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5. Blue Skies 3:12 10. 4:27 Personnel (Irving Berlin, arr. Mary Lou Williams) (–) World Program Service 200-6052, World Program Service 200-6689/90, Tracks 1–6: Duke Ellington, ; Wallace , Otto Hardwicke, altos; Skippy mx BB 37653-B mx N-1057-3 Jones, , , trumpets; Williams, tenor: , baritone, Recorded 8 November 1943 Recorded 1 December 1943 , cornet; , , alto; , guitar; , Lawrence Brown, , trombones; bass; , drums 6. 5:01 11. Rose Room 3:48 , clarinet, tenor; Johnny Tracks 12–18: Duke Ellington, piano; Cat (Duke Ellington––Irving Mills) (Art Hickman–Harry Williams) Hodges, Otto Hardwicke, altos; Skippy World Program Service 200-6032/3, World Program Service 200-6691, Anderson, , Taft Jordan, Williams, tenor: Harry Carney, baritone, trumpets; Rex Stewart, cornet; , mx BB 37653-B mx N-1062-2 clarinet, alto; Fred Guy, guitar; , Recorded 8 November 1943 Recorded 1 December 1943 trumpet, violin, vocals; Tricky Sam Nanton, bass; Sonny Greer, drums; , vocals Claude Jones, Lawrence Brown, trombones; 7. Three Cent Stomp 3:25 BLACK, BROWN AND BEIGE – Highlights Tracks 7–11: Duke Ellington, piano; Wallace Jimmy Hamilton, clarinet, tenor; Johnny (Duke Ellington) (Duke Ellington) Jones, Taft Jordan, Ray Nance, Harold ‘Shorty’ Hodges, , altos; , tenor; World Program Service 200-6499/500, 12. Work Song 4:37 Baker, trumpets; Rex Stewart, cornet; Tricky Harry Carney, baritone, clarinet, alto; Fred Guy, mx BB 37667-B 13. 4:32 Sam Nanton, Lawrence Brown, Claude Jones, guitar; Junior Raglin, bass; Hillard Brown, Recorded 9 November 1943 Featuring Ray Nance, violin trombones; Jimmy Hamilton, clarinet, tenor; drums; , vocals 8. Caravan 4:41 14. The 4:35 (–Duke Ellington–Irving Mills) Joya Sherrill, vocal World Program Service 200-7700/01, 15. West Indian Dance 1:43 mx BB 37668-B Recorded 9 November 1943 16. Emancipation Celebration 1:43 Also available in the Naxos Legends series ... 17. Sugar Hill Penthouse (Beige!) 1:09 9. It Don’t Mean A Thing (If It Ain’t Got That Swing) 2:45 Victor 28-0400/1, mx D4-VC-560-1, 561-2, (Duke Ellington–Irving Mills) 562-3, 563-1 Ray Nance & Taft Jordan, vocals Recorded 11 & 12 December 1944 World Program Service 200-6692, 18. Carnegie Blues 2:49 mx N-1055-3 (Duke Ellington) Recorded 1 December 1943 Victor 20-1644, mx D5-VB-12-3 Recorded 4 January 1945 Duke Ellington And His Famous Orchestra All selections recorded in Transfers & Production: David Lennick • Digital Restoration: Graham Newton Original monochrome photo of Duke Ellington from Michael Ochs Archives / Redferns 8.120708 8.120743 8.120819 These titles are not for retail sale in the USA

5 8.120809 6 8.120809 120809bk Duke9 3/11/05 4:03 PM Page 1

DUKE ELLINGTON ensemble sound. And as a bandleader, his in the spotlight throughout Hop, Skip And Jump, the band next to the leader), Nance on violin Duke Ellington’s orchestra during December Vol.9 orchestra was always near the top of its field and a song that was renamed “Rockabye River” when and trumpeter Baker, all of whom are 1944 and January 1945 playing excerpts from his ‘Black, Brown and Beige’ Original Recordings 1943-1945 in its own category, whether it was 1927 or 1967. it was commercially recorded in 1946. accompanied by inspired backing from Ellington. Black, Brown And Beige. Highlights of the fifty- With the exception of the Black, Brown and Do Nothing Till You Hear From Me was It Don’t Mean A Thing, which predicted the minute work, which was never recorded in Beige excerpts, the on Vol. 9 in this series is originally an instrumental showcase for trumpeter back in 1932, went through a great complete form in the studio by Ellington In Duke Ellington’s life, 1943 would be best writing songs of his own, starting with the 1917 comprised of radio transcriptions, performances in 1940 when it was known as deal of evolution through the years. This (although the version was released remembered for his debut at Carnegie Hall. The “Soda Fountain Rag”. He was making a recorded specifically to be played on the radio as “Concerto For Cootie”. After being given words runthrough has Ray Nance and Taft Jordan decades later), is heard here in six parts totalling 23 January concert was highlighted by Ellington’s comfortable living when in 1922 he accepted an opposed to commercially available records. In by Bob Russell and a new title, it became a sharing the opening vocal and later trading off 18 minutes plus Carnegie Blues which is