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1. Stepping Into Swing Society 3:07 8. When My Sugar Walks Down The Street 15. T. T. On Toast 2:49 19. Mighty Like The Blues 2:39 (Duke Ellington–Henry Nemo–Irving Mills) 2:39 (Duke Ellington–Irving Mills) (Leonard Feather) Brunswick m8063, mx M 713-1 (Gene Austin–Jimmy McHugh–Irving Mills) Columbia 37296, mx M 948-2 Brunswick m8231, mx M 899-2 Recorded 13 January 1938 Ivie Anderson, vocal Recorded 19 December 1938 Recorded 2 September 1938 2. The Gal From Joe’s 2:59 Brunswick m8168, mx M 835-1 16. Blue Light (Transblucency) 2:44 20. Slap Happy 2:49 (Duke Ellington–Irving Mills) Recorded 7 June 1938 (Duke Ellington) (Duke Ellington) Brunswick m8108; mx M 753-1 9. A Gypsy Without A Song 2:58 Brunswick m8297, mx M 958-2 Brunswick m8297, mx M 961-1 Recorded 2 February 1938 (Duke Ellington–Juan Tizol–Irving Gordon– Recorded 22 December 1938 Recorded 22 December 1938 Lou Singer) 3. I Let A Song Go Out Of My Heart 3:09 17. Old King Dooji 2:34 All selections recorded in New York by Brunswick m8186, mx M 845-1 (Duke Ellington–Henry Nemo–Irving Mills) (Duke Ellington) Duke Ellington and His Famous Orchestra Parlophone R 3151, mx M 772-1 Recorded 20 June 1938 Brunswick m8306, mx M 959-1 Transfers & production: David Lennick Recorded 3 March 1938 10. Watermelon Man 2:36 Recorded 22 December 1938 Digital Noise Reduction: Graham Newton 4. Braggin’ In Brass 2:46 (Duke Ellington) 18. Boy Meets Horn 3:02 Ivie Anderson, vocal Original 78s from the collections of David Lennick (Henry Nemo–Irving Mills–Duke Ellington) (Duke Ellington–Rex Stewart) & Gene Miller Brunswick m8099, mx M 773-1 Brunswick m8200, mx M 844-1 Brunswick m8306, mx M 960-1 Recorded 3 March 1938 Recorded 20 June 1938 Recorded 22 December 1938 Original monochrome photo of Duke Ellington from INTERFOTO, Munich/Lebrecht Music 5. Dinah’s In A Jam 2:52 11. Please Forgive Me 3:01 (Duke Ellington–Irving Mills) (Irving Gordon–Duke Ellington–Irving Mills) Brunswick m8169, mx M 811-1 Brunswick m8256, mx M 882-2 Also available in the Naxos Jazz Legends series ... Recorded 11 April 1938 Recorded 4 August 1938 6. You Gave Me The Gate (And I’m 12. Lambeth Walk 2:28 Swingin’) 2:22 (Douglas Furber–Noel Gay) (Irving Gordon–J.B.McNeely–Jimmy Farmer– Brunswick m8204, mx M 883-1 Duke Ellington) Recorded 9 August 1938 Ivie Anderson, vocal 13. Prelude To A Kiss 3:00 Brunswick m8169, mx M 832-1 (Irving Gordon–Duke Ellington–Irving Mills) Recorded 7 June 1938 Brunswick m8204, mx M 884-1 7. Pyramid 2:56 Recorded 9 August 1938 (Juan Tizol–Duke Ellington–Irving Mills) 14. Buffet Flat 2:27 Brunswick m8168, mx M 834-1 (Duke Ellington) Recorded 7 June 1938 Brunswick m8231, mx M 886-1 8.120605* 8.120682* 8.120712 Recorded 9 August 1938 * Not available in the U.S. 5 8.120706 6 8.120706 120706bk Duke5 17/10/03 3:38 PM Page 1
DUKE ELLINGTON Armstrong), cornetist Rex Stewart’s half-valve the chord changes of “Tiger Rag” in his uptempo Blue Light, a dreamy blues with Bigard, Brown recording by Ellington in 1938. Slap Happy, which Vol.5 effects also made him distinctive. Trombonist originals. Braggin’ In Brass shows off both and Duke as key voices, would be revived a decade has solos from Carney and Nanton, ends this “Braggin’ In Brass” Original Recordings 1938 Tricky Sam Nanton’s unique solos contrasted with Ellington’s ingenuity in reworking older ideas in a later as “Transbluency,” a wordless vehicle for swinging set. the more straightforward and technically skilled new format and the brilliance of his brass section singer Kay Davis. Old King Dooji is a song also As 1938 came to a close, Duke Ellington still Duke Ellington accomplished so much during his Washingtonians were based at the Kentucky Club swing statements from Lawrence Brown. Barney (check out the very tricky ensemble chorus) well worth bringing back; this version has plenty of had 35 more years of accomplishments ahead of 75 years that it is impossible to accurately measure during 1924-27 and during that time the band Bigard kept the legacy of New Orleans clarinet alive including exciting solos from Stewart, Brown and enthusiastic ensembles. Rex Stewart’s most him. But even if he had chosen to retire at that his innovations. As a pianist, he developed a very developed its “jungle sound,” emphasizing tonal in Ellington’s band while altoist Johnny Hodges and Williams. Dinah’s In A Jam also explores an older famous feature, Boy Meets Horn, is full of his wit moment, his work in 1938 alone would have made likable stride style in the 1920s based on James P. distortions via cornetist Bubber Miley and baritonist Harry Carney were considered the very standard, “Dinah,” but without stating the theme and his unique half-valve