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1. Doin’ The Voom Voom 2:42 9. Bouncing Buoyancy 2:43 17. Solitude 3:00 20. Sophisticated Lady 2:53 (Bubber Miley-Duke Ellington) (Duke Ellington) (Duke Ellington–Eddie deLange–Irving Mills) (Duke Ellington–Irving Mills–Mitchell Parish) Columbia 35208, mx WM 1031-A Columbia 35240, mx WM 1062-A Ivie Anderson, vocal Columbia 35556, mx WM 1138-A Recorded 6 June 1939 Recorded 28 August 1939 Columbia 35427, mx WM 1135-A Recorded 14 February 1940 Recorded 14 February 1940 2. Serenade To Sweden 3:24 10. The Sergeant Was Shy 2:44 All tracks except 15 & 16 by Duke Ellington and (Duke Ellington) (Duke Ellington) 18. Stormy Weather 2:35 His Famous Orchestra Columbia 35214, mx WM 1033-A Columbia 35214, mx WM 1063-A (Harold Arlen–Ted Koehler) Recorded 6 June 1939 Recorded 28 August 1939 Ivie Anderson, vocal All selections recorded in New York Transfers & Production: David Lennick 3. Portrait Of The Lion 2:34 11. I Never Felt This Way Before 3:00 Columbia 35556, mx WM 1136-A (Duke Ellington) (Duke Ellington) Recorded 14 February 1940 Digital Noise Reduction: Andrew Lang for K&A Brunswick m8365, mx WM 1006-2 Columbia 35353, mx WM 1092-A 19. Mood Indigo 2:45 Productions Ltd. Recorded 21 March 1939 Recorded 14 October 1939 (Duke Ellington–Irving Mills–Barney Bigard) Original monochrome photo of Duke Ellington 4. Lady In Blue 2:46 12. Grievin’ 2:53 Ivie Anderson, vocal from Michael Ochs Archives / Redferns (Duke Ellington) (Billy Strayhorn–Duke Ellington) Columbia 35427, mx WM 1137-A Columbia 35291, mx M 999-1 Columbia 35310, mx WM 1093-A Recorded 14 February 1940 Recorded 20 March 1939 Recorded 14 October 1939 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded 5. Solid, Old Man 2:33 13. Weely (A Portrait Of Billy Strayhorn) music, in the best and truest sound that contemporary technology can provide. To achieve this aim, (Duke Ellington) 3:00 Naxos has engaged a number of respected restorers who have the dedication, skill and experience to Brunswick m8380, mx WM 1008-1 (Duke Ellington) produce restorations that have set new standards in the field of historical recordings. Recorded 21 March 1939 Columbia 35353, mx WM 1095-A 6. In A Mizz 3:07 Recorded 14 October 1939 Also available in the Naxos Jazz Legends series ... (Haven Johnson–Charlie Barnet) 14. Tootin’ Through The Roof 2:55 Ivie Anderson, vocal (Duke Ellington) Brunswick m8405, mx WM 1038-A Columbia 35310, mx WM 1094-A Recorded 12 June 1939 Recorded 14 October 1939 7. I’m Checkin’ Out, Go’om Bye 2:30 15. Blues 2:57 (Duke Ellington) (Duke Ellington) Ivie Anderson, vocal Duke Ellington, piano; Jimmy Blanton, bass Columbia 35208, mx WM 1039-A Columbia 35322, mx WM 1120-A Recorded 12 June 1939 Recorded 22 November 1939 8. A Lonely Co-Ed 3:19 16. Plucked Again 3:03 (Duke Ellington) (Duke Ellington) Ivie Anderson, vocal Duke Ellington, piano; Jimmy Blanton, bass Columbia 35240, mx WM 1040-A Columbia 35322, mx WM 1121-A 8.120626* 8.120672 8.120706* Recorded 12 June 1939 Recorded 22 November 1939 * Not available in the USA

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DUKE ELLINGTON great success of Benny Goodman in 1935 based on “Bugle Call Rag”) have statements recorded together before in this type of format Waters and (a little later) Lena Horne, was Vol.6 launched the big band era but, rather than from all seven of Ellington’s horn soloists with and Blanton really comes through. popularized by Ellington early on. Tootin’ ‘Tootin’ Through The Roof’ Original Recordings 1939-1940 being crowded out by the competition of scores the latter even including a brief spot for Guy’s In early 1940, Ben Webster joined the band Through The Roof concludes with an inventive of new groups, Ellington’s orchestra simply rose chordal guitar. as Ellington’s first major tenor-saxophone remake of Sophisticated Lady that gives above the field, creating music in its own In 1939, there were two important additions soloist. Grouped with Coleman Hawkins and listeners a final chance to hear the beauty of As pianist, composer, arranger and bandleader, valve techniques in addition to his wide range category that could not be copied. to Duke Ellington’s mighty orchestra that made Lester Young as one of the big three of swing Hodges, Carney and Brown. Duke Ellington’s accomplishments throughout and wit. It would have been difficult to find two Tootin’ Through The Roof has twenty of Duke the big band even stronger. Earlier in the year, tenors, Webster had a sound influenced by While Duke Ellington’s orchestra of 1940- his 49 years (1925-74) as the head of his trombonists who sounded more different than Ellington’s finest recordings of 1939 and early Billy Strayhorn joined as Duke’s right-hand man, Hawkins but a simpler and warmer style of his 42 is often rated by jazz historians as his finest orchestra are enormous. One of his greatest Lawrence Brown and Joe “Tricky Sam” Nanton. 