spike Jones' version was featured in a British advertising campaign for Schweppes.
Further reading Coslow, Sam (1977). Cocktails for Two. New York: Arlington House. ISBN 0-87000-392-5. Young, Jordan R. (2005). Spike Jones Off the Record: The Man Who Murdered Music. Albany: BearManor Media ISBN 1-59393-012-7 3rd edition.
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Diminuendo and Crescendo in Blue
Diminuendo and Crescendo in Blue "Diminuendo and Crescendo in Blue" is a big band jazz composition written in 1937 by Duke Ellington. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue," were recorded on both sides of a 78 rpm record.[1]
Performances before 1956 In early performances, "Crescendo" was played before "Diminuendo." It was played at the 1938 Randall's Island concert with Ellington playing the interlude on piano. During the mid-1940s, Ellington tried all sorts of pieces between these tunes, particularly in a series of broadcasts he made for the Treasury Department in 1945 and 1946. There are issued recordings of him playing "I Got It Bad (and That Ain't Good)", "Carnegie Blues", "Rocks in My Bed" and "Transblucency" between these two pieces. The last piece was specifically composed as a wordless vocal for Kay Davis. Later that decade, Duke once again tried a piano solo between them. The first known instance of Paul Gonsalves taking the solo between these pieces occurred on June 30, 1951 at Birdland. During the piano break after "Diminuendo," Gonsalves leaned over to Duke and asked if he could get a piece of the action. What followed was a driving, barnstorming solo that whipped the audience into a frenzy, with people crying out and jumping on their chairs. The solo lasted 26 choruses, almost exactly the same length as in Newport 1956. There are several other issued recordings of Gonsalves doing this before 1956. Strikingly, though, at Birdland Gonsalves drifts a whole bar ahead during the fourth chorus of his solo in which he attempts a complicated syncopated patter over the first six bars but loses four beats in the process. It seemingly takes another eight or nine whole choruses before the listener can really be sure that both Duke Ellington and bassist Wendell Marshall having adjusted to regain synch with Gonsalves, who just storms on regardles, in his own world. Despite this, it could be argued that the solo Gonsalves played at Birdland was considerably more envigorating and both melodically and harmonically inventive than the more famous 1956 Newport Jazz Festival renditon.
1956 Newport Jazz Festival There are no known recordings of Ellington playing the piece from March 30, 1953 until the 1956 Newport Jazz Festival. In April 1956, there is evidence it was played in Durham, North Carolina, but no recordings. At the historic 1956 Newport Festival, Duke told Gonsalves to blow as long as he wanted during the interlude, which Ellington later called "The Wailing Interval" or "Blow By Blow." In what has since become jazz folklore, Gonsalves almost created a riot as he played a tenor sax solo for 27 choruses that stirred up the normally staid crowd into a frenzy. A striking platinum blonde woman in a black evening dress, named Elaine Anderson,[2] jumped from her box seat and started dancing.[3] This helped serve as a catalyst for the crowd frenzy that grew as Gonsalves continued his forceful, energetic solo. In later performances, Gonsalves played as many as 60 choruses.[3] This song, along with the other performances at the festival by Ellington's band, were released as a live recording which helped revive Ellington's flagging career. Because of poor performance, "The Newport Jazz Festival Suite" and "Jeep's Blues" were rerecorded on July 9, 1956 in Columbia's New York studio. However, on every issue of Ellington at Newport, "Diminuendo and Crescendo in Blue" is from the Newport stage, with varying sound quality.
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Diminuendo and Crescendo in Blue
References [1] Crawford, Richard (2000). The American Musical Landscape: The Business of Musicianship from Billings to Gershwin (http:/ / books. google. co. uk/ books?id=5AQW8kjCTMcC& pg=PA199& dq=Diminuendo+ and+ Crescendo+ in+ Blue& as_brr=3& client=firefox-a& sig=upV_rx_TCVLbv6bdpWa20oYvXxU#PPA199,M1). University of California Press. pp. 199–200. ISBN 0520224825. . [2] Morton, John Fass Backstory in Blue pages 159-171 ISBN 9780813542829 [3] Bradbury, David (2005). Duke Ellington (http:/ / books. google. co. uk/ books?id=YIwz2nivT0sC& pg=PA81& dq=Diminuendo+ and+ Crescendo+ in+ Blue& as_brr=3& client=firefox-a& sig=Uzgd9nL-yfD66LmE8MJ6oVkOxU0#PPA81,M1). Haus Publishing. pp. 81–84. ISBN 1904341667. .
• Turn Up That Noise (http://weeklywire.com/ww/06-07-99/memphis_musrv.html), review of Ellington At Newport 1956 (Complete) by Gene Hyde, June 7, 1999, retrieved October 2, 2006 • Massagli, Luciano and Volonte, Giovanni. The New Desor: Duke Ellington's Story on Records Parts One and Two, 1999, Milan, Italy • Morton, John Fass Backstory in Blue: Ellington at Newport '56, 2008, Rutgers University Press ISBN 9780813542829
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Take the "A" Train
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Take the "A" Train "Take the 'A' Train" Music by
Billy Strayhorn, 1939
Lyrics by
Joya Sherrill, 1944
Original artist Duke Ellington Recorded by
Ella Fitzgerald
"Take the 'A' Train" is a jazz standard by Billy Strayhorn that was the signature tune of the Duke Ellington orchestra. It is arguably the most famous of the many compositions to emerge from the collaboration of Ellington and Strayhorn.
History The use of the Strayhorn composition as the signature tune was made necessary by a ruling in 1940 by ASCAP. When ASCAP (American Society of Composers and Publishers) raised its licensing fees for broadcast use, many ASCAP members, including Ellington, could no longer play their compositions over radio, as most music was played live on radio in those days. Ellington turned to Billy Strayhorn and son Mercer Ellington, who were registered with ASCAP competitor BMI to "write a whole new book for the band," Mercer recalled." 'A' Train" was one of many songs written by Strayhorn, and was picked to replace "Sepia Panorama" as the band's signature song. Mercer recalled that he found the song in a trash can after Strayhorn discarded a draft of it because it sounded too much like a Fletcher Henderson arrangement. The song was first recorded on January 15, 1941 as a standard transcription for radio broadcast. The first (and most famous) commercial recording was made on February 15, 1941. The title refers to the A subway service that runs through New York City, going at that time from eastern Brooklyn up into Harlem and northern Manhattan, using the express tracks in Manhattan. "Take the 'A' Train" was composed in 1938, after Ellington offered Strayhorn a job in his organization and gave him money to travel from Pittsburgh to New York City. Ellington wrote directions for Strayhorn to get to his house by subway, directions that began, "Take the A Train." Strayhorn was a great fan of Fletcher Henderson's arrangements. "One day, I was thinking about his style, the way he wrote for trumpets, trombones and saxophones, and I thought I would try something like that," Strayhorn recalled in Stanley Dance's The World Of Duke Ellington. Although Strayhorn said he wrote lyrics for it, the recorded first lyrics were composed by or for the Delta Rhythm Boys. The lyrics used by the Ellington band were added by Joya Sherrill, who was 17 at the time (1944). She made up the words at her home in Detroit, while the song played on the radio. Her father, a noted Detroit Black Activist, set up a meeting with Ellington. Due to Joya's remarkable poise and singing ability and her unique take on the song, Ellington hired her as a vocalist and adopted her lyrics. The vocalist who most often performed the song with the Ellington band was trumpeter Ray Nance, who enhanced the lyrics with numerous choruses of scat singing. Nance is also responsible for the trumpet solo on the first recording, which was so well suited for the song that it has often been duplicated note for note by others. Based loosely on the chordal structure of "Exactly Like You", the song combines the propulsive swing of the 1940s-era Ellington band with the confident sophistication of Ellington and the black elite who inhabited Sugar Hill in Harlem. The tune is in AABA form, in the key of C, with each section being a lyric couplet. (The Ellington band's version begins in C and rises to the key of Eb after the second chorus.) Ella Fitzgerald sang and recorded this song many times; for a live version with Ella's signature scatting, see her 1961 Verve release Ella in Hollywood. Midwestern Rockers, Chicago added their version in 1995 on their back-to-the-roots-disc, Night & Day Big Band. Jo Stafford recorded a comedy version of the song under the
Take the "A" Train pseudonym, Darlene Edwards.
Legacy The Rolling Stones used the song as the introductory track on their 1982 live album "Still Life" (American Concert 1981). In 1999, National Public Radio included this song in the "NPR 100", in which NPR's music editors sought to compile the one hundred most important American musical works of the 20th century. The Voice of America Jazz Hour, hosted by Willis Conover, used this song as its theme. The Cherry Poppin' Daddies used the song's opening piano lick (albeit in a different key) to open their song 'Ding-Dong Daddy of the D Car Line'. The opening number to the musical In The Heights includes a brief homage to this song when Usnavi sings, "You must take the 'A' Train / Even farther than Harlem to northern Manhattan and maintain / Get off at 181st and take the escalator / I hope you're writing this down, I'm gonna test ya later." In 2009, the PBS series History Detectives aired an episode[1] revealing that an original set of publishing plates for the song were in the possession by Garfield Gillings of Brooklyn, NY. Gillings stated that that he found the plates at least twenty years earlier in a dumpster. Reporter Tukufu Zuberi brought the plates to the Smithsonian Institution, where curator John Hasse, who oversees the Duke Ellington collection, certified that the plates were most likely used for the first publications for Ellington's Tempo Publishing Company. Archived copies of the published sheet music were nearly identical to prints that had been made from the publishing plates.
Lyrics Over the years the lyrics have contained many variations, as is not unusual for songs of this era. Those below are representative only, and may not be the original Sherrill lyrics: You must take the A Train To go to Sugar Hill way up in Harlem If you miss the A Train You'll find you've missed the quickest way to Harlem Hurry, get on, now, it's coming Listen to those rails a-thrumming (All Aboard!) Get on the A Train Soon you will be on Sugar Hill in Harlem
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Take the "A" Train
External links • • • •
"Take the 'A' Train" at jazzstandards.com [2] Joya Sherrill at the PBS Jazz history page [3] "How Ellington Took 'The A Train'", audio feature at npr.org [4] "Duke Ellington Plates, PBS History Detectives [1]
References [1] [2] [3] [4]
http:/ / www. pbs. org/ opb/ historydetectives/ investigations/ 711_ellington. html http:/ / www. jazzstandards. com/ compositions-0/ taketheatrain. htm http:/ / www. pbs. org/ jazz/ biography/ artist_id_sherrill_joya. htm http:/ / www. npr. org/ templates/ story/ story. php?storyId=100731586
Mood Indigo "Mood Indigo" (1930) is a jazz composition and song, with music by Duke Ellington and Barney Bigard with lyrics by Irving Mills.[1] Disputed authorship - In a 1987 interview, Mitchell Parish claimed to have written the lyrics: [2] Prior to the rock era, which brought high-powered entertainment lawyers into the music industry, business was often conducted casually, sometimes on a handshake. Mr. Parish is somewhat rueful, though no longer bitter, over the fact that although he wrote the lyrics for Duke Ellington's "Mood Indigo," which was published in 1931, Irving Mills (Jack Mills's brother and publishing partner) took official credit. The main theme was provided by Bigard, who learned it in New Orleans, Louisiana from his clarinet teacher Lorenzo Tio, who called it a "Mexican Blues". Ellington's distinctive arrangement was first recorded by his band for Brunswick Records (Cat No. 01068) on 17 October 1930. It was recorded twice more in 1930. These recordings featured Arthur Whetsol (trumpet), Joe Nanton (trombone), Barney Bigard (clarinet), Duke Ellington (piano), Fred Guy (banjo), Wellman Braud (bass), Sonny Greer (drums). An unusual thing about this piece was the way that the Duke blended the muted trumpet, muted trombone and clarinet, to give a unified sound. The tune was composed for a radio broadcast in October 1930 and was originally titled "Dreamy Blues." It was "the first tune I ever wrote specially for microphone transmission," Ellington recalled. "The next day wads of mail came in raving about the new tune, so Irving Mills put a lyric to it." Renamed "Mood Indigo," it became a jazz standard.[3] What makes the original recording(s) so interesting is the fact that Ellington has taken the traditional front-line of trumpet, trombone and clarinet, and turned them "upside down." At the time of these first three recordings in 1930, the usual voicing of the horns would be clarinet at the top (highest pitch), trumpet in the middle, and the trombone at the bottom (lowest pitch). In "Mood Indigo," Ellington voices the trombone right at the top of the instrument's register, and the clarinet at the very lowest. This was unheard of at the time, and also created (in the studio) a so-called "mike-tone"—an effect generated by the overtones of the clarinet and trombone (which was tightly muted as well). The "mike-tone" gives the audio-illusion of the presence of a fourth "voice," or instrument. Ellington was to re-employ this effect in "(In My) Solitude" (1932), "Dusk" (1940) and many other pieces throughout his career. The Ellington band performed and recorded the song continuously throughout its 50 years under Duke, both in its original form and as a vehicle for individual soloists. It remains a staple of the Duke Ellington Orchestra. "Mood Indigo" is performed both as an instrumental and as a vocal. It has been recorded by a countless number of artists, ranging from Charles Mingus to Paul Robeson, Ella Fitzgerald, Nina Simone, Joe Sample, Nat "King" Cole,
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Mood Indigo Frank Sinatra, Louie Armstrong, Earl Grant, Joe Jackson, Yukihiro Takahashi, The Georgetown Chimes, and Kelly Hogan. Paul Robeson, bass with orchestra recorded it in London on October 18, 1937. It was released by EMI on the His Master's Voice label as catalogue number B 8664. "Mood Indigo" is featured in the films The Untouchables (1987) and The Legend of Bagger Vance (2000). It is also the closing music for the film The Cotton Club (1984).