an fifty-minute three-part work Black, Brown and offer to join clarinettist Wilbur Sweatman’s band November 1943, the 44-year old bandleader, standard; singer Al Hibbler and trombonist on violin and trumpet before extension of Come Sunday. These portions give Beige, which sought to musically sum up the in New York. After that group’s breakup, Duke despite the recent losses of tenor-saxophonist Brown are the stars of this version. Mary Lou helps bring the piece to a climax. However listeners the essence of the work which includes black experience in the . For most returned home but came back to New York in and clarinettist Barney Bigard, still Williams, who at the time was the wife of Tricky Sam Nanton steals the show in the second the atmospheric Work Song, the beautiful hymn musicians, such an auspicious occasion could be 1923 as a member of ’s featured ten major soloists: trumpeters Taft trumpeter Harold ‘Shorty’ Baker (who ironically chorus. No one ever sounded quite like him. Come Sunday (featuring altoist Hodges and the highpoint of their career, followed by a Washingtonians. The band caught on and, when Jordan, Ray Nance and , cornetist was not present that day), arranged Blue Skies Creole Love Call, an Ellington favourite from Nance’s violin) and Joya Sherrill singing The gradual decline and regular revisits to past a money dispute resulted in Snowden departing, Rex Stewart, the very different trombone styles of for the Ellington band. It would later be renamed 1927, revives the original ‘jungle style’ of the Blues. glories. But for Duke Ellington, it was just Ellington became its leader. During a three-year Tricky Sam Nanton and Lawrence Brown, “Trumpets No End” and have more of a focus on early band. Wallace Jones is quite effective on The music throughout this collection is con- another stepping stone in a long musical journey. stint at the Kentucky Club (1924-27), the clarinettist Jimmy Hamilton, altoist Johnny the trumpeters. For this early rendition, Ellington, trumpet, and there are spots for Nanton, Carney sistently remarkable, but only a small sampling Edward Kennedy Ellington was born 29 April Washingtonians developed their own musical Hodges, baritonist Harry Carney and Duke Taft Jordan, Lawrence Brown, the obscure tenor- (on clarinet) and a trombone duet by Brown and of the enormous output of Duke Ellington, a 1899 in Washington D.C. Although he thought personality (featuring the remarkable sounds of himself on piano. saxophonist Elbert ‘Skippy’ Williams (who fares Tizol. Finishing the 1943 portion of this true musical genius. of becoming an artist, after the youth trumpeter Bubber Miley and trombonist Tricky The 8 November session is a bit unusual in well), Rex Stewart, Johnny Hodges and Jimmy compilation is Rose Room. Originally a feature experienced the music and the lifestyle of local Sam Nanton), the band made its first recordings that 26-year old Dizzy Gillespie was subbing in Hamilton get their spots. Mood Indigo, one of for Duke’s former clarinettist Barney Bigard, piano ‘professors’, he knew that music was going and Ellington became an important arranger- the trumpet section (Nance and Baker were Ellington’s most famous compositions, was Jimmy Hamilton starts out in Bigard’s role – author of nine jazz books including Jazz On Film, to be his calling. Ellington (who gained his composer. After being hired as the house band absent), but unfortunately the bop innovator was recorded many times after its 1930 debut. This before Brown and Hodges get their say. Swing, , Trumpet Kings, Jazz On Record 1917- lifelong nickname ‘Duke’ due to the classy way at the in December 1927, Duke given no solo space. Rockin’ In Rhythm, first five-minute version, with lead trumpeter Wallace The remainder of the collection features 76 and Duke Ellington, a picture book on Ellington that he handled himself) actually started his Ellington’s orchestra through its radio broadcasts recorded by Duke in 1930, was used as a set Jones, Harry Carney (on clarinet) and the pianist professional career before he was really ready became nationally famous while its many unique opener for decades and served as an excellent in prominent roles, is definitive. and when he only knew a few songs on piano. recordings made it a household name overseas way to introduce the Ellington Orchestra. Three Cent Stomp, which is similar to the 1. Rockin’ In Rhythm 3:54 3. Hop, Skip And Jump 2:39 He took out the largest ad