1940, cut for the Columbia label before Duke contributing compositions and arrangements in own. The 14 February 1940 session, which band, the selections on Tootin’ Through The feats was his ability to hire sidemen with unique While Brown’s technique was impressive and he switched to Victor. The program begins with a style similar to Ellington’s, filling in occasion- features remakes of four Ellington hits, has Roof show that his 1939-40 edition was quite tones and styles and somehow blend them could play as warmly as Tommy Dorsey, Nanton Doin’ The Voom Voom, a song first recorded by ally on piano and writing lyrics. In the late Webster heard in short solos on the first three classic too. together to form a unified ensemble sound. was able to create otherworldly sounds with his Ellington in 1929 and featuring three of Duke’s summer, Jimmy Blanton replaced Billy Taylor as numbers along with singer Ivie Anderson. The band he had in 1939 is a good example mutes. Clarinettist Barney Bigard had a New most famous soloists: Cootie Williams, Johnny the band’s bassist. Blanton revolutionized the Solitude and Mood Indigo are two of Duke’s Scott Yanow of this talent at work. Most big bands of the Orleans tone and the ability to make complex Hodges and Harry Carney. In addition to spots string bass by becoming its first important most famous songs while Stormy Weather, – author of eight jazz books including Duke Ellington, swing era had at the most three or four top lines sound effortless. Johnny Hodges was the for Nanton, Carney and Brown, Wallace Jones soloist, improvising with the fluidity of a which is more closely associated with Ethel Swing, Jazz On Record 1917-76 and Trumpet Kings soloists, usually a trumpeter, a trombonist and unrivaled leader among altoists in the 1930s gets the early melodic lead on Serenade To guitarist and playing inspiring notes in the perhaps two saxophonists. Ellington had eight. (only Benny Carter was close) and his beautiful Sweden. One of Ellington’s most enduring (and ensembles and behind the other musicians. Of the six non-soloists, Wallace Jones was used tone on ballads made him a major attraction joyful) originals from the period is Portrait Of Blanton’s presence is very much in evidence Personnel as a lead trumpeter, valve trombonist Juan Tizol although he could also dig into blues and The Lion, his spirited tribute to Willie “The from the start of I Never Felt This Way Before, Tracks 1-10: Wallace Jones, Cootie Williams, piano (except Billy Strayhorn on ‘Weely’); Fred was valuable in the ensembles, altoist Otto stomps too. There were no significant baritone- Lion” Smith. Lady In Blue succeeds as both playing quiet doubletime lines behind the trumpets; Rex Stewart, cornet; Joe Nanton, Guy, guitar; Jimmy Blanton, bass; Sonny Hardwick was in the band more for sentimental saxophonists before Harry Carney and his huge dance music and creative jazz, with subtle and haunting ensemble. He drives the band on Lawrence Brown, trombones; Juan Tizol, valve Greer, drums than musical reasons (since he was an original tone is still the standard among baritonists. expressive playing from Brown, Carney and Grievin’ which is a surprisingly celebratory trombone; Barney Bigard, clarinet; Johnny member of Ellington’s Washingtonians in the And as for the pianist, Ellington was influenced Williams. The ensembles are in the spotlight performance. Ellington would compose and Tracks 15-16: Duke Ellington, piano; Jimmy Hodges, clarinet, soprano & alto sax; Harry mid-1920s) as was the largely inaudible rhythm by Willie “The Lion” Smith and James P. during the driving and catchy Solid Old Man record many musical portraits during this era, Blanton, bass Carney, clarinet, alto & baritone sax; Otto guitarist Fred Guy, Billy Taylor was a fine Johnson but had developed his own