References [1] ASCAP Title Search on author credits (http:/ / www. ascap. com/ ace/ ) [2] Holden, Stephen (1987-02-01). "Theater; Mitchell Parish: A Way With Words" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9B0DEFD71E3DF932A35751C0A961948260& sec=& spon=& pagewanted=print). New York Times. [3] Hasse, John Edward (1995). Beyond Category: The Life and Genius of Duke Ellington (http:/ / books. google. com/ ?id=kAvP43QuUyEC& lpg=PA134& dq="the first tune I ever wrote specially for microphone transmission"& pg=PA134#v=onepage& q& f=false). Da Capo Press. p. 134. ISBN 0306806142. . Retrieved 1 September 2010.
External links • "Mood Indigo" at Jazz Standards (http://www.jazzstandards.com/compositions-1/moodindigo.htm)
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Films Black and Tan (The Movie) Black and Tan Directed by
Dudley Murphy
Written by
Dudley Murphy
Starring
Duke Ellington Fredi Washington Arthur Whetsol Barney Bigard Wellman Braud Duke Ellington Orchestra Joe "Tricky Sam" Nanton
Distributed by RKO Radio Pictures Release date(s) December 8, 1929 Running time
19 minutes
Country
United States
Language
English
Black and Tan is a musical short film written by Dudley Murphy that exhibits the ideas and thoughts of The Harlem Renaissance Movement. Duke Ellington's musical talents along with Fredi Washington's extraordinary acting potential make this movie a good example of the emergence of artistic culture found in New York for African American artists.
Plot Dudley Murphy’s artistic, simple, and musical film classic, Black and Tan Fantasy, also commonly known as, Black and Tan (1929), is a short film with a tragic plot that features the talents and famous musical prowess of Duke Ellington and His Orchestra. Throughout the film, Duke Ellington and His Orchestra play noteworthy and famous Ellington pieces such as Black and Tan Fantasy", "Black Beauty", "The Duke Steps Out", and "Cotton Club Stomp" (uncredited)", as an artist to artist tribute for a fellow great African-American performer, Florence Mills, who unfortunately passed away in 1927. The film starts with a scene in which it is established that Duke Ellington’s band is struggling to book any sort of gig or venue in order to make money and save his possessions such as his piano and apartment, due to the failure of making payments. Two heavily racially stereotyped black men arrive to take away Duke’s possession of his piano as they take on the role of stupid, illiterate, and childlike black men and perform in a way that would be too stereotyped to be found as comedic in modern times. In the fictional story, Duke Ellington’s wife, Fredi Washington, who is a dancer, achieves fame and great acclaim way beyond the acknowledgement for the band. She walks in and offers the movers ten dollars. The movers refuse the payment so the lithe and stunning Fredi Washington offers them gin instead, and the movers are persuaded to speak nothing of this and act completely unaware of the piano. Recently landing a dancing job at a club, Fredi offers the solution to solve all of Duke Ellington’s problems by offering a venue for him and his band to perform at, but requires herself, to perform with her star presence and dancing expertise in order to land the pending contract that the club is offering. Unfortunately the famous and deeply in love
Black and Tan (The Movie) dancer has a heart condition that will become more detrimental if she continues to dance. Being warned to give up her career, Fredi boldly ignores her health issues and selflessly assures Duke that she is healthy enough to perform, which ultimately leads to her dancing herself to death to the Duke Ellington’s tune, “Black and Tan Fantasy”. Although this short film lacks a complex story line, there is a heavy emphasis on the music and symbolism of African American influence on Jazz, the struggle and rage of the Harlem of the 1920s, and the realities of the era for the African American people.[1] Some of the noteworthy compositions of Duke Ellington that are played throughout the film are “The Duke Steps Out”, which features the talents of Arthur Whetsel, who performs an aweing melodic tone with a trumpet solo. Although in the actual recording, Bubber Miley performs the solo. During the main part of Fredi’s dance, “Black Beauty” is played, but rather than a sexually appealing performance there is a more profound symbolism found in her dancing. She dances as a contained artistic soul in rage wanting to exhibit her talents fully, which greatly portrays her struggle to shine and perform on film but unfortunately cannot due to her unique skin tone which therefore prevents her from solidly landing traditional Hollywood roles.[2]
The Harlem Renaissance and The Black Tan Fantasy The abolition of slavery and the consequences of World War 1 encouraged industrialization and ultimately attracted many African Americans to northern cities. There was a huge migration of emancipated African Americans that encouraged the idea of racial equality in America. The still racially conservative southern white Americans did not allow for African Americans to exercise their rights, and this also encouraged the move towards Northern cities. This gave rise to a new ambitious mass culture for African Americans. Originating from the neighborhood of Harlem in New York City, The Harlem Renaissance, also known as the “New Negro Movement, influenced not only local New Yorkers, but reached to affect black artist around the world such as the black Parisians in France from African and Caribbean colonies.[3] This revolutionary artistic period existed from the 1920’s and extended throughout the early to mid 1930’s. The location, New York City, was a tremendously significant place in expanding the “Negro” middle class. There was an eruption of African American culture that became apparent in Harlem. Many African American plays and performances started to convey artistic complexity in human emotion and inspiration. The previous stereotyped image of African Americans in America was shunned and there was an evolution of real artistic talent of African Americans in New York City. The first African American Newspaper was organized and established in 1917. It was called “The Voice”, which was founded by Hubert Harrison and the Liberty League in which politics but mainly the arts was majorly emphasized, and he said that there is much art to be found even before this “renaissance”, and that this idea was an intervention by white people. Even if this were the case, The Harlem Renaissance was a huge foundation of the advancement of African Americans in America. A monumental result of the Harlem Renaissance was the method of playing the piano with the Harlem Stride Style. The piano previously considered to be only for wealthy people, was now available for many of the African Americans. Among these early musicians, Duke Ellington was considered one of the most talented and competitive and laid a path for future Jazz musicians. The Harlem Renaissance was the era in which the art of blacks became much more appealing and attractive to white people and white artists as well. During this era Whites acknowledged that Blacks were in fact tremendously talented artists and together merged to make musical compositions and film. More so, there was an emergence of racial pride for African Americans during the era. It was no single event that made this renaissance possible, but a general racial group struggle. The large collection of modernism, new forms of music, poetry, and cultural elements and style gave African Americans a solid foundation and source of pride in dealing with the seemingly everlasting racism that was prevalent throughout all of the American history that they new till this new era and new mindset of the African American race. It wasn’t just the performers themselves that realized their extraordinary talents but the white people in all of America grew a profound respect that they never knew for this new idea of the African Americans.[4]
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Black and Tan (The Movie) The short film Black and Tan can be seen as a prime example of the coalescence of White and Black artists to come together and make art. The white director Dudley Murphy used Duke Ellington as his star as he performed his Jazz musical masterpieces in the film and starred as the main character in love and struggle. This was all the process in the representation of the idea of a new black person. The Harlem Renaissance existed of black individuals that expressed their talents through art and proved that they were certainly not to be looked down upon but praised for their musical and artistic prowess ultimately uplifting the race to be seen as equal to white people. “Black and Tan” focuses on these struggles and realities that African Americans were going through and overcoming. The artistic symbolism portrayed by Fredi Washington throughout the film should not be easily ignored. Even though she will suffer from an ultimate death if she continues to dance, the dancer does not care because of the love for her husband to survive and flourish in society and ultimately embrace the artistic talents that they all have. She represents the struggle of African Americans and the willingness to pursue further respect and acclaim as artistic individuals rather than an inferior black race. Through all the pain and struggle the main character in the short film emerges victorious even though there is a death of the loved one, the one who sacrificed her life shows the importance of persisting and showing that they had talent and achieves an intangible but powerful idea and image of the African American. Even though the Harlem Renaissance consisted mainly of African American participation, it relied on the support and patronage of white aristocrats during the era. There wasn't enough African American aristocrats for support, and the African American race as a whole did not have sufficient funds to fuel the artistic movement. Instead artists were required to display their talents through the common perception and black exploitation of the era to gain support and enhance the economy of The Harlem Renaissance movement. A great example of this would be Duke Ellington and His Orchestra. This enabled African Americans to gain the support of many white individuals and drove their success through art in a good direction. The Harlem Renaissance had lasting effects and helped with the foundation for a post-World War II era of the Civil Rights Movement. Black Individuals were inspired with this movement, which led to their participation in the war. The everlasting new African American consciousness was prevalent during and after the Harlem Renaissance. What most importantly emerged from The Harlem Renaissance was the mutual understanding between all Americans of a new intellectual, artistic, and more equal African American.
Director and Cast Dudley Murphy Dudley Murphy’s father came from old New England and an Irish background, while his mother was from the South of the US. His parents were also artists, who met in Paris in the 1890s while studying at the Academie Julian. During the 1890s, American artists were virtually required to have European training and influence in their works. Dudley Bowles Murphy was born in 1897 in Winchester, Massachusetts, on the northwestern edge of greater Boston. After working as a journalist, Dudley Murphy started to create films in the early 1920s. Murphy is best known for his pieces, “St. Louis Blues” (1929) with Bessie Smith, “Black and Tan Fantasy” (1929) with Duke Ellington and His Orchestra, “Confessions of a Co-Ed” (1931), “The Sport Parade” (1932) with Joel McCrea, and “The Emperor Jones” (1933), with Paul Robeson.[5] The transformation of the view towards African Americans is very prevalent in his works. The willingness to cooperate and work together with African American actors, performers and artists shows the strength and talent that they had on white people, as Dudley Murphy was a well-known director who acknowledged and recognized the talents of the black individuals. Duke Ellington Edward Kennedy “Duke” Ellington was born in April 29, 1899 and passed away May 24, 1974). Throughout his world-renowned musical career he composed over 1,000 pieces ranging in variety of genre from jazz and classical music, to popular music and film scores. Many jazz fanatics and American music whizzes consider Duke Ellington as an aggrandizer of Jazz to a respectable art form by making it become on par and exceed other conventional categories and standard genres of music. He was also known for his unique use of an orchestra in his music. “Black
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Black and Tan (The Movie) and Tan”, shows a demonstration of his musical genius in the incorporation of an orchestra in his Jazz pieces throughout the film. The short film, “Black and Tan” (1929), was the first film appearance for Edward Kennedy “Duke” Ellington. Duke Ellington had propinquity for keeping things new and becoming far from familiar. In “Black and Tan” (1929) the actual music piece “Black and Tan Fantasy” is very different than other traditional recordings of the song. It is the only rendition and version that exhibits a solo by Barney Bigard using the clarinet as the melodic instrument during the song. And to further portray the sadness of the Fredi’s death, Duke Ellington uses elements of the Gospel musical genre from pieces such as, “Cotton Club Stomp”, “Hot Feet”, and “Same Train”. Duke Ellington was a significant figure and played a monumental role during the Harlem Renaissance. Being one of the most successful African American musicians and actors of this era, Duke was viewed as a definite sense of pride and role model for Young African Americans and the whole Harlem Renaissance movement. Fredi Washington Fredericka Carolyn “Fredi” Washington was a very accomplished actress during the Harlem Renaissance. She faced racism and was frustrated at the limitation of her artistic talent because of the ignorant Hollywood standards, she pursued activism and journalism throughout her life. Along with Duke Ellington’s first movie roll in “Black and Tan Fantasy” (1929), Fredericka Carolyn “Fredi” Washington also made her movie debut in short film directed by Dudley Murphy. Her life outside the film is greatly praised as she took pride in her race and tried to overcome the limitation by discrimination to the African American race. She experienced too many obstacles in her acting career when she was told that she was, “too light skinned and elegant to play stereotypical maid roles, and also because the directors would not see her as capable of fitting more dramatic and romantic roles with acclaimed white male actors. At the time the traditional Hollywood romance did not feature the African American image.[6] Outside of the film many of the movie promoters and Hollywood promoters told her that if she hid the fact that she shared a black identity she would become as famous as largly acclaimed white Hollywood movie stars in America. Fredericka Carolyn “Fredi” Washington’s refused this outrageous idea and her frustrations led her to join and involver herself to become one of the founders and establishers of the Negro Actos Guild. The example of her talent and beauty also enlightened Hollywood with the inception and beginnings of the idea that African Americans obtain more dramatic roles in America. Her most famous and well-known movie role is when she plays Peola, a woman who turns her back on her heritage in order to conform to society, in the movie, “Imitation of Life” (1934). Unfortunately her role in this movie was taken too seriously and taken as her real identity. Sadly the image that she portrays in the movie was the farthest thing from what she actually thought. The environment and people that she was surrounded with perceived her identity through the role of Peola, and looked down upon her frequently. Duke Ellington's Orchestra and The Cotton Club The Duke Ellington Orchestra is commonly viewed as one of the greatest Jazz groups of all time. Over the course of fifty years they managed to compose and perform the greatest American Jazz classics known today. Originating in New York City, the band cycled through many names such as, "The Washingtonians", the "Kentucky Club Orchestra", and as "Duke Ellington and his Cotton Club Orchestra". Not until after the 1930s was this band officially named "Duke Ellington and His Orchestra". Also during the Harlem Renaissance, a night club called, "The Cotton Club", was the most famous nightlife venue during the whole era. The racially segregated cotton club served as a prime venue for all artistic forms revolving around the stereotyped black identity. Even in the center of Harlem there was a fine line between white and black performances. In front of all white audiences, African Americans were only allowed to exhibit "jungle music" and their forms of art were exploited. Duke Ellington acted as a composer and musician and took over in the early years of The Cotton Club and was pressured to create music that would become revolutionary during that time period. Instead Duke Ellington embraced the concept of black stereotype viewed upon by white Americans, and created phenomenal recordings and music for white audiences to hear and enjoy. Their success came from the ability for
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Black and Tan (The Movie) Duke Ellington to adapt and aggrandize any style of music ranging from jazz to the "jungle" music performed for white audiences at The Cotton Club. Rising as a band leader he formulated one of the most talented groups and orchestras that played at the Cotton Club. Duke Ellington and His Orchestra were a huge success and brought the name of the Cotton Club to renowned fame during the Harlem Renaissance.[7] Because of his contributions and leadership, it became the most popular club in Harlem during the 1930s. Duke Ellington and His Orchestra played here for a residency of about 4 years and created revolutionary music that is still revered today. The most memorable performances and sounds include the new style of "jungle" music created by the musicians of the orchestra. Trombonist Tricky Sam Nanton and trumpeter Bubby Miley, created a growl technique derived from brass playing. Other notable musicians in the orchestra were Johnny Hodges, who played the alto saxophone and was famous for his more than sensual tone. Another notable musician was the baritone saxophonist Harry Carney, who was widely acclaimed for his ability to mix and match scales with tremendous speed and agility. And last but not least the clarinetist, Barney Bigard. The fame of this band not only tore through Harlem and New York, but the talents of these individuals swept the nation and led to international acclaim after recording of the cotton club were radio-broadcasted around the world. [8] Notable Orchestra Members of the film • Arthur Whetsol Arthur Whetsol was a primary member and jazz trumpeter of Duke Ellington's orchestra. He performed in all of the musical compositions featured in the film. • Barney Bigard Born on March 3, 1906. Albany Leon Bigard was a jazz tenor saxophonist and clarinetist of Duke Ellington's orchestra. • Wellman Braud Wellman Braud was the bassist in Duke Ellington's Orchestra. • Joe "Tricky Sam" Nanton Joe "Tricky Sam" Nanton was a famous trombonist that was a part of Duke Ellington's Orchestra. Tricky sam is very well known for his revolutionary use of the "wah wah" in the swing genre of music. Having an inclination for nicknames, he dubbed the Duke Ellington Orchestra as being one of the "dirtiest" jazz groups of his era.