technique, becoming a him immortal. Johnson and Willie “the Lion” Smith, evolving trombonist Tricky Sam Nanton’s mastery with best on their instruments. In addition, Wallace and instead adding plenty of heated riffs; Stewart, minor hit and his permanent trademark song. through the years to sound quite modern even as mutes. In December 1927 Ellington received the Jones proved to be a fine lead trumpeter, Juan Brown and Bigard star. One of jazz critic Leonard Feather’s best songs, Scott Yanow – author of eight jazz books including Jazz late as the 1960s. As a songwriter and composer, biggest break of his career when his orchestra was Tizol’s fluent valve trombone playing made him an Ivie Anderson, Ellington’s vocalist during 1932- Mighty Like The Blues, received its definitive On Record 1917-76, Bebop, Swing and Trumpet Kings Ellington wrote thousands of pieces, scores of hired as the house band at the Cotton Club. The expert utility player and altoist Otto Hardwick’s 42 (and always considered his finest singer) makes which became standards. His inventive arrange- regular radio broadcasts made his group so well creamy alto sound pointed back towards the first of three appearances on You Gave Me The Personnel ments overlooked the conventional rules to carve known that they were soon accurately known as Ellington’s beginnings. Duke was a fine if Gate, assisted by Williams. Juan Tizol contributed out a path of his own, somehow blending together “Duke Ellington’s Famous Orchestra”. Years underrated pianist, Sonny Greer as much a several exotic Mid-Eastern flavoured pieces to 13 January 1938: Wallace Jones, Cootie Williams, Otto Hardwick, alto & bass sax; Duke Ellington, a group of very individual musicians into a recogni- before the swing era began, Ellington was widely percussionist as a drummer and Fred Guy offered Ellington’s repertoire in the 1930s, most notably Harold ‘Shorty’ Baker, trumpets; Rex Stewart, piano; Fred Guy, guitar; Hayes Alvis, Billy Taylor, zable and unified ensemble. And as a bandleader, recognized as a genius whose big band sounded nearly inaudible rhythm guitar that helped hold the “Caravan.” Pyramid, which has Tizol playing the cornet; Joe Nanton, Lawrence Brown, trombones; bass; Sonny Greer, drums Barney Bigard Johnny Hodges he led an orchestra during 1926-74 that in any of unlike anyone else’s. rhythm section together. During this era, while eerie theme, is particularly haunting. When My , clarinet; , clarinet, 11 April 1938: Wallace Jones, Cootie Williams, soprano & alto sax; Harry Carney, clarinet, alto & those years ranked with the top five in jazz. Historians often rank certain Ellington bands as Billy Taylor was Ellington’s regular bassist, Duke Sugar Walks Down The Street is by contrast a Harold ‘Shorty’ Baker, trumpets; Rex Stewart, baritone sax; Otto Hardwick, alto & bass sax; Born 29 April 1899 in Washington D.C., Edward his best, particularly the ones from 1927-29 and sometimes experimented with the use of a second joyful rendition of the standard featuring cornet; Joe Nanton, Lawrence Brown, trombones; Duke Ellington, piano; Fred Guy, guitar; Billy Kennedy Ellington was nicknamed Duke early on 1940-42. Braggin’ In Brass focuses on his relatively bass played by Hayes Alvis. In addition, during the Anderson, Hodges, Williams, Carney and Brown. Juan Tizol, valve trombone; Barney Bigard, Taylor, Hayes Alvis, bass; Sonny Greer, drums due to his charm and classy nature. Although he underrated orchestra of 1938. The 1940 big band first half of 1938, Harold “Shorty” Baker (an Tizol’s lesser-known but worthy A Gypsy Without clarinet; Johnny Hodges, clarinet, soprano & alto had originally thought of becoming an artist, after is generally given the edge due to the additions of important lyrical voice in Ellington’s bands of A Song is quite atmospheric while Watermelon 2 February 1938: Wallace Jones, Cootie Williams, sax; Harry Carney, clarinet, alto & baritone sax; hearing his hometown’s local ragtime and stride tenor-saxophonist Ben Webster, bassist Jimmy 1942-62) was in the trumpet section. Man (no relation to the later Herbie Hancock hit) Harold ‘Shorty’ Baker, trumpets; Rex Stewart, Otto Hardwick, alto & bass sax; Duke Ellington, pianists, Ellington changed his mind. He started Blanton and arranger-composer Billy Strayhorn, In 1938, the year that Ellington turned 39, his is a happy tune despite having lyrics that make little cornet; Joe Nanton, Lawrence Brown, trombones; piano; Fred Guy, guitar; Billy Taylor, bass; Sonny playing in public in 1917, wrote his first songs but by 1938, Ellington’s orchestra was certainly in orchestra recorded 37 selections. Twenty of the sense! Please Forgive Me is an example of the Juan Tizol, valve