percussive other than short spots for the contrasting with Weely paying tribute to Billy Strayhorn, Hardwick, alto & bass sax; Duke Ellington, Tracks 17-20: Wallace Jones, Cootie Williams, ensemble bassist and drummer Sonny Greer was style by the late 1920s and would remain a trombones of Brown and Nanton and some fills who is heard briefly on piano between the solos piano; Fred Guy, guitar; Billy Taylor, bass; trumpets; Rex Stewart, cornet; Joe Nanton, an underrated timekeeper who added colour to modern soloist throughout his career. from the leader. of Stewart and Carney. Tootin’ Through The Sonny Greer, drums Lawrence Brown, trombones; Juan Tizol, valve the band. In other orchestras they would be As 1939 began, Duke Ellington was 39 years Ivie Anderson was Duke Ellington’s main Roof is climaxed by Rex Stewart and Cootie trombone; Barney Bigard, clarinet; Johnny among the stars but Ellington also had eight old and had been a famous name for nearly a vocalist during 1932-43 and is considered the Williams taking a famous cornet/trumpet Tracks 11-14: Wallace Jones, Cootie Williams, Hodges, clarinet, soprano & alto sax; Harry very original voices to feature. dozen years, ever since he and his orchestra best of all of his singers. She is featured on the tradeoff. trumpets; Rex Stewart, cornet; Joe Nanton, Carney, clarinet, alto & baritone sax; Otto Cootie Williams, who succeeded Bubber debuted at the Cotton Club in 1927. Renowned bluesy In A Mizz (one of only two songs on this It was a measure of Duke Ellington’s great Lawrence Brown, trombones; Juan Tizol, valve Hardwick, alto & bass sax; Ben Webster, tenor Miley in 1929, was both a specialist with mutes for the many standards he had already written, set not written by Ellington), the rambunctious respect for Jimmy Blanton that he chose to trombone; Barney Bigard, clarinet; Johnny sax; Duke Ellington, piano; Fred Guy, guitar; (achieving colourful tonal distortions) and an Ellington had played swing before the swing era I’m Checkin’ Out Goo’m Bye, and the obscure accompany his bassist on a pair of Hodges, clarinet, soprano & alto sax; Harry Jimmy Blanton, bass; Sonny Greer, drums excellent open trumpeter. Cornetist Rex Stewart began, with his 1932 song proclaiming “It Don’t A Lonely Co-Ed. Between them, Bouncing unprecedented duets, Blues and Plucked Again. Carney, clarinet, alto & baritone sax; Otto gained fame for his false fingerings and half- Mean A Thing If I Ain’t Got That Swing.” The Buoyancy” and The Sergeant Was Shy (which is This combination of instruments had never Hardwick, alto & bass sax; Duke Ellington,

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DUKE ELLINGTON great success of Benny Goodman in 1935 based on “Bugle Call Rag”) have statements recorded together before in this type of format Waters and (a little later) Lena Horne, was Vol.6 launched the big band era but, rather than from all seven of Ellington’s horn soloists with and Blanton really comes through. popularized by Ellington early on. Tootin’ ‘Tootin’ Through The Roof’ Original Recordings 1939-1940 being crowded out by the competition of scores the latter even including a brief spot for Guy’s In early 1940, Ben Webster joined the band Through The Roof concludes with an inventive of new groups, Ellington’s orchestra simply rose chordal guitar. as Ellington’s first major tenor-saxophone remake of Sophisticated Lady that gives above the field, creating music in its own In 1939, there were two important additions soloist. Grouped with Coleman Hawkins and listeners a final chance to hear the beauty of As pianist, composer, arranger and bandleader, valve techniques in addition to his wide range category that could not be copied. to Duke Ellington’s mighty orchestra that made Lester Young as one of the big three of swing Hodges, Carney and Brown. Duke Ellington’s accomplishments throughout and wit. It would have been difficult to find two Tootin’ Through The Roof has twenty of Duke the big band even stronger. Earlier in the year, tenors, Webster had a sound influenced by While Duke Ellington’s orchestra of 1940- his 49 years (1925-74) as the head of his trombonists who sounded more different than Ellington’s finest recordings of 1939 and early Billy Strayhorn joined as Duke’s right-hand man, Hawkins but a simpler and warmer style of his 42 is often rated by jazz historians as his finest orchestra are enormous. One of his greatest Lawrence Brown and Joe “Tricky Sam” Nanton. 