References and Works Cited [1] "Wild Realm Reviews: Black & Tan." Film Reviews at The Weird Wild Realm of Paghat the Ratgirl. Web. 15 Feb. 2011. . [2] Smith, Roberta. "Black and Tan 1929." Movie Reviews, Showtimes and Trailers - Movies - New York Times - The New York Times. 15 Feb. 2011. Web. 15 Feb. 2011. . [3] Huggins, Nathan Irvin. Harlem Renaissance. New York: Oxford UP, 1971. Print. [4] Huggins, Nathan Irvin. Harlem Renaissance. New York: Oxford UP, 1971. Print. [5] Delson, Susan. Dudley Murphy: Hollywood Wild Card. Minneapolis (Minn.): University of Minnesota, 2006. Print [6] Bogle, Donald. Blacks in American Films and Television: an Encyclopedia. New York: Garland Pub., 1988. Print. [7] "Duke Ellington and His Orchestra." The Red Hot Jazz Archive. Web. 15 Feb. 2011. . [8] http:/ / www. dukeellington. com/ orchestra. html
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Check and Double Check
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Check and Double Check Check and Double Check
Theatrical release poster Directed by
Melville W. Brown
Produced by
William LeBaron
Written by
Bert Kalmar J. Walter Ruben Harry Ruby
Starring
Charles Correll Freeman Gosden
Cinematography William Marshall Editing by
Claude Berkeley
Distributed by
RKO Radio Pictures
Release date(s)
October 23, 1930
Running time
77 mins.
Country
United States
Language
English
Check and Double Check is a 1930 comedy film made and released by RKO based on the then-popular Amos 'n' Andy radio show. The title was derived from a catch phrase associated with the show. The making of the picture posed several problems. Perhaps foremost was the fact that the characters of the program were portrayed as blacks but were in fact entirely voiced by whites. This had posed no problem on the radio, but obviously would not be suitable for a movie where the actors could be seen as well as heard. Rather than hire black actors for the roles and instruct them to imitate to the maximum extent possible the very stereotypical voices used by the radio performers, program creators Freeman Gosden and Charles Correll performed the roles themselves in blackface. Another problem was the attempt to base a full-length picture on a 15-minute long radio program. In order to do this, the movie's producers unwisely decided to flesh out the story with a love triangle involving white characters, essentially making Amos and Andy minor characters in what was marketed as a film about them. The movie was quite profitable for RKO but critically panned and a disappointment to many moviegoers. Two animated short films were made following Check and Double Check: The Rasslin' Match and The Lion Tamer. However, no sequel was ever produced and there were no further attempts at live-action portrayals of Amos 'n' Andy until the advent of network television. Today, the film is in the public domain, and several DVD editions exist.
Check and Double Check The 43 year old director deemed two members of Duke Ellington's band too light skinned; so tenor sax man Juan Tizol, who was Puerto Rican, and clarinetist Barney Bigard, a Creole, wore makeup to appear darker on film.
Cast • • • • • • • • • •
Freeman F. Gosden as Amos Charles J. Correll as Andy Brown Sue Carol as Jean Blair Irene Rich as Mrs Blair Ralf Harolde as Ralph Crawford Charles Morton as Richard Williams Edward Martindel as John Blair Rita La Roy as Elinor Crawford Russ Powell as Kingfish Roscoe Ates as Brother Arthur
External links • • • •
Check and Double Check [1] at the Internet Movie Database Check and Double Check [2] available for free download at the Internet Archive [more] Check and Double Check [3] at Rotten Tomatoes Check and Double Check [4] at Allmovie
References [1] [2] [3] [4]
http:/ / www. imdb. com/ title/ tt0020758/ http:/ / www. archive. org/ details/ ClassicCinemaOnline_CheckAndDoubleCheck http:/ / www. rottentomatoes. com/ m/ check_and_double_check/ http:/ / www. allmovie. com/ work/ 9049
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Murder at the Vanities
311
Murder at the Vanities Murder at the Vanities
Directed by
Mitchell Leisen
Produced by
E. Lloyd Sheldon (uncredited)
Written by
Carey Wilson Joseph Gollomb Sam Hellman (dialogue) Jack Cunningham (uncredited) Earl Carroll (play) Rufus King (play)
Music by
Howard Jackson (uncredited) William E. Lynch (uncredited) Milan Roder (uncredited)
Cinematography Leo Tover Editing by
William Shea (uncredited)
Studio
Paramount Pictures
Release date(s)
21 May 1934
Running time
89 min
Country
USA
Language
English
Murder at the Vanities (1934) is a musical film based on the 1933 Broadway musical with music by Victor Young, made in the pre-Code era, and released by Paramount Pictures. It was directed by Mitchell Leisen, stars Carl Brisson, Jack Oakie, Kitty Carlisle, Gertrude Michael, Toby Wing, and Jessie Ralph. Duke Ellington and his Orchestra are featured in the elaborate finale number. The film is primarily a musical, based on Earl Carroll's long-running Broadway revue Earl Carroll's Vanities, combined with a murder mystery. Songs featured in the film by Arthur Johnston and Sam Coslow include "Cocktails for Two" sung by Brisson, "Marahuana" sung by Michael, "Where Do They Come From (and Where Do They Go)" sung by Carlisle, and "Ebony Rhapsody" by Ellington. In the film, Lucille Ball, Ann Sheridan, and Virginia Davis had small roles as chorines. It was released on DVD (as part of a six disc set entitled "Pre-Code Hollywood Collection") on April 7, 2009.[1]
Murder at the Vanities
Notes [1] http:/ / www. cduniverse. com/ productinfo. asp?pid=7858506& style=movie
External links • Murder at the Vanities (http://www.imdb.com/title/tt0025529/) at the Internet Movie Database • Murder at the Vanities (http://www.allmovie.com/work/1:33815) at Allmovie
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Belle of the Nineties
313
Belle of the Nineties Belle of the Nineties
Directed by
Leo McCarey
Produced by
William LeBaron
Written by
Mae West
Music by
Arthur Johnston
Cinematography Karl Struss Editing by
LeRoy Stone
Studio
Paramount Pictures
Distributed by
Paramount Pictures
Release date(s)
September 21, 1934
Running time
75 minutes
Language
English
Budget
$800,000 (estimated)
[1]
Belle of the Nineties (1934) is Mae West's fourth motion picture, directed by Leo McCarey and released by Paramount Pictures. The film was based on West's original story It Ain't No Sin which was also to be the film's title until censors objected. Johnny Mack Brown, Duke Ellington, and Katherine DeMille are also in the cast.
References [1] "Box office / business for Belle of the Nineties" (http:/ / www. imdb. com/ title/ tt0024873/ business). IMDb. . Retrieved 2009-06-20.
External links • Belle of the Nineties (http://www.imdb.com/title/tt0024873/) at the Internet Movie Database • Belle of the Nineties (http://www.allmovie.com/work/80248) at Allmovie • Belle of the Nineties (http://tcmdb.com/title/title.jsp?stid=68421) at the TCM Movie Database
Cabin in the Sky
314
Cabin in the Sky Cabin in the Sky
Theatrical release poster Directed by
Vincente Minnelli Busby Berkeley ("Shine" sequence, uncredited)
Produced by
Arthur Freed Albert Lewis
Written by
Marc Connelly (uncredited) Lynn Root (play) Joseph Schrank
Starring
Ethel Waters Eddie "Rochester" Anderson Lena Horne Louis Armstrong Rex Ingram John W. Bubbles Oscar Polk Mantan Moreland Butterfly McQueen Ruby Dandridge Kenneth Spencer Duke Ellington
Music by
Harold Arlen Vernon Duke
Distributed by Metro-Goldwyn-Mayer Release date(s) April 9, 1943 Running time
98 minutes
Country
United States
Language
English
Budget
$662,141
Cabin in the Sky is a 1943 American musical film with music by Vernon Duke, lyrics by John La Touche, and a musical book by Lynn Root. The musical premiered on Broadway at the Martin Beck Theatre on October 25, 1940. It closed on March 8, 1941 after a total of 156 performances. Directed by Albert Lewis and staged by George Balanchine, the stage production starred Ethel Waters as Petunia Jackson, Dooley Wilson as "Little Joe" Jackson, Katherine Dunham as Georgia Brown, Rex Ingram as Lucifer Junior, and Todd Duncan as The Lawd's General.
Cabin in the Sky A motion picture based on the musical was produced by Metro-Goldwyn-Mayer and released in 1943. The film version of Cabin in the Sky also starred Waters as Petunia and Ingram as Lucifer Junior. Eddie "Rochester" Anderson of Jack Benny fame took over the role of Little Joe, Kenneth Lee Spencer portrayed The General, and Lena Horne co-starred as the temptress Georgia Brown in her first and only leading role in an MGM musical. Louis Armstrong was also featured in the film as one of Lucifer Junior's minions, and Duke Ellington and his Orchestra have a showcase musical number in the film.
Overview and history Cabin in the Sky tells a version of the Faust legend in which Little Joe, a man killed over gambling debts, is given six months to redeem his soul and become worthy of entering Heaven -- otherwise his soul will be condemned to Hell. Produced by Arthur Freed and directed by Vincente Minnelli in his Hollywood debut, Cabin in the Sky was a groundbreaking production for its time due to the decision to use an all-African-American cast. In the 1940s, movie theaters in many cities, particularly in the southern United States, refused to show films with prominent black performers, so MGM took a considerable financial risk by approving the film. The film was nominated for an Academy Award for Best Original Song for "Happiness is a Thing Called Joe" sung by Ethel Waters.[1] Cabin in the Sky is remembered for its intelligent and witty script, which treated its characters and their race with a dignity rare in American films of the time, although some depictions are still a bit jarring to 21st century sensibilities. According to liner notes in the CD reissue of the film's soundtrack, Freed and Minnelli sought input from black leaders before production began on the film. One musical number, in which Horne sings a reprise of "Ain't It the Truth" while taking a bubble bath, was cut from the film prior to release, though it later appeared in a 1946 Pete Smith short subject entitled Studio Visit. As Horne later said in the documentary That's Entertainment! III in which the excised performance was also featured, it was felt that to show a black woman singing in a bath went beyond the bounds of moral decency in 1943. A second (non-bubble bath) performance of this song by Louis Armstrong was also cut from the final print, resulting in the famous trumpeter having no solo musical number in the film. After years of unavailability, Warner Home Video and Turner Entertainment released 'Cabin in the Sky on DVD on January 10, 2006.
Songs • • • • • •
"Taking a Chance on Love" "Cabin in the Sky" "Honey in the Honeycomb" "Love Me Tomorrow" "Happiness is a Thing Called Joe" "Things Ain't What They Used To Be"
315
Cabin in the Sky
316
Trivia • A scene involving a tornado reuses footage from The Wizard of Oz as well as Dorothy's farm house set. • The moonwalk is performed by tap dancer Bill Bailey during the "Taking a Chance on Love" number. This is the first known recorded moonwalk. Bill Bailey was the brother of actress and singer Pearl Bailey.
References [1] Higham, Charles; Greenberg, Joel (1968). Hollywood in the Forties. London: A. Zwemmer Limited. p. 172. ISBN Not Given.