trombone Barney Bigard, clarinet; Greer, drums (starting with “Soda Fountain Rag”) and led bands its own category. Most big bands of the period very best are on this release. The polite yet Ellington Orchestra playing a danceable ballad Johnny Hodges, clarinet, soprano & alto sax; Harry 7 June to 22 December 1938: Wallace Jones, Cootie in Washington D.C. In 1922 he went to New York featured four horn soloists, typically one trumpeter, swinging Stepping Into Swing Society opens up the (with Lawrence Brown emulating Tommy Dorsey a Carney, clarinet, alto & baritone sax; Otto Williams, trumpets; Rex Stewart, cornet; Joe with some of his musical friends to play with a trombonist, a clarinetist and a tenor-saxophonist. set, preceding the lightly swinging The Gal From little) as is the remake of Prelude To A Kiss, Hardwick, alto & bass sax; Duke Ellington, piano; Nanton, Lawrence Brown, trombones; Juan Tizol, clarinetist Wilbur Sweatman’s group but, after that Ellington, who was always attracted to unique Joe’s, which has a fine solo from Hodges. I Let A sandwiching the spirited Lambeth Walk. Buffet Billy Taylor, Hayes Alvis, bass; Sonny Greer, drums valve trombone; Barney Bigard, clarinet; Johnny engagement ended, he soon returned home. The voices and loved the challenge of arranging for each Song Go Out Of My Heart was a big seller for Flat is one of Carney’s finest showcases of the era, 3 March 1938: Wallace Jones, Cootie Williams, Hodges, clarinet, soprano & alto sax; Harry following year he had better luck during his second of his musician’s strengths, in 1938 had seven key Benny Goodman and singer Martha Tilton in 1938 showing why he was the premiere baritonist before Harold ‘Shorty’ Baker, trumpets; Rex Stewart, Carney, clarinet, alto & baritone sax; Otto visit to New York, becoming a member of a band horn soloists. While trumpeter Cootie Williams but the initial version (one of seventeen songs the bebop era. Hodges, Williams, Brown, Carney cornet; Joe Nanton, Lawrence Brown, trombones; Hardwick, alto & bass sax; Duke Ellington, piano; led by banjoist Elmer Snowden, the Washington- assumed the former role of Bubber Miley, composed or co-written by Ellington on this set) and Bigard all have their spots on the complex but Juan Tizol, valve trombone; Barney Bigard, Fred Guy, guitar; Billy Taylor, bass; Sonny Greer, ians. After a money dispute resulted in Snowden’s contributing his own variety of distorted wa-wa was recorded a month earlier without a vocal. melodic T.T. On Toast which was not released for clarinet; Johnny Hodges, clarinet, soprano & alto drums ouster, Duke became the leader. Ellington’s sounds (plus open solos influenced by Louis Throughout the 1920s and ’30s Duke often utilized the first time until 1947. sax; Harry Carney, clarinet, alto & baritone sax;
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DUKE ELLINGTON Armstrong), cornetist Rex Stewart’s half-valve the chord changes of “Tiger Rag” in his uptempo Blue Light, a dreamy blues with Bigard, Brown recording by Ellington in 1938. Slap Happy, which Vol.5 effects also made him distinctive. Trombonist originals. Braggin’ In Brass shows off both and Duke as key voices, would be revived a decade has solos from Carney and Nanton, ends this “Braggin’ In Brass” Original Recordings 1938 Tricky Sam Nanton’s unique solos contrasted with Ellington’s ingenuity in reworking older ideas in a later as “Transbluency,” a wordless vehicle for swinging set. the more straightforward and technically skilled new format and the brilliance of his brass section singer Kay Davis. Old King Dooji is a song also As 1938 came to a close, Duke Ellington still Duke Ellington accomplished so much during his Washingtonians were based at the Kentucky Club swing statements from Lawrence Brown. Barney (check out the very tricky ensemble chorus) well worth bringing back; this version has plenty of had 35 more years of accomplishments ahead of 75 years that it is impossible to accurately measure during 1924-27 and during that time the band Bigard kept the legacy of New Orleans clarinet alive including exciting solos from Stewart, Brown and enthusiastic ensembles. Rex Stewart’s most him. But even if he had chosen to retire at that his innovations. As a pianist, he developed a very developed its “jungle sound,” emphasizing tonal in Ellington’s band while altoist Johnny Hodges and Williams. Dinah’s In A Jam also explores an older famous feature, Boy Meets Horn, is full of his wit moment, his work in 1938 alone would have made likable stride style in the 1920s based on James P. distortions via cornetist Bubber Miley and baritonist Harry Carney were considered the very standard, “Dinah,” but without stating the theme and his