1940, cut for the Columbia label before Duke contributing compositions and arrangements in own. The 14 February 1940 session, which band, the selections on Tootin’ Through The feats was his ability to hire sidemen with unique While Brown’s technique was impressive and he switched to Victor. The program begins with a style similar to Ellington’s, filling in occasion- features remakes of four Ellington hits, has Roof show that his 1939-40 edition was quite tones and styles and somehow blend them could play as warmly as Tommy Dorsey, Nanton Doin’ The Voom Voom, a song first recorded by ally on piano and writing lyrics. In the late Webster heard in short solos on the first three classic too. together to form a unified ensemble sound. was able to create otherworldly sounds with his Ellington in 1929 and featuring three of Duke’s summer, Jimmy Blanton replaced Billy Taylor as numbers along with singer Ivie Anderson. The band he had in 1939 is a good example mutes. Clarinettist Barney Bigard had a New most famous soloists: Cootie Williams, Johnny the band’s bassist. Blanton revolutionized the Solitude and Mood Indigo are two of Duke’s Scott Yanow of this talent at work. Most big bands of the Orleans tone and the ability to make complex Hodges and Harry Carney. In addition to spots string bass by becoming its first important most famous songs while Stormy Weather, – author of eight jazz books including Duke Ellington, swing era had at the most three or four top lines sound effortless. Johnny Hodges was the for Nanton, Carney and Brown, Wallace Jones soloist, improvising with the fluidity of a which is more closely associated with Ethel Swing, Jazz On Record 1917-76 and Trumpet Kings soloists, usually a trumpeter, a trombonist and unrivaled leader among altoists in the 1930s gets the early melodic lead on Serenade To guitarist and playing inspiring notes in the perhaps two saxophonists. Ellington had eight. (only Benny Carter was close) and his beautiful Sweden. One of Ellington’s most enduring (and ensembles and behind the other musicians. Of the six non-soloists, Wallace Jones was used tone on ballads made him a major attraction joyful) originals from the period is Portrait Of Blanton’s presence is very much in evidence Personnel as a lead trumpeter, valve trombonist Juan Tizol although he could also dig into blues and The Lion, his spirited tribute to Willie “The from the start of I Never Felt This Way Before, Tracks 1-10: Wallace Jones, Cootie Williams, piano (except Billy Strayhorn on ‘Weely’); Fred was valuable in the ensembles, altoist Otto stomps too. There were no significant baritone- Lion” Smith. Lady In Blue succeeds as both playing quiet doubletime lines behind the trumpets; Rex Stewart, cornet; Joe Nanton, Guy, guitar; Jimmy Blanton, bass; Sonny Hardwick was in the band more for sentimental saxophonists before Harry Carney and his huge dance music and creative jazz, with subtle and haunting ensemble. He drives the band on Lawrence Brown, trombones; Juan Tizol, valve Greer, drums than musical reasons (since he was an original tone is still the standard among baritonists. expressive playing from Brown, Carney and Grievin’ which is a surprisingly celebratory trombone; Barney Bigard, clarinet; Johnny member of Ellington’s Washingtonians in the And as for the pianist, Ellington was influenced Williams. The ensembles are in the spotlight performance. Ellington would compose and Tracks 15-16: Duke Ellington, piano; Jimmy Hodges, clarinet, soprano & alto sax; Harry mid-1920s) as was the largely inaudible rhythm by Willie “The Lion” Smith and James P. during the driving and catchy Solid Old Man record many musical portraits during this era, Blanton, bass Carney, clarinet, alto & baritone sax; Otto guitarist Fred Guy, Billy Taylor was a fine Johnson but had developed his own percussive other than short spots for the contrasting with Weely paying tribute to Billy Strayhorn, Hardwick, alto & bass sax; Duke Ellington, Tracks 17-20: Wallace Jones, Cootie Williams, ensemble bassist and drummer Sonny Greer was style by the late 1920s and would remain a trombones of Brown and Nanton and some fills who is heard briefly on piano between the solos piano; Fred Guy, guitar; Billy Taylor, bass; trumpets; Rex Stewart, cornet; Joe Nanton, an