possible in the local by the early 1930s. Lawrence Brown is heard early on and Tricky Sam earlier “Stompy Jones,” has brief but hot (Duke Ellington–Harry Carney–Irving Mills) (Duke Ellington) Yellow Pages, one which extolled the virtues of Duke Ellington’s prime years both preceded Nanton takes a chorus later in the performance. moments from the likes of Harold ‘Shorty’ Baker, World Program Service 200-6049/50, World Program Service 200-6019, his orchestra even though it did not exist. When and long outlasted the swing era. As a pianist, Boy Meets Horn, first recorded in 1938, was Tricky Sam Nanton, Ray Nance, bassist Junior mx BB 37652-B mx BB 37653-A many calls came in, Ellington organized several he began as a stride player yet always remained always a feature for cornetist Rex Stewart’s Raglin, Rex Stewart and Skippy Williams. Recorded 8 November 1943 Recorded 8 November 1943 bands, appearing with each one playing the few modern. His wide range of compositions included unusual half-valve technique. By using alternate Caravan, which became a standard shortly after 2. Boy Meets Horn 4:45 4. Do Nothing Till You Hear From Me 3:22 songs he knew before heading out to make an three-minute instrumental gems, songs that fingerings, Stewart’s bent notes had their own its 1936 debut, is still one of the most exotic (Duke Ellington–Rex Stewart) (Duke Ellington–Bob Russell) appearance at the next job. caught on as standards, impressionistic pieces particular flavour and his lengthy solo on the pieces in jazz. Valve trombonist Juan Tizol, who Featuring Rex Stewart, cornet Al Hibbler, vocal Obviously that situation could not last for and extended works. Ellington’s arranging ability transcription date differs quite a bit from the composed the classic, is featured in the melody World Program Service 200-6022/23, World Program Service 200-6502, long, so Ellington worked hard to develop his was particularly original and allowed him to blend original popular recording. Altoist Johnny statement and followed by clarinettist Jimmy mx BB 37652-C mx BB 37652-D playing, greatly broadening his repertoire and together unique solo talents to form a unified Hodges, whose tone has never been surpassed, is Hamilton (already the most modern musician in Recorded 8 November 1943 Recorded 8 November 1943 2 8.120809 3 8.120809 4 8.120809 120809bk Duke9 3/11/05 4:03 PM Page 1

DUKE ELLINGTON ensemble sound. And as a bandleader, his in the spotlight throughout Hop, Skip And Jump, the band next to the leader), Nance on violin Duke Ellington’s orchestra during December Vol.9 orchestra was always near the top of its field and a song that was renamed “Rockabye River” when and trumpeter Baker, all of whom are 1944 and January 1945 playing excerpts from his ‘Black, Brown and Beige’ Original Recordings 1943-1945 in its own category, whether it was 1927 or 1967. it was commercially recorded in 1946. accompanied by inspired backing from Ellington. Black, Brown And Beige. Highlights of the fifty- With the exception of the Black, Brown and Do Nothing Till You Hear From Me was It Don’t Mean A Thing, which predicted the minute work, which was never recorded in Beige excerpts, the music on Vol. 9 in this series is originally an instrumental showcase for trumpeter swing era back in 1932, went through a great complete form in the studio by Ellington In Duke Ellington’s life, 1943 would be best writing songs of his own, starting with the 1917 comprised of radio transcriptions, performances Cootie Williams in 1940 when it was known as deal of evolution through the years. This (although the Carnegie Hall version was released remembered for his debut at Carnegie Hall. The “Soda Fountain Rag”. He was making a recorded specifically to be played on the radio as “Concerto For Cootie”. After being given words runthrough has Ray Nance and Taft Jordan decades later), is heard here in six parts totalling 23 January concert was highlighted by Ellington’s comfortable living when in 1922 he accepted an opposed to commercially available records. In by Bob Russell and a new title, it became a sharing the opening vocal and later trading off 18 minutes plus Carnegie Blues which is an fifty-minute three-part work Black, Brown and offer to join clarinettist Wilbur Sweatman’s band November 1943, the 44-year old bandleader, standard; singer Al Hibbler and trombonist on violin and trumpet before Skippy Williams extension of Come Sunday. These portions give Beige, which