unique half-valve technique, becoming a him immortal. Johnson and Willie “the Lion” Smith, evolving trombonist Tricky Sam Nanton’s mastery with best on their instruments. In addition, Wallace and instead adding plenty of heated riffs; Stewart, minor hit and his permanent trademark song. through the years to sound quite modern even as mutes. In December 1927 Ellington received the Jones proved to be a fine lead trumpeter, Juan Brown and Bigard star. One of jazz critic Leonard Feather’s best songs, Scott Yanow – author of eight jazz books including Jazz late as the 1960s. As a songwriter and composer, biggest break of his career when his orchestra was Tizol’s fluent valve trombone playing made him an Ivie Anderson, Ellington’s vocalist during 1932- Mighty Like The Blues, received its definitive On Record 1917-76, Bebop, Swing and Trumpet Kings Ellington wrote thousands of pieces, scores of hired as the house band at the Cotton Club. The expert utility player and altoist Otto Hardwick’s 42 (and always considered his finest singer) makes which became standards. His inventive arrange- regular radio broadcasts made his group so well creamy alto sound pointed back towards the first of three appearances on You Gave Me The Personnel ments overlooked the conventional rules to carve known that they were soon accurately known as Ellington’s beginnings. Duke was a fine if Gate, assisted by Williams. Juan Tizol contributed out a path of his own, somehow blending together “Duke Ellington’s Famous Orchestra”. Years underrated pianist, Sonny Greer as much a several exotic Mid-Eastern flavoured pieces to 13 January 1938: Wallace Jones, Cootie Williams, Otto Hardwick, alto & bass sax; Duke Ellington, a group of very individual musicians into a recogni- before the swing era began, Ellington was widely percussionist as a drummer and Fred Guy offered Ellington’s repertoire in the 1930s, most notably Harold ‘Shorty’ Baker, trumpets; Rex Stewart, piano; Fred Guy, guitar; Hayes Alvis, Billy Taylor, zable and unified ensemble. And as a bandleader, recognized as a genius whose big band sounded nearly inaudible rhythm guitar that helped hold the “Caravan.” Pyramid, which has Tizol playing the cornet; Joe Nanton, Lawrence Brown, trombones; bass; Sonny Greer, drums Barney Bigard Johnny Hodges he led an orchestra during 1926-74 that in any of unlike anyone else’s. rhythm section together. During this era, while eerie theme, is particularly haunting. When My , clarinet; , clarinet, 11 April 1938: Wallace Jones, Cootie Williams, soprano & alto sax; Harry Carney, clarinet, alto & those years ranked with the top five in jazz. Historians often rank certain Ellington bands as Billy Taylor was Ellington’s regular bassist, Duke Sugar Walks Down The Street is by contrast a Harold ‘Shorty’ Baker, trumpets; Rex Stewart, baritone sax; Otto Hardwick, alto & bass sax; Born 29 April 1899 in Washington D.C., Edward his best, particularly the ones from 1927-29 and sometimes experimented with the use of a second joyful rendition of the standard featuring cornet; Joe Nanton, Lawrence Brown, trombones; Duke Ellington, piano; Fred Guy, guitar; Billy Kennedy Ellington was nicknamed Duke early on 1940-42. Braggin’ In Brass focuses on his relatively bass played by Hayes Alvis. In addition, during the Anderson, Hodges, Williams, Carney and Brown. Juan Tizol, valve trombone; Barney Bigard, Taylor, Hayes Alvis, bass; Sonny Greer, drums due to his charm and classy nature. Although he underrated orchestra of 1938. The 1940 big band first half of 1938, Harold “Shorty” Baker (an Tizol’s lesser-known but worthy A Gypsy Without clarinet; Johnny Hodges, clarinet, soprano & alto had originally thought of becoming an artist, after is generally given the edge due to the additions of important lyrical voice in Ellington’s bands of A Song is quite atmospheric while Watermelon 2 February 1938: Wallace Jones, Cootie Williams, sax; Harry Carney, clarinet, alto & baritone sax; hearing his hometown’s local ragtime and stride tenor-saxophonist Ben Webster, bassist Jimmy 1942-62) was in the trumpet section. Man (no relation to the later Herbie Hancock hit) Harold ‘Shorty’ Baker, trumpets; Rex Stewart, Otto Hardwick, alto & bass sax; Duke Ellington, pianists, Ellington changed his mind. He started Blanton and arranger-composer Billy Strayhorn, In 1938, the year that Ellington turned 39, his is a happy tune despite having lyrics that make little cornet; Joe Nanton, Lawrence Brown, trombones; piano; Fred Guy, guitar; Billy Taylor, bass; Sonny playing in public in 1917, wrote his first songs but by 1938, Ellington’s orchestra was certainly in orchestra recorded 37 selections. Twenty of the sense! Please Forgive Me is an example of