underrated timekeeper who added colour to modern soloist throughout his career. from the leader. of Stewart and Carney. Tootin’ Through The Sonny Greer, drums Lawrence Brown, trombones; Juan Tizol, valve the band. In other orchestras they would be As 1939 began, Duke Ellington was 39 years Ivie Anderson was Duke Ellington’s main Roof is climaxed by Rex Stewart and Cootie trombone; Barney Bigard, clarinet; Johnny among the stars but Ellington also had eight old and had been a famous name for nearly a vocalist during 1932-43 and is considered the Williams taking a famous cornet/trumpet Tracks 11-14: Wallace Jones, Cootie Williams, Hodges, clarinet, soprano & alto sax; Harry very original voices to feature. dozen years, ever since he and his orchestra best of all of his singers. She is featured on the tradeoff. trumpets; Rex Stewart, cornet; Joe Nanton, Carney, clarinet, alto & baritone sax; Otto Cootie Williams, who succeeded Bubber debuted at the Cotton Club in 1927. Renowned bluesy In A Mizz (one of only two songs on this It was a measure of Duke Ellington’s great Lawrence Brown, trombones; Juan Tizol, valve Hardwick, alto & bass sax; Ben Webster, tenor Miley in 1929, was both a specialist with mutes for the many standards he had already written, set not written by Ellington), the rambunctious respect for Jimmy Blanton that he chose to trombone; Barney Bigard, clarinet; Johnny sax; Duke Ellington, piano; Fred Guy, guitar; (achieving colourful tonal distortions) and an Ellington had played swing before the swing era I’m Checkin’ Out Goo’m Bye, and the obscure accompany his bassist on a pair of Hodges, clarinet, soprano & alto sax; Harry Jimmy Blanton, bass; Sonny Greer, drums excellent open trumpeter. Cornetist Rex Stewart began, with his 1932 song proclaiming “It Don’t A Lonely Co-Ed. Between them, Bouncing unprecedented duets, Blues and Plucked Again. Carney, clarinet, alto & baritone sax; Otto gained fame for his false fingerings and half- Mean A Thing If I Ain’t Got That Swing.” The Buoyancy” and The Sergeant Was Shy (which is This combination of instruments had never Hardwick, alto & bass sax; Duke Ellington,

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DUKE ELLINGTON great success of Benny Goodman in 1935 based on “Bugle Call Rag”) have statements recorded together before in this type of format Waters and (a little later) Lena Horne, was Vol.6 launched the big band era but, rather than from all seven of Ellington’s horn soloists with and Blanton really comes through. popularized by Ellington early on. Tootin’ ‘Tootin’ Through The Roof’ Original Recordings 1939-1940 being crowded out by the competition of scores the latter even including a brief spot for Guy’s In early 1940, Ben Webster joined the band Through The Roof concludes with an inventive of new groups, Ellington’s orchestra simply rose chordal guitar. as Ellington’s first major tenor-saxophone remake of Sophisticated Lady that gives above the field, creating music in its own In 1939, there were two important additions soloist. Grouped with Coleman Hawkins and listeners a final chance to hear the beauty of As pianist, composer, arranger and bandleader, valve techniques in addition to his wide range category that could not be copied. to Duke Ellington’s mighty orchestra that made Lester Young as one of the big three of swing Hodges, Carney and Brown. Duke Ellington’s accomplishments throughout and wit. It would have been difficult to find two Tootin’ Through The Roof has twenty of Duke the big band even stronger. Earlier in the year, tenors, Webster had a sound influenced by While Duke Ellington’s orchestra of 1940- his 49 years (1925-74) as the head of his trombonists who sounded more different than Ellington’s finest recordings of 1939 and early Billy Strayhorn joined as Duke’s right-hand man, Hawkins but a simpler and warmer style of his 42 is often rated by jazz historians as his finest orchestra are enormous. One of his greatest Lawrence Brown and Joe “Tricky Sam” Nanton. 