External links • • • • •
Cabin in the Sky (http://www.ibdb.com/production.php?id=1025) at the Internet Broadway Database Cabin in the Sky (http://www.imdb.com/title/tt0035703/) at the Internet Movie Database Cabin in the Sky (http://www.allmovie.com/work/7782) at Allmovie Cabin in the Sky (http://tcmdb.com/title/title.jsp?stid=67) at the TCM Movie Database Review at TVGuide.com (http://movies.tvguide.com/cabin-sky/review/126059)
Timon of Athens The Life of Timon of Athens is a play by William Shakespeare about the fortunes of an Athenian named Timon (and probably influenced by the philosopher of the same name, as well), generally regarded as one of his most obscure and difficult works. Originally grouped with the tragedies, it is generally considered such, but some scholars group it with the problem plays.
Illustration from Tales from Shakespeare, McLoughlin Bros., 1890
Timon of Athens
317
Characters •
Timon (English pronunciation: /ˈtaɪmən/ US dict: tī'ˑmən): a lord of Athens.
•
Poet and Painter are friends; artists who seek Timon's patronage.
•
Alcibiades English pronunciation: /ælsɨˈbaɪ.ədiːz/): Captain of a military brigade and good friend to Timon.
•
Jeweller and Merchant appear briefly
•
Apemantus, sometimes spelled Apermantus, a philosopher and churl, .
•
The Senators of Athens.
•
Flavius is Timon's chief Steward.
•
The Fool is briefly a companion to Apemantus.
•
Flaminius is one of Timon's servants.
•
Three Strangers, one named Hostilius; friends to Lucius.
•
Servilius is another of Timon's servants.
•
The Old Athenian is the father of the woman Lucilius loves.
•
Lucilius is a romantic youth and Timon's servant.
•
Four Lords. False friends of Timon.
•
Ventidius, also spelled "Ventidgius" is one of Timon's "friends", and in debtors' prison. •
Servants to Timon, Lucullus, Lucius, Varro
•
Lucullus is Timon's "friend".
•
Timon's creditors - Isidore, Varro, Titus, Hortensius, Philotus
•
Lucius, Timon's "friend"
•
Banditti, Soldier, Page, Cupid and Ladies at the Masque.
•
Sempronius is Timon's most jealous "friend".
Synopsis Timon is not initially a misanthrope. He is a wealthy and generous Athenian gentleman. He gives a large banquet, attended by nearly all the main characters. Timon gives away money wastefully, and everyone wants to please him to get more, except for Apemantus, a churlish philosopher whose cynicism Timon cannot yet appreciate. He accepts art from Poet and Painter, and a jewel from the Jeweller, but by the end of Act 1, he has given that away to another friend. Timon's servant, Lucilius, has been wooing the daughter of an old Athenian. The man is angry, but Timon pays him three talents in exchange for the couple being allowed to marry, because the happiness of his servant is worth the price. Timon is told that his friend, Ventidius, is in debtors' prison. He sends money to pay Ventidius's debt, and Ventidius is released and joins the banquet. Timon gives a speech on the value of friendship. The guests are entertained by a masque, followed by dancing. As the party winds down, Timon continues to give things away to his friends; his horses, and other possessions. The act is divided rather arbitrarily into two scenes but the experimental and/or unfinished nature of the play is reflected in that it does not naturally break into a five-act structure. Timon has given away all his wealth. Flavius, Timon's steward, is upset by the way Timon has spent his wealth–overextending his munificence by showering patronage on the parasitic writers and artists, and delivering his dubious friends from their financial straits. He tells Timon so when he returns from a hunt. Timon is upset that he has not been told this before, and begins to vent his anger on Flavius, who tells him that he has tried repeatedly in the past without success, and now he is at the end; all Timon's land has been sold. Shadowing Timon is another guest at the banquet; the cynical philosopher Apemantus, who terrorizes Timon's shallow companions with his caustic raillery. He was the only guest not angling for money or possessions from Timon. Along with a Fool, he attacks Timon's creditors when they show up to make their demands for immediate payment. Timon cannot pay, and sends out his servants to make requests for help from those friends he considers closest. Timon's servants are turned down, one by one, by Timon's false friends, two giving lengthy monologues as to their anger with them. Elsewhere, one of Alcibiades's junior officers has reached an even further point of rage, killing a man in "hot blood." Alcibiades pleads with the Senate for mercy, arguing that a crime of passion should not carry as severe a sentence as premeditated murder. The senators disagree, and when Alcibiades persists, banish him forever. He vows revenge, with the support of his troops. The act finishes with Timon discussing with his servants the revenge he will carry out at his next banquet.
Timon of Athens
318
Timon has a much smaller party, intended only for those he feels have betrayed him. The serving trays are brought in, but under them the friends find not a feast, but rocks and lukewarm water. Timon sprays them with the water, throws the dishes at them, and flees his home. The loyal Flavius vows to find him. Cursing the city walls, Timon goes into the wilderness and makes his crude home in a cave, sustaining himself on roots. Here he discovers an underground trove of gold. The knowledge of this spreads. Alcibiades, Apemantus, and three bandits are able to find Timon before Flavius does. He offers most of the gold to the rebel Alcibiades to subsidize his assault on the city, which he now wants to see destroyed, as his experiences have reduced him to misanthropy. He gives the rest to his whores to spread disease, and much of the remainder to Poet and Painter, who arrive soon after, leaving little left for the senators who visit him. Accompanying Alcibiades are two prostitutes, Phrynia and Timandra, who trade barbs with the bitter Timon on the subject of venereal disease. When Apemantus appears and accuses Timon of copying his pessimistic style, the audience is treated to the spectacle of a mutually misanthropic exchange of invective. Flavius arrives. He wants the money as well, but he also wants Timon to come back into society. Timon acknowledges that he has had one true friend in Flavius, a shining example of an otherwise diseased and Timon renounces society (1803 engraving for impure race, but laments that this man is a mere servant. He invites the Shakespeare, Timon of Athens, Act IV, Scene 1) last envoys from Athens, who hoped Timon might placate Alcibiades, to go hang themselves, and then dies in the wilderness. Alcibiades, marching on Athens, then throws down his glove, and ends the play reading the bitter epitaph Timon wrote for himself, part of which was composed by Callimachus: "Here lies a wretched corpse of wretched soul bereft: Seek not my name: a plague consume you wicked caitiffs left!" Here lie I, Timon, who alive, all living men did hate, Pass by, and curse thy fill, but pass and stay not here thy gait." While both couplets appear in the Folio text, he cannot have intended them both to be ultimately included due to their contradictory nature, unless he was seeing Timon himself as being self-contradictory.
Date and text The play has caused considerable debate among scholars. It is oddly constructed, with several lacunae (gaps) and for this reason is often described as unfinished, multi-authored, and/or experimental. No precise date of composition can be given and, while most place it as close but prior to the late romances, theories posited have ranged broadly from Shakespeare's first work to his last. It is usually grouped with the tragedies (as in the First Folio), though some scholars have placed it with the problem comedies despite the death of its title character. Source material includes Plutarch's "Life of Alcibiades" and Lucian's dialogue, Timon the Misanthrope. The play had not been published prior to its inclusion in the First Folio (1623).
Timon of Athens
319
Collaboration
Facsimile of the first page of Timon of Athens from the First Folio, published in 1623
Since the nineteenth century, suggestions have been made that Timon is the work of two writers, and it has been argued that the play's unusual features are the result of the play being co-authored by playwrights with very different mentalities; the most popular candidate, Thomas Middleton, was first suggested in 1920.[1] A 1917 study by John Mackinnon Robertson posited that George Chapman wrote "A Lover's Complaint" and was the originator of Timon of Athens.[2] These claims were rejected by other commentators, including Bertolt Brecht,[3] Frank Harris,[4] and Rolf Soellner, who claimed that the play was a theatrical experiment. They argued that if one playwright revised another's play it would have been "fixed" to the standards of Jacobean theatre, which is clearly not the case. Soellner believed the play is unusual because it was written to be performed at the Inns of Court, where it would have found a niche audience with young lawyers.[5]
In the past three decades, several linguistic analyses of the text have all discovered apparent confirmation of the theory that Middleton wrote much of the play. It contains numerous words, phrases and punctuation choices that are common in the work of Middleton and rare in Shakespeare. These linguistic markers cluster in certain scenes, apparently indicating that the play is a collaboration between Middleton and Shakespeare, not a revision of one's work by the other.[6] The evidence suggests that Middleton wrote around one third of the play, mostly the central scenes. The editor of the Oxford edition, John Jowett, states that Middleton, wrote the banquet scene, the central scene with Timon's creditors and Alcibiades' confrontation with the senate, and most of the episodes concerning the Steward. The play's abrasively harsh humour and its depiction of social relationships that involve a denial of personal relationships are Middletonian traits.[6] Jowett stresses that Middleton's presence does not mean the play should be disregarded, stating "Timon of Athens is all the more interesting because the text articulates a dialogue between two dramatists of a very different temper."[6]
Themes and motifs Major motifs in the Shakespearean play include dogs, breath, gold (from Act IV on), and "use" in reference to usury (so called because it takes payment for the "use" of money). One of the most common emendations of the play is the Poet's line "Our Poesie Is as a Gowne, which uses From whence 'tis nourisht," to "our poesy is as a gum, which oozes from whence 'tis nourished" (originated by Pope and Johnson). Soellner says that such emendations erode the importance of this motif, and suggests a better emendation would be "from" to "form," creating a mixed metaphor "revelatory of the poet's inanity."[7] One odd emendation that often appears near the end of the play is Alcibiades commanding his troops to "cull th' infected fourth" from the Senate, as if he intends to destroy a fourth of the Senate. The word in the folio is, in fact, "forth," suggesting that "th' infected" are simply the ones who argued strongly against the cases of Timon and Alicibiades's officer, and that the troops are to leave alone those who just went along with it.
Timon of Athens
Banquets and Feasting Banquets and feasting in Shakespeare are dramatically significant; besides sometimes being of central and structural importance, they often present dramatic spectacles in themselves.[8] The first banquet of Timon of Athens reflects contemporary understandings of lavish Athenian entertainment at which Timon celebrates friendship and society. All the citizens are welcome to the banquet, as in accordance with the democratic principles of Athens. The second banquet functions as a parody of the first, as Timon uses it to exact revenge on his false friends, before abandoning feasting and the city completely by exiling himself. The senses are absent from this feast: Timon mocks the insatiable appetite of his guests as he uncovers dishes of smoke and water. Timon is misled by facades of friendship, and so inflicts apropos revenge: misleading those that had misled him by having them suffer the disillusionment of mortal senses with the mere spectacle of a banquet.[8] Feasting had political importance both in Ancient Greece and early modern England. The accession of James I, however, brought to it a new level of hedonism. Excessive and riotous pageantry and feasting stirred anxiety about man's unbridled appetite and difficulty in keeping desire in check. It is likely that Shakespeare’s audience would have been influenced in their perception of feasts by the religious precept of penitence. Fasting was a key feature of penitent behavior.[8] Two Biblical banquets in particular resound in the language and themes of the play. The story of the Last Supper offers a model for sociable eating which unites and yet anticipates betrayal. The story of the Prodigal Son, on the other hand, serves to illuminate the moral ambiguities of gluttony and excessive feasting. Shakespeare includes the character of Alcibiades, in the play, the ultimate redeemer of iniquitous Athens. He would have been known among the educated of the audience for his presence at the Greek banquet in Plato’s Symposium at which he gets the last word on the nature of love, proposing that it cannot be found in superficial appearance.[9] Robert Weimann notes how the stage directions in the play inform us that the men of elevated status sit down at the main table in the middle of the stage, but Timon orders Apemantus to sit at a table by himself downstage from the main table. From this positioning, a contrast is created between Timon and his guests giving eloquent speeches from the area around the table and Apemantus who is situated so as the audience can hear him, but the other characters behind him cannot. He instructs us to “Look at them, and at what their feasting really means.” His remarks comment critically on the pomp and ceremony without destroying the theatrical effect of the banquet itself. The dual perspective that results acknowledges the sensuous attraction of a dazzling theatrical occasion, but also penetrates the showy surface[10] ; for in it there is “a huge zest for life and the moral strength to see through it its glitter, its hypocrisies, its shame and its rewards.”[11] Feasting in Timon of Athens illustrates a tension between individual desire and common humanity, and the interdependence of good self-government and good social government. Eating together can act as social bonding; sharing food reinforces community and is often celebratory. However, individual and selfish appetites can also break down the relationships between man and man.[12]
Performance history “Timon of Athens” is believed to have first been performed between 1607 and 1608, whereas the text is believed to have first been printed in 1623 as a part of the First Folio. Licensed, Feb. 18. 1677/8. Ro. L'Estrange. LONDON, Printed by J. M. for Henry Herringman, at the Blue Anchor, in the Lower Walk of the New Exchange, 1678. Performance history in Shakespeare's lifetime is unknown, though the same is also true of his more highly regarded plays such as Antony and Cleopatra and Coriolanus, which most scholars believe were written in the same period. The play's date uncertain, though its bitter tone links it with Coriolanus and King Lear. John Day's play Humour Out of Breath, published in 1608, contains a reference to "the lord that gave all to his followers, and begged more for himself" – a possible allusion to Timon that would, if valid, support a date of composition before 1608. It has been
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Timon of Athens proposed that Shakespeare himself took the role of the Poet, who has the fifth-largest line count in the play.[13] In 1678 Thomas Shadwell produced a popular adaptation, The History of Timon of Athens, the Man-Hater, to which Henry Purcell later composed the music. Shadwell added two women to the plot: Melissa, Timon's faithless fiancee, and Evandre, his loyal and discarded mistress. James Dance made another adaptation in 1768, soon followed by Richard Cumberland's version at Drury Lane in 1771, in which the dying Timon gives his daughter Evadne, not present in Shakespeare's original, to Alcibiades. Further adaptations followed in 1786 (Thomas Hull's at Covent Garden) and 1816 (George Lamb's at Drury Lane), ending with an 1851 production reinstating Shakespeare's original text by Samuel Phelps at Sadler's Wells.[14] It has played once on Broadway, in 1993, with Brian Bedford in the title role.[15] This was a production of The Public Theater, which revived the play in February 2011, citing it as a play for the Great Recession.