the Juan Tizol, valve trombone Barney Bigard, clarinet; Greer, drums (starting with “Soda Fountain Rag”) and led bands its own category. Most big bands of the period very best are on this release. The polite yet Ellington Orchestra playing a danceable ballad Johnny Hodges, clarinet, soprano & alto sax; Harry 7 June to 22 December 1938: Wallace Jones, Cootie in Washington D.C. In 1922 he went to New York featured four horn soloists, typically one trumpeter, swinging Stepping Into Swing Society opens up the (with Lawrence Brown emulating Tommy Dorsey a Carney, clarinet, alto & baritone sax; Otto Williams, trumpets; Rex Stewart, cornet; Joe with some of his musical friends to play with a trombonist, a clarinetist and a tenor-saxophonist. set, preceding the lightly swinging The Gal From little) as is the remake of Prelude To A Kiss, Hardwick, alto & bass sax; Duke Ellington, piano; Nanton, Lawrence Brown, trombones; Juan Tizol, clarinetist Wilbur Sweatman’s group but, after that Ellington, who was always attracted to unique Joe’s, which has a fine solo from Hodges. I Let A sandwiching the spirited Lambeth Walk. Buffet Billy Taylor, Hayes Alvis, bass; Sonny Greer, drums valve trombone; Barney Bigard, clarinet; Johnny engagement ended, he soon returned home. The voices and loved the challenge of arranging for each Song Go Out Of My Heart was a big seller for Flat is one of Carney’s finest showcases of the era, 3 March 1938: Wallace Jones, Cootie Williams, Hodges, clarinet, soprano & alto sax; Harry following year he had better luck during his second of his musician’s strengths, in 1938 had seven key Benny Goodman and singer Martha Tilton in 1938 showing why he was the premiere baritonist before Harold ‘Shorty’ Baker, trumpets; Rex Stewart, Carney, clarinet, alto & baritone sax; Otto visit to New York, becoming a member of a band horn soloists. While trumpeter Cootie Williams but the initial version (one of seventeen songs the bebop era. Hodges, Williams, Brown, Carney cornet; Joe Nanton, Lawrence Brown, trombones; Hardwick, alto & bass sax; Duke Ellington, piano; led by banjoist Elmer Snowden, the Washington- assumed the former role of Bubber Miley, composed or co-written by Ellington on this set) and Bigard all have their spots on the complex but Juan Tizol, valve trombone; Barney Bigard, Fred Guy, guitar; Billy Taylor, bass; Sonny Greer, ians. After a money dispute resulted in Snowden’s contributing his own variety of distorted wa-wa was recorded a month earlier without a vocal. melodic T.T. On Toast which was not released for clarinet; Johnny Hodges, clarinet, soprano & alto drums ouster, Duke became the leader. Ellington’s sounds (plus open solos influenced by Louis Throughout the 1920s and ’30s Duke often utilized the first time until 1947. sax; Harry Carney, clarinet, alto & baritone sax;
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DUKE ELLINGTON Armstrong), cornetist Rex Stewart’s half-valve the chord changes of “Tiger Rag” in his uptempo Blue Light, a dreamy blues with Bigard, Brown recording by Ellington in 1938. Slap Happy, which Vol.5 effects also made him distinctive. Trombonist originals. Braggin’ In Brass shows off both and Duke as key voices, would be revived a decade has solos from Carney and Nanton, ends this “Braggin’ In Brass” Original Recordings 1938 Tricky Sam Nanton’s unique solos contrasted with Ellington’s ingenuity in reworking older ideas in a later as “Transbluency,” a wordless vehicle for swinging set. the more straightforward and technically skilled new format and the brilliance of his brass section singer Kay Davis. Old King Dooji is a song also As 1938 came to a close, Duke Ellington still Duke Ellington accomplished so much during his Washingtonians were based at the Kentucky Club swing statements from Lawrence Brown. Barney (check out the very tricky ensemble chorus) well worth bringing back; this version has plenty of had 35 more years of accomplishments ahead of 75 years that it is impossible to accurately measure during 1924-27 and during that time the band Bigard kept the legacy of New Orleans clarinet alive including exciting solos from Stewart, Brown and enthusiastic ensembles. Rex Stewart’s most him. But even if he had chosen to retire at that his innovations. As a pianist, he developed a very developed its “jungle sound,” emphasizing tonal in Ellington’s band while altoist Johnny Hodges and Williams. Dinah’s In A Jam also explores an older famous feature, Boy Meets Horn, is full of his wit moment, his work in 1938 alone would have made likable stride style in the 1920s based on James P. distortions via cornetist Bubber Miley and baritonist Harry Carney were considered the very standard, “Dinah,” but without