sought to musically sum up the in New York. After that group’s breakup, Duke despite the recent losses of tenor-saxophonist Brown are the stars of this version. Mary Lou helps bring the piece to a climax. However listeners the essence of the work which includes black experience in the United States. For most returned home but came back to New York in Ben Webster and clarinettist Barney Bigard, still Williams, who at the time was the wife of Tricky Sam Nanton steals the show in the second the atmospheric Work Song, the beautiful hymn musicians, such an auspicious occasion could be 1923 as a member of Elmer Snowden’s featured ten major soloists: trumpeters Taft trumpeter Harold ‘Shorty’ Baker (who ironically chorus. No one ever sounded quite like him. Come Sunday (featuring altoist Hodges and the highpoint of their career, followed by a Washingtonians. The band caught on and, when Jordan, Ray Nance and Shorty Baker, cornetist was not present that day), arranged Blue Skies Creole Love Call, an Ellington favourite from Nance’s violin) and Joya Sherrill singing The gradual decline and regular revisits to past a money dispute resulted in Snowden departing, Rex Stewart, the very different trombone styles of for the Ellington band. It would later be renamed 1927, revives the original ‘jungle style’ of the Blues. glories. But for Duke Ellington, it was just Ellington became its leader. During a three-year Tricky Sam Nanton and Lawrence Brown, “Trumpets No End” and have more of a focus on early band. Wallace Jones is quite effective on The music throughout this collection is con- another stepping stone in a long musical journey. stint at the Kentucky Club (1924-27), the clarinettist Jimmy Hamilton, altoist Johnny the trumpeters. For this early rendition, Ellington, trumpet, and there are spots for Nanton, Carney sistently remarkable, but only a small sampling Edward Kennedy Ellington was born 29 April Washingtonians developed their own musical Hodges, baritonist Harry Carney and Duke Taft Jordan, Lawrence Brown, the obscure tenor- (on clarinet) and a trombone duet by Brown and of the enormous output of Duke Ellington, a 1899 in Washington D.C. Although he thought personality (featuring the remarkable sounds of himself on piano. saxophonist Elbert ‘Skippy’ Williams (who fares Tizol. Finishing the 1943 portion of this true musical genius. of becoming an artist, after the youth trumpeter Bubber Miley and trombonist Tricky The 8 November session is a bit unusual in well), Rex Stewart, Johnny Hodges and Jimmy compilation is Rose Room. Originally a feature experienced the music and the lifestyle of local Sam Nanton), the band made its first recordings that 26-year old Dizzy Gillespie was subbing in Hamilton get their spots. Mood Indigo, one of for Duke’s former clarinettist Barney Bigard, Scott Yanow piano ‘professors’, he knew that music was going and Ellington became an important arranger- the trumpet section (Nance and Baker were Ellington’s most famous compositions, was Jimmy Hamilton starts out in Bigard’s role – author of nine jazz books including Jazz On Film, to be his calling. Ellington (who gained his composer. After being hired as the house band absent), but unfortunately the bop innovator was recorded many times after its 1930 debut. This before Brown and Hodges get their say. Swing, Bebop, Trumpet Kings, Jazz On Record 1917- lifelong nickname ‘Duke’ due to the classy way at the Cotton Club in December 1927, Duke given no solo space. Rockin’ In Rhythm, first five-minute version, with lead trumpeter Wallace The remainder of the collection features 76 and Duke Ellington, a picture book on Ellington that he handled himself) actually started his Ellington’s orchestra through its radio broadcasts recorded by Duke in 1930, was used as a set Jones, Harry Carney (on clarinet) and the pianist professional career before he was really ready became nationally famous while its many unique opener for decades and served as an excellent in prominent roles, is definitive. and when he only knew a few songs on piano. recordings made it a household name overseas way to introduce the Ellington Orchestra. Three Cent Stomp, which is similar to the 1. Rockin’ In Rhythm 3:54 3. Hop, Skip And Jump 2:39 He took out the largest ad possible in the local by the early 1930s. Lawrence Brown is heard early on and Tricky Sam earlier “Stompy Jones,” has brief but hot (Duke Ellington–Harry Carney–Irving Mills) (Duke Ellington) Yellow