Adaptations and cultural references Literary versions Peter Brook directed a French language production in the sixties in which Timon was portrayed as an innocent idealist in a white tuxedo, ripped and disheveled in the second part. His cast was primarily young, and Apemantus was Algerian. Commentators who admire the play typically see Timon as intended to have been a young man behaving in a naïve way. The play's detractors usually cite an oblique reference to armor in Act IV as evidence that Timon is a long-retired soldier.
Literary allusions Vladimir Nabokov borrowed the title for his novel Pale Fire from this quote of Timon's in Act IV, Scene III: The sun's a thief, and with his great attraction / Robs the vast sea: the moon's an arrant thief, / And her pale fire she snatches from the sun... A copy of Timon of Athens features variously in the plot of Pale Fire and, at one point, the quotation above is amusingly mistranslated from the fictional language of Zemblan, a trademark prank of the polyglot Nabokov. The theme of thievery to which Timon is alluding is also a principal theme of Pale Fire, referring to Charles Kinbote's misappropriation of the poem by the deceased John Shade that forms part of the novel's structure. Charles Dickens alludes to Timon in Great Expectations when Wopsle moves to London to pursue a life in the theater. Charlotte Brontë includes an allusion to Timon in Villette. Ginevra Fanshawe affectionately nicknames Lucy "Timon," which highlights Ginevra's role as a foil for Lucy. Thomas Hardy alludes to Timon in his short story, "The Three Strangers." Australian novelist Robert Gott takes the title for his third William Power mystery, Amongst the Dead, from Act I of Timon of Athens: ". . . Alcibiades / Thou art a soldier, therefore seldom rich / It comes a charity to thee, for all thy living / Is 'mongst the dead, and all the land thou hast / Lies in a pitched field." Ralph Waldo Emerson alludes to Timon in Essays: Second Series (1844) in an essay entitled "Gifts." Emerson says, "This giving is flat usurpation, and therefore when the beneficiary is ungrateful, as all beneficiaries hate all Timons...I rather sympathize with the beneficiary, than with the anger of my lord Timon." Danish author Karen Blixen (Isak Dinesen) has a story within the tale titled "The Deluge of Norderney" in her ''Seven Gothic Tales''. It tells about a Hamlet-like figure, called Timon of Assens [sic] who comes from the Danish town of Assens.
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Timon of Athens
In Art The English artist and writer Wyndham Lewis produced one work of art, a portfolio of drawings titled "Timon of Athens" (1913), a preliminary example of the style of art that would come to be called Vorticist. Like Timon, Lewis's own life was shaped by a war, a reputation for misanthropy, and alienation from his peer group. In this respect the work may be seen as a self-portrait of sorts, albeit one that utilizes the fractured aesthetic of early-20th century avant-garde painting.
Musical versions Shadwell's adaptation of the play was first performed with music by Louis Grabu in 1678. More famously, the 1695 revival had new music by Henry Purcell, most of it appearing in the masque that ended Act Two. Duke Ellington was commissioned to compose original music for the Stratford Shakespeare Festival's first production of Timon of Athens in 1963. Stephen Oliver, who wrote the incidental music for the BBC television version, composed a two-act opera, Timon of Athens, which was first performed at the Coliseum, London, on May 17, 1991. Singer/songwriter Ben Patton wrote and recorded a song named "Timon of Athens" in 2006 which is included on his album Because the Heart [16].
Play Adaptations British playwright Glyn Cannon wrote a short adaptation of the play called Timon's Daughter. It premiered in May, 2008 at the Old Fitzroy Theatre in Sydney. Cannon's play revisits the major themes of charity and giving in the original work, with a story that follows the adventures of Timon's daughter (named "Alice" in Cannon's play) when she is taken in by Flavius (renamed "Alan").
Television versions Rarely performed, Timon was produced for TV as part of the BBC Television Shakespeare series in 1981 with Jonathan Pryce as Timon, Norman Rodway as Apemantus, John Welsh as Flavius, and John Shrapnel as Alcibiades, with Diana Dors as Timandra, Tony Jay as the Merchant, Sebastian Shaw as the Old Athenian, and John Fortune and John Bird as Poet and Painter. The production, directed by Jonathan Miller is done in Jacobean dress rather than in Greek costuming, but Shakespeare's Greece in this play is as fictional as his Illyria.
Books In the Gary Blackwood book Shakespeare's Spy, the main character Widge writes the play trying to impress Shakespeare's daughter Judith. He is given the play by Shakespeare and Widge rewrites the play using Athenians rather than Catholics, which is what the play is originally about in the book.
Critical response Many scholars find much unfinished about this play including unexplained plot developments, characters who appear unexplained and say little, prose sections that a polished version would have in verse (although close analysis would show this to be almost exclusively in the lines of Apemantus, and probably an intentional character trait), and the two epitaphs, one of which doubtless would have been canceled in the final version. However, similar duplications appear in Julius Caesar and Love's Labour's Lost and are generally thought to be examples of two versions being printed when only one was ultimately used in production, which could easily be the case here.[17] Frank Kermode refers to the play as "a poor relation of the major tragedies."[18] This is the majority view, but the play has many scholarly defenders as well. Nevertheless, and perhaps unsurprisingly due to its subject matter, it has not proven to be among Shakespeare's popular works.
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Timon of Athens An anonymous play, Timon, also survives. Its Timon is explicitly hedonistic and spends his money much more on himself than in Shakespeare's version. He also has a mistress. It mentions a London inn called The Seven Stars that did not exist before 1602, yet it contains elements that are in Shakespeare's play but not in Plutarch or in Lucian's dialogue, Timon the Misanthrope, the other major accepted source for Shakespeare's play. Both Jacobean plays deal extensively with Timon's life before his flight into the wilderness, which in both Greek versions is given little more than one sentence each. Soellner argues that the play is equal parts tragedy and satire, but that neither term can adequately be used as an adjective, for it is first and foremost a tragedy, and it does not satirize tragedy; rather, it satirizes its subjects in the manner of Juvenalian satire while simultaneously being a tragedy. Herman Melville considered Timon to be among the most profound of Shakespeare's plays, and in his 1850 review "Hawthorne and His Mosses"[19] writes that Shakespeare is not "a mere man of Richard-the-Third humps, and Macbeth daggers," but rather "it is those deep far-away things in him; those occasional flashings-forth of the intuitive Truth in him; those short, quick probings at the very axis of reality:–these are the things that make Shakespeare, Shakespeare. Through the mouths of the dark characters of Hamlet, Timon, Lear, and Iago, he craftily says, or sometimes insinuates the things, which we feel to be so terrifically true, that it were all but madness for any good man, in his own proper character, to utter, or even hint of them." In his 1590 Greene's Mourning Garment, Robert Greene used the term "Timonist" to refer to a lonely misanthrope. In his 1852 novel Pierre, Melville used the term "Timonism" about an artist's contemptuous rejection of both his audience and mankind in general. Appreciation of the play often pivots on the reader's perception of Timon's asceticism. Admirers like Soellner point out that Shakespeare's text has Timon neither drink wine nor eat meat: only water and roots are specifically mentioned as being in his diet, which is also true of Apemantus, the philosopher. If one sees Timon's parties not as libations but as vain attempts to genuinely win friends among his peers, he gains sympathy. This is true of Pryce's Timon in the television version mentioned above, whose plate is explicitly shown as being perpetually unsoiled by food, and he tends to be meek and modest. This suggests a Timon who lives in the world but not of it. Other versions, often by creators who regard the play as a lesser work, involve jazz-era swinging (sometimes, such as in the Michael Langham/Brian Bedford production (in which Timon eats flamingo) set to a score that Duke Ellington composed for it in the 1960s), and conclude the first act with a debauchery. The Arkangel Shakespeare audio recording featuring Alan Howard (with Rodway reprising his television role) also takes this route: Howard's line readings suggest that Timon is getting drunker and drunker during the first act; he does not represent the moral or idealistic figure betrayed by the petty perceived by Soellner and Brecht the way Pryce does.
Footnotes [1] John Jowett, ed. Timon of Athens (Oxford University Press, 2004), p. 132-6 [2] Robertson, John Mckinnon. Shakespeare And Chapman: A Thesis Of Chapman's Authorship Of A Lover's Complaint, And His Origination Of Timon Of Athens (1917). Reprint Services Corporation, 1999. [3] Kukhoff, Armin Gerd. "Timon von Athen: Konzeption und Aufführungspraxis." Shakespeare Jahrbuch 100–101 (Weimar, 1965), pp. 135–159. [4] Harris, Frank. On "Timon of Athens" as Solely the Work of Shakespeare [5] Soellner, Rolf. Timon of Athens: Shakespeare's Pessimistic Tragedy. Columbus: Ohio State University Press, 1979. [6] John Jowett, The Life of Timon of Athens, Oxford University Press, 2004, p.2; 144 [7] Soellner, 228. [8] Wood, Penelope. “Lavish Spread and Barmecide Feast." Timon of Athens programme, Shakespeare’s Globe Oct. 2008. 14–16 [9] Plato, The Symposium, trans. by Robin Waterfield. Oxford: Oxford University Press, 1998. ISBN 0192834274. [10] Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Baltimore and London: The Johns Hopkins University Press. ISBN 0801835062 [11] S.L. Bethell, Shakespeare and the Popular Dramatic Tradition (London, 1944), p. 81. [12] Wood, Penelope. “Lavish Spread and Barmecide Feast”. Timon of Athens programme, Shakespeare’s Globe Oct. 2008. 14–16 [13] Michael Lomonico. The Shakespeare Book of Lists: The Ultimate Guide to the Bard, His Plays, and How They've Been Interpreted (And Misinterpreted) Through the Ages. p. 165. He attributes the list of roles played by Shakespeare to a professor at Brandeis University. [14] F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; pp. 237, 495.
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Timon of Athens [15] [16] [17] [18] [19]
http:/ / www. ibdb. com/ show. php?id=8740 http:/ / itunes. apple. com/ us/ album/ because-the-heart/ id212563702 Soellner, 193–194. Frank Kermode, in The Riverside Shakespeare, G. Blakemore Evans, textual editor; Boston, Houghton Mifflin, 1974; pp. 1441–44. Hawthorne and His Mosses, by Melville, 1850 (http:/ / www. eldritchpress. org/ nh/ hahm. html)
References • Butler, Francelia. The Strange Critical Fortunes of Shakespeare's Timon of Athens. Ames: Iowa State University Press, 1966. • Oliver, H.J., ed. Timon of Athens. The Arden Shakespeare. Surrey: Methuen and Company, 1959.
External links • Timon of Athens (http://www.gutenberg.org/etext/2262) at Project Gutenberg • Timon of Athens (http://www.maximumedge.com/shakespeare/timon.htm) – Searchable version of the text
324
Beggar's Holiday
325
Beggar's Holiday Beggar's Holiday Original Logo Music
Duke Ellington
Lyrics
John La Touche
Book
John La Touche
Basis
The Beggar's Opera by John Gay
Productions 1946 Broadway 2004 Mill Valley, California
Beggar's Holiday is a musical with a book and lyrics by John La Touche and music by Duke Ellington. An updated version of The Beggar's Opera by John Gay, it focuses on a corrupt world inhabited by rakish mobsters and their double crossing gangs, raffish madams and their dissolute whores, panhandlers and street people as they conduct their dirty business, ply their trade, and struggle to survive in brothels, shanty towns, and prisons. The Broadway production, directed by Nicholas Ray and choreographed by Valerie Bettis, opened on December 26, 1946 at The Broadway Theatre, where it ran for 111 performances. The cast included Alfred Drake, Zero Mostel, Thomas Gomez, Avon Long, and Herbert Ross. Beggar's Holiday, which proved to be Ellington's only book musical, included an Miscegenation relationship resulting in nightly picketing outside the theater that may have contributed to its short run. No cast album was recorded, but a demo tape was discovered and released, together with the score from the West End musical Bet Your Life featuring Julie Wilson and Sally Ann Howes, on an LP on the Blue Pear label [1]. Lena Horne's recording of "Tomorrow Mountain," the show's first-act closer, was a hit. In 2004, Dale Wasserman, one of the musical's producers and the author of Man of La Mancha, teamed with the Marin Theatre Company in Mill Valley, California to create a revamped, updated, and radically rewritten version that toned down much of the original's social criticism and political humor. The substantially rearranged jazz score included hints of funk, blues and rock and roll. Overall, its mood was far lighter and more optimistic than that of the 1946 version. Although Wasserman had hopes of a Broadway staging, to date his plans have not materialized.