stating the theme and his unique half-valve technique, becoming a him immortal. Johnson and Willie “the Lion” Smith, evolving trombonist Tricky Sam Nanton’s mastery with best on their instruments. In addition, Wallace and instead adding plenty of heated riffs; Stewart, minor hit and his permanent trademark song. through the years to sound quite modern even as mutes. In December 1927 Ellington received the Jones proved to be a fine lead trumpeter, Juan Brown and Bigard star. One of jazz critic Leonard Feather’s best songs, Scott Yanow – author of eight jazz books including Jazz late as the 1960s. As a songwriter and composer, biggest break of his career when his orchestra was Tizol’s fluent valve trombone playing made him an Ivie Anderson, Ellington’s vocalist during 1932- Mighty Like The Blues, received its definitive On Record 1917-76, Bebop, Swing and Trumpet Kings Ellington wrote thousands of pieces, scores of hired as the house band at the Cotton Club. The expert utility player and altoist Otto Hardwick’s 42 (and always considered his finest singer) makes which became standards. His inventive arrange- regular radio broadcasts made his group so well creamy alto sound pointed back towards the first of three appearances on You Gave Me The Personnel ments overlooked the conventional rules to carve known that they were soon accurately known as Ellington’s beginnings. Duke was a fine if Gate, assisted by Williams. Juan Tizol contributed out a path of his own, somehow blending together “Duke Ellington’s Famous Orchestra”. Years underrated pianist, Sonny Greer as much a several exotic Mid-Eastern flavoured pieces to 13 January 1938: Wallace Jones, Cootie Williams, Otto Hardwick, alto & bass sax; Duke Ellington, a group of very individual musicians into a recogni- before the swing era began, Ellington was widely percussionist as a drummer and Fred Guy offered Ellington’s repertoire in the 1930s, most notably Harold ‘Shorty’ Baker, trumpets; Rex Stewart, piano; Fred Guy, guitar; Hayes Alvis, Billy Taylor, zable and unified ensemble. And as a bandleader, recognized as a genius whose big band sounded nearly inaudible rhythm guitar that helped hold the “Caravan.” Pyramid, which has Tizol playing the cornet; Joe Nanton, Lawrence Brown, trombones; bass; Sonny Greer, drums Barney Bigard Johnny Hodges he led an orchestra during 1926-74 that in any of unlike anyone else’s. rhythm section together. During this era, while eerie theme, is particularly haunting. When My , clarinet; , clarinet, 11 April 1938: Wallace Jones, Cootie Williams, soprano & alto sax; Harry Carney, clarinet, alto & those years ranked with the top five in jazz. Historians often rank certain Ellington bands as Billy Taylor was Ellington’s regular bassist, Duke Sugar Walks Down The Street is by contrast a Harold ‘Shorty’ Baker, trumpets; Rex Stewart, baritone sax; Otto Hardwick, alto & bass sax; Born 29 April 1899 in Washington D.C., Edward his best, particularly the ones from 1927-29 and sometimes experimented with the use of a second joyful rendition of the standard featuring cornet; Joe Nanton, Lawrence Brown, trombones; Duke Ellington, piano; Fred Guy, guitar; Billy Kennedy Ellington was nicknamed Duke early on 1940-42. Braggin’ In Brass focuses on his relatively bass played by Hayes Alvis. In addition, during the Anderson, Hodges, Williams, Carney and Brown. Juan Tizol, valve trombone; Barney Bigard, Taylor, Hayes Alvis, bass; Sonny Greer, drums due to his charm and classy nature. Although he underrated orchestra of 1938. The 1940 big band first half of 1938, Harold “Shorty” Baker (an Tizol’s lesser-known but worthy A Gypsy Without clarinet; Johnny Hodges, clarinet, soprano & alto had originally thought of becoming an artist, after is generally given the edge due to the additions of important lyrical voice in Ellington’s bands of A Song is quite atmospheric while Watermelon 2 February 1938: Wallace Jones, Cootie Williams, sax; Harry Carney, clarinet, alto & baritone sax; hearing his hometown’s local ragtime and stride tenor-saxophonist Ben Webster, bassist Jimmy 1942-62) was in the trumpet section. Man (no relation to the later Herbie Hancock hit) Harold ‘Shorty’ Baker, trumpets; Rex Stewart, Otto Hardwick, alto & bass sax; Duke Ellington, pianists, Ellington changed his mind. He started Blanton and arranger-composer Billy Strayhorn, In 1938, the year that Ellington turned 39, his is a happy tune despite having lyrics that make little cornet; Joe Nanton, Lawrence Brown, trombones; piano; Fred Guy, guitar; Billy Taylor, bass; Sonny playing in public in 1917, wrote his first songs but by 1938, Ellington’s orchestra was certainly in orchestra recorded 37 selections. Twenty of the sense! Please Forgive