Pages, one which extolled the virtues of Duke Ellington’s prime years both preceded Nanton takes a chorus later in the performance. moments from the likes of Harold ‘Shorty’ Baker, World Program Service 200-6049/50, World Program Service 200-6019, his orchestra even though it did not exist. When and long outlasted the swing era. As a pianist, Boy Meets Horn, first recorded in 1938, was Tricky Sam Nanton, Ray Nance, bassist Junior mx BB 37652-B mx BB 37653-A many calls came in, Ellington organized several he began as a stride player yet always remained always a feature for cornetist Rex Stewart’s Raglin, Rex Stewart and Skippy Williams. Recorded 8 November 1943 Recorded 8 November 1943 bands, appearing with each one playing the few modern. His wide range of compositions included unusual half-valve technique. By using alternate Caravan, which became a standard shortly after 2. Boy Meets Horn 4:45 4. Do Nothing Till You Hear From Me 3:22 songs he knew before heading out to make an three-minute instrumental gems, songs that fingerings, Stewart’s bent notes had their own its 1936 debut, is still one of the most exotic (Duke Ellington–Rex Stewart) (Duke Ellington–Bob Russell) appearance at the next job. caught on as standards, impressionistic pieces particular flavour and his lengthy solo on the pieces in jazz. Valve trombonist Juan Tizol, who Featuring Rex Stewart, cornet Al Hibbler, vocal Obviously that situation could not last for and extended works. Ellington’s arranging ability transcription date differs quite a bit from the composed the classic, is featured in the melody World Program Service 200-6022/23, World Program Service 200-6502, long, so Ellington worked hard to develop his was particularly original and allowed him to blend original popular recording. Altoist Johnny statement and followed by clarinettist Jimmy mx BB 37652-C mx BB 37652-D playing, greatly broadening his repertoire and together unique solo talents to form a unified Hodges, whose tone has never been surpassed, is Hamilton (already the most modern musician in Recorded 8 November 1943 Recorded 8 November 1943 2 8.120809 3 8.120809 4 8.120809 120809bk Duke9 3/11/05 4:03 PM Page 1

DUKE ELLINGTON ensemble sound. And as a bandleader, his in the spotlight throughout Hop, Skip And Jump, the band next to the leader), Nance on violin Duke Ellington’s orchestra during December Vol.9 orchestra was always near the top of its field and a song that was renamed “Rockabye River” when and trumpeter Baker, all of whom are 1944 and January 1945 playing excerpts from his ‘Black, Brown and Beige’ Original Recordings 1943-1945 in its own category, whether it was 1927 or 1967. it was commercially recorded in 1946. accompanied by inspired backing from Ellington. Black, Brown And Beige. Highlights of the fifty- With the exception of the Black, Brown and Do Nothing Till You Hear From Me was It Don’t Mean A Thing, which predicted the minute work, which was never recorded in Beige excerpts, the music on Vol. 9 in this series is originally an instrumental showcase for trumpeter swing era back in 1932, went through a great complete form in the studio by Ellington In Duke Ellington’s life, 1943 would be best writing songs of his own, starting with the 1917 comprised of radio transcriptions, performances Cootie Williams in 1940 when it was known as deal of evolution through the years. This (although the Carnegie Hall version was released remembered for his debut at Carnegie Hall. The “Soda Fountain Rag”. He was making a recorded specifically to be played on the radio as “Concerto For Cootie”. After being given words runthrough has Ray Nance and Taft Jordan decades later), is heard here in six parts totalling 23 January concert was highlighted by Ellington’s comfortable living when in 1922 he accepted an opposed to commercially available records. In by Bob Russell and a new title, it became a sharing the opening vocal and later trading off 18 minutes plus Carnegie Blues which is an fifty-minute three-part work Black, Brown and offer to join clarinettist Wilbur Sweatman’s band November 1943, the 44-year old bandleader, standard; singer Al Hibbler and trombonist on violin and trumpet before Skippy Williams extension of Come Sunday. These portions give Beige, which sought to musically sum up the in New York. After that group’s breakup, Duke despite the recent losses of tenor-saxophonist Brown are the stars of this version. Mary Lou helps bring the piece