1940, cut for the Columbia label before Duke contributing compositions and arrangements in own. The 14 February 1940 session, which band, the selections on Tootin’ Through The feats was his ability to hire sidemen with unique While Brown’s technique was impressive and he switched to Victor. The program begins with a style similar to Ellington’s, filling in occasion- features remakes of four Ellington hits, has Roof show that his 1939-40 edition was quite tones and styles and somehow blend them could play as warmly as Tommy Dorsey, Nanton Doin’ The Voom Voom, a song first recorded by ally on piano and writing lyrics. In the late Webster heard in short solos on the first three classic too. together to form a unified ensemble sound. was able to create otherworldly sounds with his Ellington in 1929 and featuring three of Duke’s summer, Jimmy Blanton replaced Billy Taylor as numbers along with singer Ivie Anderson. The band he had in 1939 is a good example mutes. Clarinettist Barney Bigard had a New most famous soloists: Cootie Williams, Johnny the band’s bassist. Blanton revolutionized the Solitude and Mood Indigo are two of Duke’s Scott Yanow of this talent at work. Most big bands of the Orleans tone and the ability to make complex Hodges and Harry Carney. In addition to spots string bass by becoming its first important most famous songs while Stormy Weather, – author of eight jazz books including Duke Ellington, swing era had at the most three or four top lines sound effortless. Johnny Hodges was the for Nanton, Carney and Brown, Wallace Jones soloist, improvising with the fluidity of a which is more closely associated with Ethel Swing, Jazz On Record 1917-76 and Trumpet Kings soloists, usually a trumpeter, a trombonist and unrivaled leader among altoists in the 1930s gets the early melodic lead on Serenade To guitarist and playing inspiring notes in the perhaps two saxophonists. Ellington had eight. (only Benny Carter was close) and his beautiful Sweden. One of Ellington’s most enduring (and ensembles and behind the other musicians. Of the six non-soloists, Wallace Jones was used tone on ballads made him a major attraction joyful) originals from the period is Portrait Of Blanton’s presence is very much in evidence Personnel as a lead trumpeter, valve trombonist Juan Tizol although he could also dig into blues and The Lion, his spirited tribute to Willie “The from the start of I Never Felt This Way Before, Tracks 1-10: Wallace Jones, Cootie Williams, piano (except Billy Strayhorn on ‘Weely’); Fred was valuable in the ensembles, altoist Otto stomps too. There were no significant baritone- Lion” Smith. Lady In Blue succeeds as both playing quiet doubletime lines behind the trumpets; Rex Stewart, cornet; Joe Nanton, Guy, guitar; Jimmy Blanton, bass; Sonny Hardwick was in the band more for sentimental saxophonists before Harry Carney and his huge dance music and creative jazz, with subtle and haunting ensemble. He drives the band on Lawrence Brown, trombones; Juan Tizol, valve Greer, drums than musical reasons (since he was an original tone is still the standard among baritonists. expressive playing from Brown, Carney and Grievin’ which is a surprisingly celebratory trombone; Barney Bigard, clarinet; Johnny member of Ellington’s Washingtonians in the And as for the pianist, Ellington was influenced Williams. The ensembles are in the spotlight performance. Ellington would compose and Tracks 15-16: Duke Ellington, piano; Jimmy Hodges, clarinet, soprano & alto sax; Harry mid-1920s) as was the largely inaudible rhythm by Willie “The Lion” Smith and James P. during the driving and catchy Solid Old Man record many musical portraits during this era, Blanton, bass Carney, clarinet, alto & baritone sax; Otto guitarist Fred Guy, Billy Taylor was a fine Johnson but had developed his own percussive other than short spots for the contrasting with Weely paying tribute to Billy Strayhorn, Hardwick, alto & bass sax; Duke Ellington, Tracks 17-20: Wallace Jones, Cootie Williams, ensemble bassist and drummer Sonny Greer was style by the late 1920s and would remain a trombones of Brown and Nanton and some fills who is heard briefly on piano between the solos piano; Fred Guy, guitar; Billy Taylor, bass; trumpets; Rex Stewart, cornet; Joe Nanton, an underrated timekeeper who added colour to modern soloist throughout his career. from the leader. of Stewart and Carney. Tootin’ Through The Sonny Greer, drums Lawrence Brown, trombones; Juan Tizol, valve the band. In other orchestras they would be As 1939 began, Duke Ellington was 39 years Ivie Anderson was Duke Ellington’s main Roof is climaxed by Rex Stewart and Cootie trombone; Barney Bigard, clarinet; Johnny among the stars but Ellington also had eight