Beggar's Holiday
326
Song list Act I
Act II
• • • • • • • • • • • • • • • •
• • • • • • • • •
Inbetween When You Go Down By Miss Jenny's I've Got Me TNT Take Love Easy I Wanna Be Bad Rooster Man When I Walk With You I've Got Me (Reprise) The Scrimmage of Life Ore from a Gold Mine When I Walk With You (Reprise) Tooth and Claw Maybe I Should Change My Ways The Wrong Side of the Railroad Tracks Tomorrow Mountain
Brown Penny (based on a poem by William Butler Yeats) Tooth and Claw (Reprise) Lullaby for Junior Quarrel for Three Fol-de-rol-rol Women, Women, Women Women, Women, Women (Reprise) When I Walk With You (Reprise) The Hunted
External links • Internet Broadway Database listing [2] • 2004 Marin Theatre Company production [3]
References [1] http:/ / www. broadway. com/ gen/ Buzz_Story. aspx?ci=519441 [2] http:/ / www. ibdb. com/ production. asp?ID=1498 [3] http:/ / www. sfgate. com/ templates/ types/ popunder/ orbitz/ orbitz. html
Sophisticated Ladies
327
Sophisticated Ladies Sophisticated Ladies
Original Poster Music
Duke Ellington
Lyrics
Various
Book
Revue
Productions 1981 Broadway
Sophisticated Ladies is a musical revue based on the music of Duke Ellington. After fifteen previews, the Broadway production, conceived by Donald McKayle, directed by Michael Smuin, and choreographed by McKayle, Smuin, Henry LeTang, Bruce Heath, and Mercedes Ellington, opened on March 1, 1981 at the Lunt-Fontanne Theatre, where it ran for 767 performances. The original cast included Gregory Hines, Judith Jamison, Phyllis Hyman, Hinton Battle, Gregg Burge, and Mercer Ellington. Hines' older brother Maurice joined the cast later in the run. The score includes "Mood Indigo," "Take the "A" Train", "I'm Beginning to See the Light", "Hit Me With a Hot Note and Watch Me Bounce", "Perdido", "It Don't Mean a Thing (If It Ain't Got That Swing)", "I Let a Song Go Out of My Heart", "Old Man Blues", "In a Sentimental Mood", "Sophisticated Lady", "Don't Get Around Much Anymore", "Satin Doll", and "I Got It Bad and That Ain't Good", among many others.
Awards and nominations • • • • • • • • • •
Tony Award for Best Musical (nominee) Tony Award for Best Actor in a Musical (Hines, nominee) Tony Award for Best Featured Actor in a Musical (Battle, winner) Tony Award for Best Featured Actress in a Musical (Hyman, nominee) Tony Award for Best Costume Design (winner) Tony Award for Best Lighting Design (nominee) Tony Award for Best Choreography (nominee) Tony Award for Best Direction of a Musical (nominee) Theatre World Award (Hyman, winner) Drama Desk Award for Outstanding Featured Actor in a Musical (Burge, nominee)
Sophisticated Ladies
External links • Sophisticated Ladies [1] at the Internet Broadway Database • Sophisticated Ladies at Floormic.com [2]
References [1] http:/ / www. ibdb. com/ show. asp?id=8190 [2] http:/ / www. floormic. com/ show/ 121020
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Article Sources and Contributors
Article Sources and Contributors Duke Ellington Source: http://en.wikipedia.org/w/index.php?oldid=417719386 Contributors: *nondescript, 21655, 2T, 33mg1, 7&6=thirteen, AHMartin, Abie the Fish Peddler, Abog, Abrech, Abronkeeler, Adam1194, Adbarnhart, Addshore, Aditya, Adrian, Aitias, AjaxSmack, Ajraddatz, Alansohn, Ale jrb, Alessandro King, Alex Kinloch, Alex.muller, Alexf, AlexiusHoratius, Algae, Allstarecho, AllyD, Alphachimp, AnakngAraw, AndersL, Andonic, Andre Engels, Andrew Norman, AndrewHowse, Andropod, Andyjsmith, Angr, Animeluva109, Animum, Ann Stouter, Antandrus, Anthony22, Antiuser, Armchairslugger, Arthena, Arthur Holland, Ashadeofgrey, Athunian, AuburnPilot, Aude, Auntof6, Ausernamenottaken, Avalyn, Awarmus, Ayla, B00P, BRG, BRohlandt, Badbilltucker, Bardsandwarriors, Barrympls, Baseball Bugs, Bbsrock, Bearcat, Beaumont, Beek man, Beetstra, Bender235, Bennybp, Bequal, Bettymnz4, Bigdumbdinosaur, Billy Shears, Binksternet, Black-black-90, BlackMath77, Blanchardb, Blazach, 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Anthony, THD3, TUF-KAT, Tabletop, Tassedethe, Tawker, Technopat, Tempodivalse, Tetraedycal, TexasAndroid, Thadius856, The Halo, The Joker, The Rambling Man, The Thing That Should Not Be, The editor1, The wub, TheCatalyst31, TheGrappler, TheRealFennShysa, Thegraham, Thingg, Thomas Lewis, Tiddly Tom, Tide rolls, Tinton5, Tivedshambo, Tjmayerinsf, Tkynerd, Tom harrison, Tommy2010, Tony1, Totesgirl, TripodGirl, Trivialist, Triwbe, Troels Nybo, Trombipulation!, TronTonian, Ucla90024, Ulric1313, Uncle Dick, Uncle Milty, User2004, Utcursch, Vailky, Vaio, Veegelhoffen, Vegaswikian, Versus22, Vipinhari, Viriditas, Voyagerfan5761, Vrenator, Vsmith, Vudujava, Vytal, WAR13, WAvegetarian, WETaylor, Waggers, Wahoofive, Walor, Walshga, Wasted Time R, Wayne Slam, Weedwhacker128, Weirdali, Werdan7, Wik, Wiki alf, Wikipelli, Wikiuser100, Wildhartlivie, Wildthing61476, WillMak050389, Wimt, Wisden17, Wkerwin, Wysinger, X!, Xricci, Xtrump, Xxxnukka, Yamamoto Ichiro, Yonatan, Zachjones4, Zazaban, Zeke344, Zoicon5, Zone46, ZooFari, Zzyzx11, 2285 anonymous edits Duke Ellington discography Source: http://en.wikipedia.org/w/index.php?oldid=414216602 Contributors: 40mph dan, AjaxSmack, CaptainSam, Connor.gm, Cosprings, DISEman, Dogru144, Duistermaan, Duyntje3, Editor437, Ellingtonrecords, Gareth E Kegg, Gueneverey, HarryHenryGebel, Irregulargalaxies, Koavf, Kuru, Lastofthebarons, Raulsebrook, Rich Farmbrough, Rjwilmsi, SebastianHelm, Snth, Technopat, Timo Metzemakers, 18 anonymous edits Braggin' in Brass: The Immortal 1938 Year Source: http://en.wikipedia.org/w/index.php?oldid=401980329 Contributors: DISEman, Koavf The Blanton–Webster Band Source: http://en.wikipedia.org/w/index.php?oldid=406786024 Contributors: AjaxSmack, BRG, Chubbles, Editor437, Ellingtonrecords, Gareth E Kegg, Gyrofrog, Joe Suggs, KathrynLybarger, Koavf, Mel Etitis, Mind meal, Moonriddengirl, Squandermania, Tassedethe, Tjmayerinsf, 1 anonymous edits Duke Ellington at Fargo, 1940 Live Source: http://en.wikipedia.org/w/index.php?oldid=417066536 Contributors: AjaxSmack, Drpickem, Polyamorph, RFD, TJSwoboda, Thelostmohigan, Vytal, Woohookitty Never No Lament: The Blanton-Webster Band Source: http://en.wikipedia.org/w/index.php?oldid=406785672 Contributors: AjaxSmack, AndrewHowse, BRG, Ceyockey, Editor437, Ellingtonrecords, Gareth E Kegg, Jafeluv, KathrynLybarger, Koavf, Moonriddengirl, Swanrizla, Tassedethe, Technopat, Tjmayerinsf The Carnegie Hall Concerts: January 1943 Source: http://en.wikipedia.org/w/index.php?oldid=401407149 Contributors: DISEman, Koavf The Carnegie Hall Concerts: December 1944 Source: http://en.wikipedia.org/w/index.php?oldid=401407134 Contributors: DISEman, Koavf, Surv1v4l1st, 1 anonymous edits The Carnegie Hall Concerts: January 1946 Source: http://en.wikipedia.org/w/index.php?oldid=401838046 Contributors: DISEman, Koavf, 1 anonymous edits The Carnegie Hall Concerts: December 1947 Source: http://en.wikipedia.org/w/index.php?oldid=402086366 Contributors: DISEman, Koavf, 3 anonymous edits Liberian Suite Source: http://en.wikipedia.org/w/index.php?oldid=401808810 Contributors: DISEman, Ellingtonfan, Wikiklrsc Great Times! Source: http://en.wikipedia.org/w/index.php?oldid=402087334 Contributors: DISEman Masterpieces by Ellington Source: http://en.wikipedia.org/w/index.php?oldid=415217716 Contributors: DISEman, Paradise coyote Ellington Uptown Source: http://en.wikipedia.org/w/index.php?oldid=415217746 Contributors: DISEman Premiered by Ellington Source: http://en.wikipedia.org/w/index.php?oldid=401839934 Contributors: DISEman The Duke Plays Ellington Source: http://en.wikipedia.org/w/index.php?oldid=415217655 Contributors: DISEman Ellington ‘55 Source: http://en.wikipedia.org/w/index.php?oldid=401838488 Contributors: DISEman, Welsh Dance to the Duke! Source: http://en.wikipedia.org/w/index.php?oldid=401980306 Contributors: DISEman Ellington Showcase Source: http://en.wikipedia.org/w/index.php?oldid=401980321 Contributors: DISEman Blue Rose (Rosemary Clooney album) Source: http://en.wikipedia.org/w/index.php?oldid=413103591 Contributors: DISEman, Gareth E Kegg, PJtP, Woohookitty Historically Speaking (Duke Ellington album) Source: http://en.wikipedia.org/w/index.php?oldid=401941205 Contributors: DISEman Duke Ellington Presents... Source: http://en.wikipedia.org/w/index.php?oldid=401889925 Contributors: AllyD, AndrewN, DISEman
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Article Sources and Contributors Ellington at Newport Source: http://en.wikipedia.org/w/index.php?oldid=415127116 Contributors: BRG, Cholmes75, Crystallina, DISEman, Dan56, Editor437, Gamaliel, Gareth E Kegg, KConWiki, Koavf, Mahanga, Michael Devore, Papertiger96, Pugetbill, Rich Farmbrough, Spellmaster, Squandermania, Wikijsmak, 22 anonymous edits The Complete Porgy and Bess Source: http://en.wikipedia.org/w/index.php?oldid=404558980 Contributors: Alexanderd, Aspects, BaronLarf, CaliforniaKid, Editor437, Gareth E Kegg, InnocuousPseudonym, Mattbrundage, Mel Etitis, Mind meal, MisfitToys, Ofindsen, Rich Farmbrough, ST47, Starcheerspeaksnewslostwars A Drum Is a Woman Source: http://en.wikipedia.org/w/index.php?oldid=416258522 Contributors: DISEman, GrahamHardy, Wikiklrsc, Zdaugherty, 1 anonymous edits Studio Sessions, Chicago 1956 Source: http://en.wikipedia.org/w/index.php?oldid=401437871 Contributors: DISEman Such Sweet Thunder Source: http://en.wikipedia.org/w/index.php?oldid=402063859 Contributors: DISEman, David Underdown, Editor437, Ellingtonrecords, Engelbaet, John of Reading, KConWiki, Koavf, Radavenport, Splittchen, Swanrizla, Technopat, Waacstats, WillMak050389, 6 anonymous edits Ella Fitzgerald Sings the Duke Ellington Songbook Source: http://en.wikipedia.org/w/index.php?oldid=409598198 Contributors: Airproofing, Allenstone, BRG, Cdyson37, Chairman S., Cmdrjameson, DISEman, David Underdown, Discographer, Dissolve, Gareth E Kegg, Jlittlet, Knucmo2, Koavf, Mel Etitis, Philip Stevens, Rctay, Rich Farmbrough, Skier Dude, Tjmayerinsf, Xezbeth, YUL89YYZ, 8 anonymous edits Black, Brown and Beige (album) Source: http://en.wikipedia.org/w/index.php?oldid=401797049 Contributors: Californian Treehugger, DoubleAW, Editor437, InnocuousPseudonym, KConWiki, Mel Etitis, Mind meal, Rich Farmbrough, Swanrizla, T. Anthony, Zidane tribal, 2 anonymous edits Dance Concerts, California 1958 Source: http://en.wikipedia.org/w/index.php?oldid=402041626 Contributors: Chris the speller, DISEman, Koavf Dance Dates, California 1958 Source: http://en.wikipedia.org/w/index.php?oldid=402150749 Contributors: Chris the speller, DISEman, Koavf Duke Ellington at the Bal Masque Source: http://en.wikipedia.org/w/index.php?oldid=401839166 Contributors: DISEman, Wikiklrsc The Cosmic Scene Source: http://en.wikipedia.org/w/index.php?oldid=409678157 Contributors: DISEman, Wikiklrsc Happy Reunion Source: http://en.wikipedia.org/w/index.php?oldid=401839152 Contributors: DISEman Ellington Indigos Source: http://en.wikipedia.org/w/index.php?oldid=415130911 Contributors: Alansohn, Arrell, Chairman S., Crystallina, DISEman, David Humphreys, Editor437, Elijahmeyer, Eyeball kid, Gareth E