to a climax. However listeners the essence of the work which includes black experience in the United States. For most returned home but came back to New York in Ben Webster and clarinettist Barney Bigard, still Williams, who at the time was the wife of Tricky Sam Nanton steals the show in the second the atmospheric Work Song, the beautiful hymn musicians, such an auspicious occasion could be 1923 as a member of Elmer Snowden’s featured ten major soloists: trumpeters Taft trumpeter Harold ‘Shorty’ Baker (who ironically chorus. No one ever sounded quite like him. Come Sunday (featuring altoist Hodges and the highpoint of their career, followed by a Washingtonians. The band caught on and, when Jordan, Ray Nance and Shorty Baker, cornetist was not present that day), arranged Blue Skies Creole Love Call, an Ellington favourite from Nance’s violin) and Joya Sherrill singing The gradual decline and regular revisits to past a money dispute resulted in Snowden departing, Rex Stewart, the very different trombone styles of for the Ellington band. It would later be renamed 1927, revives the original ‘jungle style’ of the Blues. glories. But for Duke Ellington, it was just Ellington became its leader. During a three-year Tricky Sam Nanton and Lawrence Brown, “Trumpets No End” and have more of a focus on early band. Wallace Jones is quite effective on The music throughout this collection is con- another stepping stone in a long musical journey. stint at the Kentucky Club (1924-27), the clarinettist Jimmy Hamilton, altoist Johnny the trumpeters. For this early rendition, Ellington, trumpet, and there are spots for Nanton, Carney sistently remarkable, but only a small sampling Edward Kennedy Ellington was born 29 April Washingtonians developed their own musical Hodges, baritonist Harry Carney and Duke Taft Jordan, Lawrence Brown, the obscure tenor- (on clarinet) and a trombone duet by Brown and of the enormous output of Duke Ellington, a 1899 in Washington D.C. Although he thought personality (featuring the remarkable sounds of himself on piano. saxophonist Elbert ‘Skippy’ Williams (who fares Tizol. Finishing the 1943 portion of this true musical genius. of becoming an artist, after the youth trumpeter Bubber Miley and trombonist Tricky The 8 November session is a bit unusual in well), Rex Stewart, Johnny Hodges and Jimmy compilation is Rose Room. Originally a feature experienced the music and the lifestyle of local Sam Nanton), the band made its first recordings that 26-year old Dizzy Gillespie was subbing in Hamilton get their spots. Mood Indigo, one of for Duke’s former clarinettist Barney Bigard, Scott Yanow piano ‘professors’, he knew that music was going and Ellington became an important arranger- the trumpet section (Nance and Baker were Ellington’s most famous compositions, was Jimmy Hamilton starts out in Bigard’s role – author of nine jazz books including Jazz On Film, to be his calling. Ellington (who gained his composer. After being hired as the house band absent), but unfortunately the bop innovator was recorded many times after its 1930 debut. This before Brown and Hodges get their say. Swing, Bebop, Trumpet Kings, Jazz On Record 1917- lifelong nickname ‘Duke’ due to the classy way at the Cotton Club in December 1927, Duke given no solo space. Rockin’ In Rhythm, first five-minute version, with lead trumpeter Wallace The remainder of the collection features 76 and Duke Ellington, a picture book on Ellington that he handled himself) actually started his Ellington’s orchestra through its radio broadcasts recorded by Duke in 1930, was used as a set Jones, Harry Carney (on clarinet) and the pianist professional career before he was really ready became nationally famous while its many unique opener for decades and served as an excellent in prominent roles, is definitive. and when he only knew a few songs on piano. recordings made it a household name overseas way to introduce the Ellington Orchestra. Three Cent Stomp, which is similar to the 1. Rockin’ In Rhythm 3:54 3. Hop, Skip And Jump 2:39 He took out the largest ad possible in the local by the early 1930s. Lawrence Brown is heard early on and Tricky Sam earlier “Stompy Jones,” has brief but hot (Duke Ellington–Harry Carney–Irving Mills) (Duke Ellington) Yellow Pages, one which extolled the virtues of Duke Ellington’s prime years both preceded Nanton takes a chorus later in the performance. moments from the likes of Harold ‘Shorty’ Baker, World