old and had been a famous name for nearly a vocalist during 1932-43 and is considered the Williams taking a famous cornet/trumpet Tracks 11-14: Wallace Jones, Cootie Williams, Hodges, clarinet, soprano & alto sax; Harry very original voices to feature. dozen years, ever since he and his orchestra best of all of his singers. She is featured on the tradeoff. trumpets; Rex Stewart, cornet; Joe Nanton, Carney, clarinet, alto & baritone sax; Otto Cootie Williams, who succeeded Bubber debuted at the Cotton Club in 1927. Renowned bluesy In A Mizz (one of only two songs on this It was a measure of Duke Ellington’s great Lawrence Brown, trombones; Juan Tizol, valve Hardwick, alto & bass sax; Ben Webster, tenor Miley in 1929, was both a specialist with mutes for the many standards he had already written, set not written by Ellington), the rambunctious respect for Jimmy Blanton that he chose to trombone; Barney Bigard, clarinet; Johnny sax; Duke Ellington, piano; Fred Guy, guitar; (achieving colourful tonal distortions) and an Ellington had played swing before the swing era I’m Checkin’ Out Goo’m Bye, and the obscure accompany his bassist on a pair of Hodges, clarinet, soprano & alto sax; Harry Jimmy Blanton, bass; Sonny Greer, drums excellent open trumpeter. Cornetist Rex Stewart began, with his 1932 song proclaiming “It Don’t A Lonely Co-Ed. Between them, Bouncing unprecedented duets, Blues and Plucked Again. Carney, clarinet, alto & baritone sax; Otto gained fame for his false fingerings and half- Mean A Thing If I Ain’t Got That Swing.” The Buoyancy” and The Sergeant Was Shy (which is This combination of instruments had never Hardwick, alto & bass sax; Duke Ellington,

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1. Doin’ The Voom Voom 2:42 9. Bouncing Buoyancy 2:43 17. Solitude 3:00 20. Sophisticated Lady 2:53 (Bubber Miley-Duke Ellington) (Duke Ellington) (Duke Ellington–Eddie deLange–Irving Mills) (Duke Ellington–Irving Mills–Mitchell Parish) Columbia 35208, mx WM 1031-A Columbia 35240, mx WM 1062-A Ivie Anderson, vocal Columbia 35556, mx WM 1138-A Recorded 6 June 1939 Recorded 28 August 1939 Columbia 35427, mx WM 1135-A Recorded 14 February 1940 Recorded 14 February 1940 2. Serenade To Sweden 3:24 10. The Sergeant Was Shy 2:44 All tracks except 15 & 16 by Duke Ellington and (Duke Ellington) (Duke Ellington) 18. Stormy Weather 2:35 His Famous Orchestra Columbia 35214, mx WM 1033-A Columbia 35214, mx WM 1063-A (Harold Arlen–Ted Koehler) Recorded 6 June 1939 Recorded 28 August 1939 Ivie Anderson, vocal All selections recorded in New York Transfers & Production: David Lennick 3. Portrait Of The Lion 2:34 11. I Never Felt This Way Before 3:00 Columbia 35556, mx WM 1136-A (Duke Ellington) (Duke Ellington) Recorded 14 February 1940 Digital Noise Reduction: Andrew Lang for K&A Brunswick m8365, mx WM 1006-2 Columbia 35353, mx WM 1092-A 19. Mood Indigo 2:45 Productions Ltd. Recorded 21 March 1939 Recorded 14 October 1939 (Duke Ellington–Irving Mills–Barney Bigard) Original monochrome photo of Duke Ellington 4. Lady In Blue 2:46 12. Grievin’ 2:53 Ivie Anderson, vocal from Michael Ochs Archives / Redferns (Duke Ellington) (Billy Strayhorn–Duke Ellington) Columbia 35427, mx WM 1137-A Columbia 35291, mx M 999-1 Columbia 35310, mx WM 1093-A Recorded 14 February 1940 Recorded 20 March 1939 Recorded 14 October 1939 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded 5. Solid, Old Man 2:33 13. Weely (A Portrait Of Billy Strayhorn) music, in the best and truest sound that contemporary technology can provide. To achieve this aim, (Duke Ellington) 3:00 Naxos has engaged a number of respected restorers who have the dedication, skill and experience to Brunswick m8380, mx WM 1008-1 (Duke Ellington) produce restorations that have set new standards in the field of historical recordings. Recorded 21 March 1939 Columbia 35353, mx WM 1095-A 6. In A Mizz 3:07 Recorded 14 October 1939 Also available in the Naxos Jazz Legends series ... (Haven Johnson–Charlie Barnet) 14. Tootin’ Through The Roof 2:55 Ivie Anderson, vocal (Duke Ellington) Brunswick m8405, mx WM 1038-A Columbia 35310, mx WM 1094-A Recorded 12 June 1939 Recorded 14 October 1939 7. I’m Checkin’ Out, Go’om Bye 2:30 15. Blues 2:57 (Duke Ellington) (Duke Ellington) Ivie Anderson, vocal Duke Ellington, piano; Jimmy Blanton, bass Columbia 35208, mx WM 1039-A Columbia 35322, mx WM 1120-A Recorded 12 June 1939 Recorded 22 November 1939 8. A Lonely Co-Ed 3:19 16. Plucked Again 3:03 (Duke Ellington) (Duke Ellington) Ivie Anderson, vocal Duke Ellington, piano; Jimmy Blanton, bass Columbia 35240, mx WM 1040-A Columbia 35322, mx WM 1121-A 8.120626* 8.120672 8.120706* Recorded 12 June 1939 Recorded 22 November 1939 * Not available in the USA