Me is an example of the Juan Tizol, valve trombone Barney Bigard, clarinet; Greer, drums (starting with “Soda Fountain Rag”) and led bands its own category. Most big bands of the period very best are on this release. The polite yet Ellington Orchestra playing a danceable ballad Johnny Hodges, clarinet, soprano & alto sax; Harry 7 June to 22 December 1938: Wallace Jones, Cootie in Washington D.C. In 1922 he went to New York featured four horn soloists, typically one trumpeter, swinging Stepping Into Swing Society opens up the (with Lawrence Brown emulating Tommy Dorsey a Carney, clarinet, alto & baritone sax; Otto Williams, trumpets; Rex Stewart, cornet; Joe with some of his musical friends to play with a trombonist, a clarinetist and a tenor-saxophonist. set, preceding the lightly swinging The Gal From little) as is the remake of Prelude To A Kiss, Hardwick, alto & bass sax; Duke Ellington, piano; Nanton, Lawrence Brown, trombones; Juan Tizol, clarinetist Wilbur Sweatman’s group but, after that Ellington, who was always attracted to unique Joe’s, which has a fine solo from Hodges. I Let A sandwiching the spirited Lambeth Walk. Buffet Billy Taylor, Hayes Alvis, bass; Sonny Greer, drums valve trombone; Barney Bigard, clarinet; Johnny engagement ended, he soon returned home. The voices and loved the challenge of arranging for each Song Go Out Of My Heart was a big seller for Flat is one of Carney’s finest showcases of the era, 3 March 1938: Wallace Jones, Cootie Williams, Hodges, clarinet, soprano & alto sax; Harry following year he had better luck during his second of his musician’s strengths, in 1938 had seven key Benny Goodman and singer Martha Tilton in 1938 showing why he was the premiere baritonist before Harold ‘Shorty’ Baker, trumpets; Rex Stewart, Carney, clarinet, alto & baritone sax; Otto visit to New York, becoming a member of a band horn soloists. While trumpeter Cootie Williams but the initial version (one of seventeen songs the bebop era. Hodges, Williams, Brown, Carney cornet; Joe Nanton, Lawrence Brown, trombones; Hardwick, alto & bass sax; Duke Ellington, piano; led by banjoist Elmer Snowden, the Washington- assumed the former role of Bubber Miley, composed or co-written by Ellington on this set) and Bigard all have their spots on the complex but Juan Tizol, valve trombone; Barney Bigard, Fred Guy, guitar; Billy Taylor, bass; Sonny Greer, ians. After a money dispute resulted in Snowden’s contributing his own variety of distorted wa-wa was recorded a month earlier without a vocal. melodic T.T. On Toast which was not released for clarinet; Johnny Hodges, clarinet, soprano & alto drums ouster, Duke became the leader. Ellington’s sounds (plus open solos influenced by Louis Throughout the 1920s and ’30s Duke often utilized the first time until 1947. sax; Harry Carney, clarinet, alto & baritone sax;
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1. Stepping Into Swing Society 3:07 8. When My Sugar Walks Down The Street 15. T. T. On Toast 2:49 19. Mighty Like The Blues 2:39 (Duke Ellington–Henry Nemo–Irving Mills) 2:39 (Duke Ellington–Irving Mills) (Leonard Feather) Brunswick m8063, mx M 713-1 (Gene Austin–Jimmy McHugh–Irving Mills) Columbia 37296, mx M 948-2 Brunswick m8231, mx M 899-2 Recorded 13 January 1938 Ivie Anderson, vocal Recorded 19 December 1938 Recorded 2 September 1938 2. The Gal From Joe’s 2:59 Brunswick m8168, mx M 835-1 16. Blue Light (Transblucency) 2:44 20. Slap Happy 2:49 (Duke Ellington–Irving Mills) Recorded 7 June 1938 (Duke Ellington) (Duke Ellington) Brunswick m8108; mx M 753-1 9. A Gypsy Without A Song 2:58 Brunswick m8297, mx M 958-2 Brunswick m8297, mx M 961-1 Recorded 2 February 1938 (Duke Ellington–Juan Tizol–Irving Gordon– Recorded 22 December 1938 Recorded 22 December 1938 Lou Singer) 3. I Let A Song Go Out Of My Heart 3:09 17. Old King Dooji 2:34 All selections recorded in New York by Brunswick m8186, mx M 845-1 (Duke Ellington–Henry Nemo–Irving Mills) (Duke Ellington) Duke Ellington and His Famous Orchestra Parlophone R 3151, mx M 772-1 Recorded 20 June 1938 Brunswick m8306, mx M 959-1 Transfers & production: David Lennick Recorded 3 March 1938 10. Watermelon Man 2:36 Recorded 22 December 1938 Digital Noise Reduction: Graham Newton 4. Braggin’ In Brass 2:46 (Duke Ellington) 18. Boy Meets Horn 3:02 Ivie Anderson, vocal Original 78s from the collections of David Lennick (Henry Nemo–Irving Mills–Duke Ellington) (Duke Ellington–Rex Stewart) & Gene Miller Brunswick m8099, mx M 773-1 Brunswick m8200, mx M 844-1 Brunswick m8306, mx M 960-1 Recorded 3 March 1938 Recorded 20 June 1938 Recorded 22 December 1938 Original monochrome photo of Duke Ellington from INTERFOTO, Munich/Lebrecht Music 5. Dinah’s In A Jam 