Kegg, Icey, InspectorLupus, Jogers, Jonathan.s.kt, KConWiki, Koavf, NawlinWiki, RandySavageFTW, Skier Dude, Snth, Swanrizla, Technopat, Uhet, Wasted Time R, 1 anonymous edits Newport 1958 Source: http://en.wikipedia.org/w/index.php?oldid=402160573 Contributors: Cholmes75, DISEman, Editor437, Ellingtonrecords, Gareth E Kegg, Koavf, Mahanga, Mel Etitis, Pustelnik, Rich Farmbrough, Squandermania, T. Anthony, Tassedethe, Tjmayerinsf, Waacstats, Wasted Time R, Wikiklrsc, 7 anonymous edits Jazz at the Plaza Vol. II Source: http://en.wikipedia.org/w/index.php?oldid=401839534 Contributors: DISEman, Koavf Duke Ellington at the Alhambra Source: http://en.wikipedia.org/w/index.php?oldid=401870411 Contributors: DISEman, Koavf Jazz Party Source: http://en.wikipedia.org/w/index.php?oldid=404191835 Contributors: Cedesguin, Chubbles, DISEman, Editor437, Koavf, Moonriddengirl, Swanrizla, Tassedethe, 1 anonymous edits Back to Back: Duke Ellington and Johnny Hodges Play the Blues Source: http://en.wikipedia.org/w/index.php?oldid=401034223 Contributors: DISEman, Drbreznjev, Gareth E Kegg, Jevansen, Kurt Eichenberger, Magioladitis, Rich Farmbrough, Tabletop Side by Side (album) Source: http://en.wikipedia.org/w/index.php?oldid=411532068 Contributors: AndrewHowse, Chowbok, Chubbles, DISEman, Ellingtonrecords, Gareth E Kegg, Jevansen, Koavf, Moonriddengirl, Rjanag, Swanrizla, Tassedethe Anatomy of a Murder Source: http://en.wikipedia.org/w/index.php?oldid=417045500 Contributors: 7&6=thirteen, Aardvarkzz, After Midnight, Ahpook, Aitias, AlbertSM, Allysia, AndrewHowse, BD2412, Bantosh, Barek, Barrympls, Berean Hunter, Bluelion, Bluemask, Bobak, Bomkia, Bovineboy2008, BrownHairedGirl, Buckboard, CDChen, Cal31sail, Carptrash, Cburnett, Cinatyte, Ckatz, Cliff1911, Clpo13, Crzycheetah, Cuchullain, D. Wiberg, DISEman, Darev, Darrenhusted, Davewho2, David Gerard, Delldot, Deutero, Dewey Finn, Donfbreed, Dr. Blofeld, Dr.K., Dr.frog, Dsreyn, Ed Fitzgerald, Editor437, Ekky99, Elemaki, Fang Aili, Fendercaster, Foofbun, Fuddle, Fuhghettaboutit, Gareth E Kegg, Grenavitar, Grey Shadow, Igo4U, Imzadi1979, Ineuw, JCSantos, JTN, JackofOz, Johnc69, Jonathan.s.kt, Justin Z, KConWiki, Kbdank71, Kmbush40, Kmmcc524, Koavf, Koyaanis Qatsi, KrakatoaKatie, Kukini, L Kensington, LGagnon, Lalaland2, Lightmouse, Lindakocolo, Luigibob, MIB4u, MPS, Mactabbed, Marktreut, Mattstan, Maury Markowitz, Mel Etitis, Melodia, Mike R, MisfitToys, Mr Hall of England, Natalie Erin, Nazroon, Neelix, Noirish, NorthernThunder, OS2Warp, Okki, Orbicle, Ortolan88, Paddymc68, PaigeAFI, PatGallacher, Paul Barlow, Pawnkingthree, Pegship, Plasticspork, Potatopeelpie, Ramanpotential, Rjwilmsi, Savolya, Ser Amantio di Nicolao, Shadebug, SilkTork, Simonxag, Sky Captain, Someone else, Splendoroftheirroots, Steve, Steven J. Anderson, Stormwatch, Sunny17152, TBHecht, Th1rt3en, The JPS, The Little Blue Frog, The Moving Finger Writes, TheRealFennShysa, Thehelpfulone, ThomasK, Tjmayerinsf, Treybien, UDScott, Varlaam, Volatile, Weisner, WhisperToMe, WoundedWolfgirl, X96lee15, Zoe, Zoltarpanaflex, Zundark, 93 anonymous edits Live at the Blue Note (Duke Ellington album) Source: http://en.wikipedia.org/w/index.php?oldid=402150598 Contributors: DISEman, Koavf Festival Session Source: http://en.wikipedia.org/w/index.php?oldid=405936420 Contributors: DISEman, Pugetbill, Wikiklrsc Blues in Orbit Source: http://en.wikipedia.org/w/index.php?oldid=409828514 Contributors: DISEman, Wikiklrsc, 1 anonymous edits The Nutcracker Suite (Duke Ellington album) Source: http://en.wikipedia.org/w/index.php?oldid=401838061 Contributors: DISEman, 1 anonymous edits Piano in the Background Source: http://en.wikipedia.org/w/index.php?oldid=401739454 Contributors: DISEman Swinging Suites by Edward E. and Edward G. Source: http://en.wikipedia.org/w/index.php?oldid=402018594 Contributors: DISEman Unknown Session Source: http://en.wikipedia.org/w/index.php?oldid=401920289 Contributors: DISEman Piano in the Foreground Source: http://en.wikipedia.org/w/index.php?oldid=407505385 Contributors: Cedesguin, DISEman, Wikiklrsc The Great Summit Source: http://en.wikipedia.org/w/index.php?oldid=415217470 Contributors: DISEman, Gareth E Kegg, Snth Paris Blues Source: http://en.wikipedia.org/w/index.php?oldid=409891157 Contributors: Aardvarkzz, Clcx, Crystallina, DISEman, Danvera, GcSwRhIc, JGKlein, Jahsonic, Jean-no, Koavf, Kurvers, Postdlf, Pugetbill, Sluzzelin, Tassedethe, TheMovieBuff, Tjmayerinsf, Tobor99, 8 anonymous edits First Time! The Count Meets the Duke Source: http://en.wikipedia.org/w/index.php?oldid=402157112 Contributors: DISEman, Gareth E Kegg, Wikiklrsc Featuring Paul Gonsalves Source: http://en.wikipedia.org/w/index.php?oldid=401407576 Contributors: DISEman Studio Sessions 1957 & 1962 Source: http://en.wikipedia.org/w/index.php?oldid=401744886 Contributors: DISEman, Sluzzelin Midnight in Paris (album) Source: http://en.wikipedia.org/w/index.php?oldid=401841284 Contributors: DISEman Duke Ellington Meets Coleman Hawkins Source: http://en.wikipedia.org/w/index.php?oldid=401230031 Contributors: AndrewHowse, Cosprings, DISEman, Editor437, Ellingtonrecords, Fisherjs, Killervogel5, Koavf, Moonriddengirl, Raulsebrook, Snth, Swanrizla, Tassedethe, Technopat, Tim1357, 2 anonymous edits Money Jungle Source: http://en.wikipedia.org/w/index.php?oldid=402102726 Contributors: Cosprings, DISEman, Editor437, Gareth E Kegg, Gujeratti, KConWiki, Mel Etitis, Pizzlemank, Raulsebrook, Rich Farmbrough, Ronebofh, Snth, Waacstats, 5 anonymous edits Duke Ellington & John Coltrane Source: http://en.wikipedia.org/w/index.php?oldid=401889054 Contributors: Armael, Bkivhtir, DISEman, Dan56, Dan8700, Dekimasu, DisillusionedBitterAndKnackered, Dommccas, Editor437, Fisherjs, Henkje123, JaGa, KConWiki, Koavf, Pearce.duncan, Raulsebrook, Shanealun, Snth, Squandermania, Swanrizla, Technopat,
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Article Sources and Contributors Twas Now, Vytal, Waacstats, 10 anonymous edits Studio Sessions, New York 1962 Source: http://en.wikipedia.org/w/index.php?oldid=404679668 Contributors: DISEman, JustAGal Recollections of the Big Band Era Source: http://en.wikipedia.org/w/index.php?oldid=409765708 Contributors: DISEman, Gareth E Kegg, Shadowjams, Tassedethe Afro-Bossa Source: http://en.wikipedia.org/w/index.php?oldid=402020564 Contributors: DISEman, Raulsebrook The Great Paris Concert Source: http://en.wikipedia.org/w/index.php?oldid=411114835 Contributors: Biasoli, DISEman, Editor437, Koavf, Moonriddengirl, Rjwilmsi, Squandermania, Tassedethe, TheoryOfPractice The Symphonic Ellington Source: http://en.wikipedia.org/w/index.php?oldid=401837971 Contributors: DISEman, Tanet, Woohookitty Duke Ellington's Jazz Violin Session Source: http://en.wikipedia.org/w/index.php?oldid=401428468 Contributors: DISEman Serenade to Sweden Source: http://en.wikipedia.org/w/index.php?oldid=388811173 Contributors: DISEman, 1 anonymous edits Studio Sessions New York 1963 Source: http://en.wikipedia.org/w/index.php?oldid=401841801 Contributors: DISEman My People (Duke Ellington album) Source: http://en.wikipedia.org/w/index.php?oldid=401918860 Contributors: DISEman Ellington '65 Source: http://en.wikipedia.org/w/index.php?oldid=402149676 Contributors: Auntof6, DISEman Duke Ellington Plays Mary Poppins Source: http://en.wikipedia.org/w/index.php?oldid=401749796 Contributors: DISEman Ellington '66 Source: http://en.wikipedia.org/w/index.php?oldid=401839417 Contributors: DISEman Concert in the Virgin Islands Source: http://en.wikipedia.org/w/index.php?oldid=401748959 Contributors: DISEman, TYelliot, 1 anonymous edits Ella at Duke's Place Source: http://en.wikipedia.org/w/index.php?oldid=409600421 Contributors: Adso de Fimnu, Airproofing, Alessgrimal, Chairman S., DISEman, Discographer, Editor437, Fritz Saalfeld, Gareth E Kegg, KConWiki, Koavf, Loket4, Owen, Philip Cross, Rich Farmbrough, Sgeureka, Tassedethe, Tjmayerinsf, Waacstats, 1 anonymous edits Duke Ellington's Sacred Concerts Source: http://en.wikipedia.org/w/index.php?oldid=401888777 Contributors: Chris the speller, Cosprings, DISEman, Ellingtonrecords, Gyrofrog, Koavf, Rick570, SebastianHelm, 2 anonymous edits The Stockholm Concert, 1966 Source: http://en.wikipedia.org/w/index.php?oldid=409603551 Contributors: Airproofing, Cmdrjameson, DISEman, Discographer, Editor437, Fritz Saalfeld, Gareth E Kegg, JamesAM, Koavf, Mattbrundage, Mel Etitis, Rich Farmbrough, Tassedethe, Technopat, 2 anonymous edits The Popular Duke Ellington Source: http://en.wikipedia.org/w/index.php?oldid=401897890 Contributors: DISEman In the Uncommon Market Source: http://en.wikipedia.org/w/index.php?oldid=401979892 Contributors: DISEman, Koavf Soul Call Source: http://en.wikipedia.org/w/index.php?oldid=400568998 Contributors: Colonies Chris, DISEman, Gareth E Kegg, Koavf, LilHelpa Ella and Duke at the Cote D'Azur Source: http://en.wikipedia.org/w/index.php?oldid=409603303 Contributors: Airproofing, Aspects, BRG, Cdl obelix, Chairman S., Choess, Cmdrjameson, DISEman, Discographer, Editor437, Fritz Saalfeld, Gareth E Kegg, GreenGourd, Jonathan.s.kt, KConWiki, Koavf, Rich Farmbrough, Tjmayerinsf, 5 anonymous edits The Far East Suite Source: http://en.wikipedia.org/w/index.php?oldid=401747581 Contributors: Burzmali, Cdyson37, Cosprings, Dan56, Editor437, Gareth E Kegg, KConWiki, Mel Etitis, Mind meal, Ndorward, Ronebofh, Tassedethe, TimBentley, Tombomp, Trivialist, W guice, Walkiped, 4 anonymous edits Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York Source: http://en.wikipedia.org/w/index.php?oldid=401881422 Contributors: DISEman The Jaywalker Source: http://en.wikipedia.org/w/index.php?oldid=401927947 Contributors: DISEman, Jafeluv ...And His Mother Called Him Bill Source: http://en.wikipedia.org/w/index.php?oldid=415240297 Contributors: Andrzejbanas, Chairman S., Crystallina, DISEman, Dommccas, Editor437, Engelbaet, Eyeball kid, Freekee, Gareth E Kegg, Gyrofrog, Hamster Sandwich, Informationfountain, Jafeluv, Jonathan.s.kt, Jonathunder, KConWiki, Moeron, Owen, Rich Farmbrough, Rjwilmsi, SaxTeacher, ScottDavis, Skier Dude, Surachit, Tassedethe, Technopat, W guice, YUL89YYZ, 2 anonymous edits Francis A. & Edward K. Source: http://en.wikipedia.org/w/index.php?oldid=414688382 Contributors: Airproofing, Asn, BRG, Chairman S., DISEman, Editor437, Fritz Saalfeld, Gareth E Kegg, Gervius, Jogers, Koavf, Lou72JG, Rich Farmbrough, ScudLee, Thismightbezach, Williamnilly, 4 anonymous edits Yale Concert Source: http://en.wikipedia.org/w/index.php?oldid=401887473 Contributors: DISEman, Koavf Studio Sessions New York, 1968 Source: http://en.wikipedia.org/w/index.php?oldid=401947550 Contributors: DISEman 70th Birthday Concert (Duke Ellington album) Source: http://en.wikipedia.org/w/index.php?oldid=413311418 Contributors: DISEman, Koavf, Rlholden Latin American Suite Source: http://en.wikipedia.org/w/index.php?oldid=401981428 Contributors: DISEman, Shadowjams The Pianist (album) Source: http://en.wikipedia.org/w/index.php?oldid=401947107 Contributors: DISEman New Orleans Suite Source: http://en.wikipedia.org/w/index.php?oldid=414527068 