Program Service 200-6049/50, World Program Service 200-6019, his orchestra even though it did not exist. When and long outlasted the swing era. As a pianist, Boy Meets Horn, first recorded in 1938, was Tricky Sam Nanton, Ray Nance, bassist Junior mx BB 37652-B mx BB 37653-A many calls came in, Ellington organized several he began as a stride player yet always remained always a feature for cornetist Rex Stewart’s Raglin, Rex Stewart and Skippy Williams. Recorded 8 November 1943 Recorded 8 November 1943 bands, appearing with each one playing the few modern. His wide range of compositions included unusual half-valve technique. By using alternate Caravan, which became a standard shortly after 2. Boy Meets Horn 4:45 4. Do Nothing Till You Hear From Me 3:22 songs he knew before heading out to make an three-minute instrumental gems, songs that fingerings, Stewart’s bent notes had their own its 1936 debut, is still one of the most exotic (Duke Ellington–Rex Stewart) (Duke Ellington–Bob Russell) appearance at the next job. caught on as standards, impressionistic pieces particular flavour and his lengthy solo on the pieces in jazz. Valve trombonist Juan Tizol, who Featuring Rex Stewart, cornet Al Hibbler, vocal Obviously that situation could not last for and extended works. Ellington’s arranging ability transcription date differs quite a bit from the composed the classic, is featured in the melody World Program Service 200-6022/23, World Program Service 200-6502, long, so Ellington worked hard to develop his was particularly original and allowed him to blend original popular recording. Altoist Johnny statement and followed by clarinettist Jimmy mx BB 37652-C mx BB 37652-D playing, greatly broadening his repertoire and together unique solo talents to form a unified Hodges, whose tone has never been surpassed, is Hamilton (already the most modern musician in Recorded 8 November 1943 Recorded 8 November 1943 2 8.120809 3 8.120809 4 8.120809 120809bk Duke9 3/11/05 4:03 PM Page 2

5. Blue Skies 3:12 10. Creole Love Call 4:27 Personnel (Irving Berlin, arr. Mary Lou Williams) (Duke Ellington–Irving Mills) World Program Service 200-6052, World Program Service 200-6689/90, Tracks 1–6: Duke Ellington, piano; Wallace Johnny Hodges, Otto Hardwicke, altos; Skippy mx BB 37653-B mx N-1057-3 Jones, Taft Jordan, Dizzy Gillespie, trumpets; Williams, tenor: Harry Carney, baritone, Recorded 8 November 1943 Recorded 1 December 1943 Rex Stewart, cornet; Tricky Sam Nanton, clarinet, alto; Fred Guy, guitar; Junior Raglin, Lawrence Brown, Claude Jones, trombones; bass; Sonny Greer, drums 6. Mood Indigo 5:01 11. Rose Room 3:48 Jimmy Hamilton, clarinet, tenor; Johnny Tracks 12–18: Duke Ellington, piano; Cat (Duke Ellington–Barney Bigard–Irving Mills) (Art Hickman–Harry Williams) Hodges, Otto Hardwicke, altos; Skippy World Program Service 200-6032/3, World Program Service 200-6691, Anderson, Shelton Hemphill, Taft Jordan, Williams, tenor: Harry Carney, baritone, trumpets; Rex Stewart, cornet; Ray Nance, mx BB 37653-B mx N-1062-2 clarinet, alto; Fred Guy, guitar; Wilson Myers, Recorded 8 November 1943 Recorded 1 December 1943 trumpet, violin, vocals; Tricky Sam Nanton, bass; Sonny Greer, drums; Al Hibbler, vocals Claude Jones, Lawrence Brown, trombones; 7. Three Cent Stomp 3:25 BLACK, BROWN AND BEIGE – Highlights Tracks 7–11: Duke Ellington, piano; Wallace Jimmy Hamilton, clarinet, tenor; Johnny (Duke Ellington) (Duke Ellington) Jones, Taft Jordan, Ray Nance, Harold ‘Shorty’ Hodges, Otto Hardwick, altos; Al Sears, tenor; World Program Service 200-6499/500, 12. Work Song 4:37 Baker, trumpets; Rex Stewart, cornet; Tricky Harry Carney, baritone, clarinet, alto; Fred Guy, mx BB 37667-B 13. Come Sunday 4:32 Sam Nanton, Lawrence Brown, Claude Jones, guitar; Junior Raglin, bass; Hillard Brown, Recorded 9 November 1943 Featuring Ray Nance, violin trombones; Jimmy Hamilton, clarinet, tenor; drums; Joya Sherrill, vocals 8. Caravan 4:41 14. The Blues 4:35 (Juan Tizol–Duke Ellington–Irving Mills) Joya Sherrill, vocal World Program Service 200-7700/01, 15. West Indian Dance 1:43 mx BB 37668-B Recorded 9 November 1943 16. Emancipation Celebration 1:43 Also available in the Naxos Jazz Legends series ... 17. Sugar Hill Penthouse (Beige!) 1:09 9. It Don’t Mean A Thing (If It Ain’t Got That Swing) 2:45 Victor 28-0400/1, mx D4-VC-560-1, 561-2, (Duke Ellington–Irving Mills) 562-3, 563-1 Ray Nance & Taft Jordan, vocals Recorded 11 & 12 December 1944 World Program Service 200-6692, 18. Carnegie Blues 2:49 mx N-1055-3 (Duke Ellington) Recorded 1 December 1943 Victor 20-1644, mx D5-VB-12-3 Recorded 4 January 1945 Duke Ellington And His Famous Orchestra All selections recorded in New York Transfers & Production: David Lennick • Digital Restoration: Graham Newton Original monochrome photo of Duke Ellington from Michael Ochs Archives / Redferns 8.120708 8.120743 8.120819 These titles are not for retail sale in the USA