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1. Doin’ The Voom Voom 2:42 9. Bouncing Buoyancy 2:43 17. Solitude 3:00 20. Sophisticated Lady 2:53 (Bubber Miley-Duke Ellington) (Duke Ellington) (Duke Ellington–Eddie deLange–Irving Mills) (Duke Ellington–Irving Mills–Mitchell Parish) Columbia 35208, mx WM 1031-A Columbia 35240, mx WM 1062-A Ivie Anderson, vocal Columbia 35556, mx WM 1138-A Recorded 6 June 1939 Recorded 28 August 1939 Columbia 35427, mx WM 1135-A Recorded 14 February 1940 Recorded 14 February 1940 2. Serenade To Sweden 3:24 10. The Sergeant Was Shy 2:44 All tracks except 15 & 16 by Duke Ellington and (Duke Ellington) (Duke Ellington) 18. Stormy Weather 2:35 His Famous Orchestra Columbia 35214, mx WM 1033-A Columbia 35214, mx WM 1063-A (Harold Arlen–Ted Koehler) Recorded 6 June 1939 Recorded 28 August 1939 Ivie Anderson, vocal All selections recorded in New York Transfers & Production: David Lennick 3. Portrait Of The Lion 2:34 11. I Never Felt This Way Before 3:00 Columbia 35556, mx WM 1136-A (Duke Ellington) (Duke Ellington) Recorded 14 February 1940 Digital Noise Reduction: Andrew Lang for K&A Brunswick m8365, mx WM 1006-2 Columbia 35353, mx WM 1092-A 19. Mood Indigo 2:45 Productions Ltd. Recorded 21 March 1939 Recorded 14 October 1939 (Duke Ellington–Irving Mills–Barney Bigard) Original monochrome photo of Duke Ellington 4. Lady In Blue 2:46 12. Grievin’ 2:53 Ivie Anderson, vocal from Michael Ochs Archives / Redferns (Duke Ellington) (Billy Strayhorn–Duke Ellington) Columbia 35427, mx WM 1137-A Columbia 35291, mx M 999-1 Columbia 35310, mx WM 1093-A Recorded 14 February 1940 Recorded 20 March 1939 Recorded 14 October 1939 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded 5. Solid, Old Man 2:33 13. Weely (A Portrait Of Billy Strayhorn) music, in the best and truest sound that contemporary technology can provide. To achieve this aim, (Duke Ellington) 3:00 Naxos has engaged a number of respected restorers who have the dedication, skill and experience to Brunswick m8380, mx WM 1008-1 (Duke Ellington) produce restorations that have set new standards in the field of historical recordings. Recorded 21 March 1939 Columbia 35353, mx WM 1095-A 6. In A Mizz 3:07 Recorded 14 October 1939 Also available in the Naxos Jazz Legends series ... (Haven Johnson–Charlie Barnet) 14. Tootin’ Through The Roof 2:55 Ivie Anderson, vocal (Duke Ellington) Brunswick m8405, mx WM 1038-A Columbia 35310, mx WM 1094-A Recorded 12 June 1939 Recorded 14 October 1939 7. I’m Checkin’ Out, Go’om Bye 2:30 15. Blues 2:57 (Duke Ellington) (Duke Ellington) Ivie Anderson, vocal Duke Ellington, piano; Jimmy Blanton, bass Columbia 35208, mx WM 1039-A Columbia 35322, mx WM 1120-A Recorded 12 June 1939 Recorded 22 November 1939 8. A Lonely Co-Ed 3:19 16. Plucked Again 3:03 (Duke Ellington) (Duke Ellington) Ivie Anderson, vocal Duke Ellington, piano; Jimmy Blanton, bass Columbia 35240, mx WM 1040-A Columbia 35322, mx WM 1121-A 8.120626* 8.120672 8.120706* Recorded 12 June 1939 Recorded 22 November 1939 * Not available in the USA

5 8.120729 6 8.120729 DUKE ELLINGTON Vol. 6 8.120729 Original 1939-1940Original Recordings “TOOTIN’ THROUGHTHEROOF” ELLINGTON DUKE www. NOTES ANDFULLRECORDING DETAILS INCLUDED K&AProductions Ltd. NoiseReductionbyAndrewLangfor Digital Transfers andProductionbyDavid Lennick h 0 SophisticatedLady 20. MoodIndigo 19. StormyWeather 18. Solitude 17. Plucked Again 16. Blues 15. Tootin’ ThroughTheRoof 14. Weely OfBillyStrayhorn) (APortrait 13. Grievin’ 12. TheSergeantWas Shy 10. 1 I Never FeltThisWay Before 11. .BouncingBuoyancy 9. ALonelyCo-Ed 8. I’mCheckin’Out,Go’omBye 7. InAMizz 6. Solid,OldMan 5. LadyInBlue 4. OfTheLion Portrait 3. SerenadeTo Sweden 2. .Doin’TheVoom Voom 1. & g 04NxsRgt nentoa t Design:RonHoares 2004 NaxosRightsInternationalLtd naxos.com 2:57 2:53 3:00 3:07 2:46 2:45 3:03 2:33 3:19 2:35 2:53 2:43 2:34 3:24 2:44 2:42 2:55 3:00 Made intheEU 2:30 3:00 57:24 ADD Total Time Vol.6

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