Contributors: DISEman, Gyrofrog Orchestral Works Source: http://en.wikipedia.org/w/index.php?oldid=401888790 Contributors: DISEman, JLaTondre The Suites, New York 1968 & 1970 Source: http://en.wikipedia.org/w/index.php?oldid=401831046 Contributors: DISEman The Intimacy of the Blues Source: http://en.wikipedia.org/w/index.php?oldid=401408366 Contributors: DISEman The Afro-Eurasian Eclipse Source: http://en.wikipedia.org/w/index.php?oldid=401979876 Contributors: DISEman Studio Sessions New York & Chicago, 1965, 1966 & 1971 Source: http://en.wikipedia.org/w/index.php?oldid=401942038 Contributors: DISEman, 1 anonymous edits The Intimate Ellington Source: http://en.wikipedia.org/w/index.php?oldid=401972000 Contributors: DISEman Togo Brava Suite Source: http://en.wikipedia.org/w/index.php?oldid=401807675 Contributors: DISEman, Infinitjest, Koavf Live at the Whitney Source: http://en.wikipedia.org/w/index.php?oldid=402048884 Contributors: DISEman, Koavf The Ellington Suites Source: http://en.wikipedia.org/w/index.php?oldid=407757919 Contributors: Cedesguin, DISEman, LilHelpa This One's for Blanton! Source: http://en.wikipedia.org/w/index.php?oldid=416259468 Contributors: Auntof6, Cedesguin, DISEman, Gareth E Kegg, 1 anonymous edits Up in Duke’s Workshop Source: http://en.wikipedia.org/w/index.php?oldid=401981032 Contributors: DISEman, GoingBatty, Shadowjams Duke's Big 4 Source: http://en.wikipedia.org/w/index.php?oldid=404256699 Contributors: Cedesguin, DISEman, Gareth E Kegg It Don't Mean a Thing If It Ain't Got That Swing (Duke Ellington & Teresa Brewer album) Source: http://en.wikipedia.org/w/index.php?oldid=401807845 Contributors: DISEman, Paul Barlow
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Article Sources and Contributors Eastbourne Performance Source: http://en.wikipedia.org/w/index.php?oldid=404198565 Contributors: DISEman, Koavf It Don't Mean a Thing (If It Ain't Got That Swing) Source: http://en.wikipedia.org/w/index.php?oldid=414562956 Contributors: Allenstone, Anthony Appleyard, Caio2112, Dgsteig, Editor437, Flash man999, Gareth E Kegg, GyozaMan, InnocuousPseudonym, Jafeluv, Marcel flaubert, Merope, Niki2006, OddMNilsen, Ofindsen, Ost316, Pepperpack, Philip Trueman, Special-T, Tanet, Technopat, Thumper2, Tide rolls, Wasted Time R, WuTheFWasThat, 30 anonymous edits Cocktails for Two Source: http://en.wikipedia.org/w/index.php?oldid=399097195 Contributors: B.d.mills, Barry Moreno, Durova, Gareth E Kegg, Jmw0000, Jordan R. Young, Kbdank71, Kennally, Lawikitejana, MakeRocketGoNow, Mkoyle, Moochocoogle, Otto4711, Pat Payne, R. fiend, Richhoncho, Schweiwikist, Tjmayerinsf, Totnesmartin, Trivialist, Unidyne, Wahkeenah, Wbwn, Yurivict, 12 anonymous edits Diminuendo and Crescendo in Blue Source: http://en.wikipedia.org/w/index.php?oldid=391139560 Contributors: Alexanderd, Ascidian, Cielomobile, Cosprings, Editor437, Ellingtonrecords, Extraordinary Machine, Gangster Octopus, InnocuousPseudonym, JackofOz, Korbannc, Mkilpatr, Ofindsen, Pearle, Pietopper, Purslane, Rayc, Ser Amantio di Nicolao, Squandermania, Technopat, Trivialist, Varlaam, Windymilla, 2 anonymous edits Take the "A" Train Source: http://en.wikipedia.org/w/index.php?oldid=415624279 Contributors: AB, Afterwriting, Alien life form, AnonMoos, Bigdumbdinosaur, Bkell, C colorado, C628, Cosprings, Darwinek, DrHok, Dream out loud, Durova, ERobson, Flowerparty, Flowerpotman, Fratrep, Gareth E Kegg, Grm wnr, Grstain, Guerillero, InnocuousPseudonym, Italo Svevo, Jacob Poon, Jafeluv, Juyukichi, Kamnet, Lord Voldemort, Manway, Marc Shepherd, MarcoTheowl, MartinezMD, Mbakkel2, MetsFan88, Mike Selinker, Mintleaf, NHRHS2010, Ofindsen, Piperh, Pugetbill, Rong34, SPUI, Sluzzelin, Stratopastor, Tassedethe, Technopat, The Singularity, Tjmayerinsf, Voyager, Wasted Time R, Wipe, Woohookitty, Worth my salt, 32 anonymous edits Mood Indigo Source: http://en.wikipedia.org/w/index.php?oldid=412221369 Contributors: Ak86, AllyD, BRG, Bevo, Bigdumbdinosaur, Cielomobile, Den Hieperboree, Editor437, Funnyindigo, Gaius Cornelius, Grm wnr, Infrogmation, InnocuousPseudonym, Jafeluv, Jerzy, Jonathan.s.kt, Kevinalewis, Leftfoot69, Marcel flaubert, May Cause Dizziness, Mbakkel2, Mike Selinker, Mike410, Ofindsen, Olivier, Petzi1969, Polakoff, Rjwilmsi, SebastianHelm, Squandermania, TheRetroGuy, Tjmayerinsf, Trevor MacInnis, Trivialist, Urbandweller, VMS Mosaic, Wasted Time R, YoungRonJeremy, 38 anonymous edits Black and Tan (The Movie) Source: http://en.wikipedia.org/w/index.php?oldid=416078168 Contributors: Andrei Rublev, Aussiepete, Editor437, Ellingtonrecords, Engelbaet, InnocuousPseudonym, J2hur, Latics, Lugnuts, Otto4711, Panda, Pegship, Polisher of Cobwebs, RicJac, Skier Dude, Studerby, Tjmayerinsf, Wool Mintons, 4 anonymous edits Check and Double Check Source: http://en.wikipedia.org/w/index.php?oldid=375771402 Contributors: AllTalking, Barticus88, Bensin, CALR, Calico1947, Cayla, Donarreiskoffer, JEN9841, Lugnuts, Mrblondnyc, Pinkadelica, Rlquall, SMcCandlish, Skier Dude, Sugar Bear, Welsh, Wool Mintons, 1 anonymous edits Murder at the Vanities Source: http://en.wikipedia.org/w/index.php?oldid=417469781 Contributors: Barrympls, Denyloop, Ferrie, Gfl, Jose Tadeu Barros, Lugnuts, One Night In Hackney, Orbicle, Pegship, Rostov-on-Don, Skier Dude, Sreejithk2000, Tagishsimon, TheMovieBuff, This your wallet, mac?, Tjmayerinsf, Wool Mintons, 7 anonymous edits Belle of the Nineties Source: http://en.wikipedia.org/w/index.php?oldid=417005653 Contributors: Clcx, D.c.camero, Devinn, Erik9, Hagerman, Jose Tadeu Barros, Lugnuts, Polisher of Cobwebs, RWardy, SMcCandlish, SilkTork, Skier Dude, Teeb, Thefourdotelipsis, Thomp, Tjmayerinsf, Varlaam, Wolfer68, Wool Mintons, Xezbeth, 2 anonymous edits Cabin in the Sky Source: http://en.wikipedia.org/w/index.php?oldid=409849217 Contributors: 23skidoo, Alex.tan, Andrzejbanas, Bovineboy2008, CanisRufus, CecilF, Clarityfiend, Discographer, Dpv, Dugwiki, Ed Fitzgerald, Editor437, FuriousFreddy, Gareth E Kegg, GrahamHardy, JGKlein, Jafeluv, Kbdank71, Koavf, Kreativekay, Lugnuts, MapsMan, MonkeeJuice, Peanutcactus, Phbasketball6, Pinethicket, RedWolf, Rjstern, Schmiteye, SidP, Singingdaisies, SoAuthentic, Spinningspark, Sugar Bear, Tassedethe, Thefourdotelipsis, Wool Mintons, YUL89YYZ, Yid613, 30 anonymous edits Timon of Athens Source: http://en.wikipedia.org/w/index.php?oldid=416758543 Contributors: Ahoerstemeier, AndyJones, Andycjp, Antandrus, Anville, Arch dude, Asfarer, Athaenara, Barticus88, Bggoldie, Billinghurst, BirgitteSB, Bobo192, Brianhenke, Canterbury Tail, Chris the speller, Cleduc, Cowardly Lion, Darwinek, Dave L, DavidL (usurped), Dawn Bard, DrMags, DualAction, Finlay McWalter, Flauto Dolce, Folantin, Gaius Cornelius, Galileo01, Goregore, Grey1322, Gro-Tsen, Góngora, Henning Makholm, HockeyRocksMySocks, Innotata, Itai, ItsLassieTime, Jaddle, Janmark, Jergen, Jheald, Jlittlet, Jokestress, Jwy, KF, Kingpin13, Kwamikagami, Lordofmings, Makemi, MarnetteD, Mau db, Meelar, MeltBanana, MichaelMMMMM, Mitrius, Muhandes, Murtasa, Nandesuka, Neojacob, Nice poa, Nixeagle, Owen, Papovik, Paul Barlow, Phoenixy, Plawson1, Popsracer, Rewinn, Rich Farmbrough, Richard75, Rjwilmsi, Rob Burbidge, Robertgreer, Roscelese, Ryan Anderson, SalvageTheSauce, Sbp, Scottandrewhutchins, Septemberfourth476, Smatprt, Stephen Patrick, Sverdrup, The Singing Badger, Thorwald, Tony Sidaway, TvsFrank13, Ugajin, Varlaam, Verka77123, Violetriga, VolatileChemical, Vranak, West London Dweller, Widmerpool, William Avery, Williamnilly, Wrad, Xoyitos, Yill577, 103 anonymous edits Beggar's Holiday Source: http://en.wikipedia.org/w/index.php?oldid=373656683 Contributors: Editor437, Kbdank71, Marek69, MearsMan, MusicMaker5376, Rich Farmbrough, SFTVLGUY2, Squids and Chips, YUL89YYZ, 1 anonymous edits Sophisticated Ladies Source: http://en.wikipedia.org/w/index.php?oldid=409998795 Contributors: BRG, DerHexer, Editor437, InnocuousPseudonym, Kbdank71, Mark E, MusicMaker5376, P. S. Burton, SFTVLGUY2, Wasted Time R, Xanadubroadway, 5 anonymous edits
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Image Sources, Licenses and Contributors File:Duke Ellington restored.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Duke_Ellington_restored.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: user:Dontworry, user:Jafeluv File:Duke Ellington at the Hurricane Club 1943.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Duke_Ellington_at_the_Hurricane_Club_1943.jpg License: Public Domain Contributors: AnRo0002, Dodo, Infrogmation, Mike Dillon File:Duke Ellington - Time Magazine cover - Aug 20, 1956.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Duke_Ellington_-_Time_Magazine_cover_-_Aug_20,_1956.jpg License: Public Domain Contributors: Time Magazine File:Duke Ellington 1.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Duke_Ellington_1.JPG License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:Schnobby File:Richard Nixon and Duke Ellington 1969.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Richard_Nixon_and_Duke_Ellington_1969.jpg License: Public Domain Contributors: Andrew Levine, Aotake, Dodo, Fanoftheworld, Hailey C. 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Image Sources, Licenses and Contributors File:Newport Jazz festival 1958 (album).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Newport_Jazz_festival_1958_(album).jpg License: unknown Contributors: Mel Etitis, Spellcast File:Jazz at the Plaza II.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jazz_at_the_Plaza_II.jpg License: unknown Contributors: DISEman File:Duke Ellington at the Alhambra.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Duke_Ellington_at_the_Alhambra.jpg License: unknown Contributors: DISEman File:JazzParty.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JazzParty.jpg License: unknown Contributors: User:Moonriddengirl File:backtobackduke.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Backtobackduke.jpg License: unknown Contributors: Kurt Eichenberger File:Sidebyside(album).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sidebyside(album).jpg License: unknown Contributors: User:Moonriddengirl File:AnatomyMurder2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:AnatomyMurder2.jpg License: unknown Contributors: Ed Fitzgerald, Luigibob, Melesse, Nehrams2020, Orbicle, Skier Dude File:Anatomymurder trailer 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Anatomymurder_trailer_2.jpg License: Public Domain Contributors: Trailer screenshot File:Anatomymurder trailer 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Anatomymurder_trailer_1.jpg License: Public Domain Contributors: Trailer screenshot File:2009-0618-UP-MarquetteCtyCourthouse.jpg Source: http://en.wikipedia.org/w/index.php?title=File:2009-0618-UP-MarquetteCtyCourthouse.jpg License: Creative Commons Attribution 2.5 Contributors: Bobak Ha'Eri File:Anatomy of a Murder 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Anatomy_of_a_Murder_1.jpg License: Public Domain Contributors: Original uploader was D. 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