5 8.120809 6 8.120809 120809bk Duke9 3/11/05 4:03 PM Page 2

5. Blue Skies 3:12 10. Creole Love Call 4:27 Personnel (Irving Berlin, arr. Mary Lou Williams) (Duke Ellington–Irving Mills) World Program Service 200-6052, World Program Service 200-6689/90, Tracks 1–6: Duke Ellington, piano; Wallace Johnny Hodges, Otto Hardwicke, altos; Skippy mx BB 37653-B mx N-1057-3 Jones, Taft Jordan, Dizzy Gillespie, trumpets; Williams, tenor: Harry Carney, baritone, Recorded 8 November 1943 Recorded 1 December 1943 Rex Stewart, cornet; Tricky Sam Nanton, clarinet, alto; Fred Guy, guitar; Junior Raglin, Lawrence Brown, Claude Jones, trombones; bass; Sonny Greer, drums 6. Mood Indigo 5:01 11. Rose Room 3:48 Jimmy Hamilton, clarinet, tenor; Johnny Tracks 12–18: Duke Ellington, piano; Cat (Duke Ellington–Barney Bigard–Irving Mills) (Art Hickman–Harry Williams) Hodges, Otto Hardwicke, altos; Skippy World Program Service 200-6032/3, World Program Service 200-6691, Anderson, Shelton Hemphill, Taft Jordan, Williams, tenor: Harry Carney, baritone, trumpets; Rex Stewart, cornet; Ray Nance, mx BB 37653-B mx N-1062-2 clarinet, alto; Fred Guy, guitar; Wilson Myers, Recorded 8 November 1943 Recorded 1 December 1943 trumpet, violin, vocals; Tricky Sam Nanton, bass; Sonny Greer, drums; Al Hibbler, vocals Claude Jones, Lawrence Brown, trombones; 7. Three Cent Stomp 3:25 BLACK, BROWN AND BEIGE – Highlights Tracks 7–11: Duke Ellington, piano; Wallace Jimmy Hamilton, clarinet, tenor; Johnny (Duke Ellington) (Duke Ellington) Jones, Taft Jordan, Ray Nance, Harold ‘Shorty’ Hodges, Otto Hardwick, altos; Al Sears, tenor; World Program Service 200-6499/500, 12. Work Song 4:37 Baker, trumpets; Rex Stewart, cornet; Tricky Harry Carney, baritone, clarinet, alto; Fred Guy, mx BB 37667-B 13. Come Sunday 4:32 Sam Nanton, Lawrence Brown, Claude Jones, guitar; Junior Raglin, bass; Hillard Brown, Recorded 9 November 1943 Featuring Ray Nance, violin trombones; Jimmy Hamilton, clarinet, tenor; drums; Joya Sherrill, vocals 8. Caravan 4:41 14. The Blues 4:35 (Juan Tizol–Duke Ellington–Irving Mills) Joya Sherrill, vocal World Program Service 200-7700/01, 15. West Indian Dance 1:43 mx BB 37668-B Recorded 9 November 1943 16. Emancipation Celebration 1:43 Also available in the Naxos Jazz Legends series ... 17. Sugar Hill Penthouse (Beige!) 1:09 9. It Don’t Mean A Thing (If It Ain’t Got That Swing) 2:45 Victor 28-0400/1, mx D4-VC-560-1, 561-2, (Duke Ellington–Irving Mills) 562-3, 563-1 Ray Nance & Taft Jordan, vocals Recorded 11 & 12 December 1944 World Program Service 200-6692, 18. Carnegie Blues 2:49 mx N-1055-3 (Duke Ellington) Recorded 1 December 1943 Victor 20-1644, mx D5-VB-12-3 Recorded 4 January 1945 Duke Ellington And His Famous Orchestra All selections recorded in New York Transfers & Production: David Lennick • Digital Restoration: Graham Newton Original monochrome photo of Duke Ellington from Michael Ochs Archives / Redferns 8.120708 8.120743 8.120819 These titles are not for retail sale in the USA

5 8.120809 6 8.120809 DUKE ELLINGTON Black, Brown & Beige 8.120809 “BLACK, BROWNANDBEIGE” ELLINGTON DUKE www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick 1943-1945Original Recordings h 8 CarnegieBlues 18. CreoleLove Call 10. 1 RoseRoom 11. 8. Caravan Caravan 8. ThreeCentStomp 7. MoodIndigo 6. BlueSkies 5. You DoNothingTill HearFrom Me 4. Hop,SkipandJump 3. Boy MeetsHorn 2. .ItDon’tMeanAThing(IfAin’tGotThatSwing) 9. .Rockin’InRhythm 1. & g 7 Sugar Hill Penthouse 17. Emancipation Celebration 16. West IndianDance 15. TheBlues 14. Come Sunday 13. Work Song 12. BLACK, BROWN ANDBEIGE 06NxsRgt nentoa t Design:RonHoares 2006 NaxosRightsInternationalLtd naxos.com 4:41 3:12 3:48 5:01 4:35 2:49 4:37 4:27 4:45 4:32 3:25 3:54 2:39 1:43 1:09 Made intheEU (Highlights) 1:43 3:22 2:45 Vol.9 63:39 ADD Total Time

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DUKE ELLINGTON Black, Brown & Beige & Brown Black, ELLINGTON DUKE 8.120809

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