2:52 11. Please Forgive Me 3:01 (Duke Ellington–Irving Mills) (Irving Gordon–Duke Ellington–Irving Mills) Brunswick m8169, mx M 811-1 Brunswick m8256, mx M 882-2 Also available in the Naxos Jazz Legends series ... Recorded 11 April 1938 Recorded 4 August 1938 6. You Gave Me The Gate (And I’m 12. Lambeth Walk 2:28 Swingin’) 2:22 (Douglas Furber–Noel Gay) (Irving Gordon–J.B.McNeely–Jimmy Farmer– Brunswick m8204, mx M 883-1 Duke Ellington) Recorded 9 August 1938 Ivie Anderson, vocal 13. Prelude To A Kiss 3:00 Brunswick m8169, mx M 832-1 (Irving Gordon–Duke Ellington–Irving Mills) Recorded 7 June 1938 Brunswick m8204, mx M 884-1 7. Pyramid 2:56 Recorded 9 August 1938 (Juan Tizol–Duke Ellington–Irving Mills) 14. Buffet Flat 2:27 Brunswick m8168, mx M 834-1 (Duke Ellington) Recorded 7 June 1938 Brunswick m8231, mx M 886-1 8.120605* 8.120682* 8.120712 Recorded 9 August 1938 * Not available in the U.S. 5 8.120706 6 8.120706 120706bk Duke5 17/10/03 3:38 PM Page 2
1. Stepping Into Swing Society 3:07 8. When My Sugar Walks Down The Street 15. T. T. On Toast 2:49 19. Mighty Like The Blues 2:39 (Duke Ellington–Henry Nemo–Irving Mills) 2:39 (Duke Ellington–Irving Mills) (Leonard Feather) Brunswick m8063, mx M 713-1 (Gene Austin–Jimmy McHugh–Irving Mills) Columbia 37296, mx M 948-2 Brunswick m8231, mx M 899-2 Recorded 13 January 1938 Ivie Anderson, vocal Recorded 19 December 1938 Recorded 2 September 1938 2. The Gal From Joe’s 2:59 Brunswick m8168, mx M 835-1 16. Blue Light (Transblucency) 2:44 20. Slap Happy 2:49 (Duke Ellington–Irving Mills) Recorded 7 June 1938 (Duke Ellington) (Duke Ellington) Brunswick m8108; mx M 753-1 9. A Gypsy Without A Song 2:58 Brunswick m8297, mx M 958-2 Brunswick m8297, mx M 961-1 Recorded 2 February 1938 (Duke Ellington–Juan Tizol–Irving Gordon– Recorded 22 December 1938 Recorded 22 December 1938 Lou Singer) 3. I Let A Song Go Out Of My Heart 3:09 17. Old King Dooji 2:34 All selections recorded in New York by Brunswick m8186, mx M 845-1 (Duke Ellington–Henry Nemo–Irving Mills) (Duke Ellington) Duke Ellington and His Famous Orchestra Parlophone R 3151, mx M 772-1 Recorded 20 June 1938 Brunswick m8306, mx M 959-1 Transfers & production: David Lennick Recorded 3 March 1938 10. Watermelon Man 2:36 Recorded 22 December 1938 Digital Noise Reduction: Graham Newton 4. Braggin’ In Brass 2:46 (Duke Ellington) 18. Boy Meets Horn 3:02 Ivie Anderson, vocal Original 78s from the collections of David Lennick (Henry Nemo–Irving Mills–Duke Ellington) (Duke Ellington–Rex Stewart) & Gene Miller Brunswick m8099, mx M 773-1 Brunswick m8200, mx M 844-1 Brunswick m8306, mx M 960-1 Recorded 3 March 1938 Recorded 20 June 1938 Recorded 22 December 1938 Original monochrome photo of Duke Ellington from INTERFOTO, Munich/Lebrecht Music 5. Dinah’s In A Jam 2:52 11. Please Forgive Me 3:01 (Duke Ellington–Irving Mills) (Irving Gordon–Duke Ellington–Irving Mills) Brunswick m8169, mx M 811-1 Brunswick m8256, mx M 882-2 Also available in the Naxos Jazz Legends series ... Recorded 11 April 1938 Recorded 4 August 1938 6. You Gave Me The Gate (And I’m 12. Lambeth Walk 2:28 Swingin’) 2:22 (Douglas Furber–Noel Gay) (Irving Gordon–J.B.McNeely–Jimmy Farmer– Brunswick m8204, mx M 883-1 Duke Ellington) Recorded 9 August 1938 Ivie Anderson, vocal 13. Prelude To A Kiss 3:00 Brunswick m8169, mx M 832-1 (Irving Gordon–Duke Ellington–Irving Mills) Recorded 7 June 1938 Brunswick m8204, mx M 884-1 7. Pyramid 2:56 Recorded 9 August 1938 (Juan Tizol–Duke Ellington–Irving Mills) 14. Buffet Flat 2:27 Brunswick m8168, mx M 834-1 (Duke Ellington) Recorded 7 June 1938 Brunswick m8231, mx M 886-1 8.120605* 8.120682* 8.120712 Recorded 9 August 1938 * Not available in the U.S. 5 8.120706 6 8.120706 DUKE ELLINGTON Braggin’ In Brass 8.120706 “BRAGGIN’ INBRASS” DUKE ELLINGTON www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton NoiseReduction byGraham Digital Transfers andProductionbyDavid Lennick h 0 SlapHappy 20. MightyLike TheBlues 19. Boy MeetsHorn 18. OldKingDooji 17. BlueLight(Transbluency) 16. T. T. OnToast 15. Flat Buffet 14. PreludeTo AKiss 13. LambethWalk 12. Watermelon Man 10. 1 PleaseForgive Me 11. .AGypsyWithoutSong 9. WhenMySugarWalks DownTheStreet 8. Pyramid 7. You Gave MeTheGate(AndI’mSwingin’) 6. Dinah’sInAJam 5. InBrass Braggin’ 4. ILetASongGoOutOfMyHeart 3. TheGalFrom Joe’s 2. .SteppingIntoSwingSociety 1. & g 04NxsRgt nentoa t Design:Ron Hoares 2004 NaxosRightsInternationalLtd naxos.com 2:56 2:27 2:49 2:28 2:49 2:34 3:02 2:52 2:46 2:36 3:00 3:01 2:59 2:39 2:58 2:44 3:07 Made intheEU Original 1938Original Recordings 3:09 2:39 2:22 56:00 ADD Total Time Vol.5
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DUKE ELLINGTON Braggin’ In Brass In Braggin’ ELLINGTON DUKE 8.120706