A Genius of Jazz: CD-Empfehlungen, Noten Und Bücher Der

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A Genius of Jazz: CD-Empfehlungen, Noten Und Bücher Der Clarinet lament A Genius of Jazz: Echoes of Harlem CD-Empfehlungen, Caravan Sophisticated lady Noten und Bücher der CDs Prelude to a kiss Musikbibliothek Diminuendo in blue Crescendo in blue Lieber Musikfreund, Ko-Ko auf den folgenden Seiten stellen Do nothin'till you hear from me wir Ihnen eine repräsentative Harlem airshaft Werkauswahl aus dem Ouevre All too soon Duke Ellingtons in empfehlens- Sepia panorama werten CD-Aufnahmen, Noten und Across the track blues Büchern vor. Eine Präsentation Chloe Ellington: 1927 - 1931. - [S.l.] : der CDs bieten wir Ihnen am 12. Take the "a" train SAAR srl, [o.J.]. - 1 Compact November, 20 Uhr in der Stadt- Just a-settin and a-rockin Disc, mono + 1 Beih. – bücherei, Musikbibliothek anläß- I got it bad and that ain't good (Jazz roots) lich der Veranstaltung zur Einf- Things ain't what they used to be Aufn.: 1927 - 1931 führung in das Werk Ellingtons. Perdido Best.-Nr.: CD 56051 (Jazz roots) Die CDs, Noten und Bücher kön- The "C" jam blues Zug.-Nr: 58.878 nen Sie ab 13. November 1999 bei The hawks talks uns ausleihen. Soul call Enthalten sind : Ellington: Gold collection. - [S.l.] Open house Rockin' in rhythm : Digital Deja 2, P 1990. – 2 Cotton Club stomp Compact Discs, mono + 1 Beih. Ring dem bells Best.-Nr. D2CD 19 Creole love call Zug-Nr.: 56.757 The mooche Black and tan fantasy Enthalten sind : Black beauty Black and tha fantasy East St. Louis toodle-oo Creole love call The blues I love to sing East St. Louis toodle-oo Washington wooble The mooche Hot and bothered Saturday night function Misty mornin' Cotton club stomp Jubilee stomp Saratoga swing Mood indigo Jungle nights in Harlem Doin' the voom voom Mood Indigo Old man blues Rockin'in Rhythm Take it easy Echoes of the Jungle Echoes of the jungle Delta serenade Solitude Merry go-round In a sentimental mood Country gal Harlem speaks ”Mit ”Creole love call”, ”Black alten New Orleans und auch im Ain't got nothin' but the blues and tan fantasy” und ”East St. New York der zwanziger Jahre, I'm beginning to see the light Louis toodle-oo” begegnen wir z.B. durch Johnny Dunn, gekannt Don't you know i care drei Meilensteinen in der waren, trafen da voll den Zeitge- I didn't know about you Entwicklung Ellingtons. Die Auf- schmack. ”Black and tan fantasy”, Work song nahmen entstanden unmittelbar eine Gemeinschaftskomposition Come sunday vor bzw. direkt nach Beginn der von Duke und Bubber mit An- Th¬ Blues für Duke so bedeutungsvollen klängen an Chopins Trauer- Three dances Cotton-Club-Ära. Da spielte be- marsch, wurde zur großen Num- Carnegie blues reits unverwechselbar ein Elling- mer für Bubber Miley und ist Blue Cellophane ton-Orchester. wohl mit ”Mood indigo” (1930) Mood to be wooed In der getragenen und gefühlvol- bis zu ”Creole rhapsody” (1931) My hearts sings len ”Creole love call” setzte Duke Dukes wichtigste frühe Komposi- Mood indigo mit Adelaide Hall erstmals eine tion. Vielleicht noch typischer für Ellington: Caravan. - Emmen- Bug in a rug menschliche Stimme instrumental diesen Jungle Style ist ”East St. brücke : Music Alliance, [ca. The mooche ein, eine Idee, auf die er in den Louis toodley-oo”, die erste Er- 1997]. – 2 Compact Discs, mono Kandylamb dreißiger Jahren mit Ivie Ander- kennungsmelodie des Orchesters.” + 1 Beih. Perfume Suite - Part I son, 1946 mit Kay Davis Ruland, Hans: Duke Ellington. – (Recordings by the greatest musi- Perfume Suite - Part II (”Transblucency”) und viel später Gauting-Buchendorf : Oreos, cians of the big band era 1929 - z.B. bei den ”Sacred Concerts” 1984 1947) (mit Alice Babs) immer wieder Aufnahmen: 1941 - 1947 zurückgreifen sollte. Adelaide Best.-Nr.: History 20.1901-HI Halls Scat vor dem Hintergrund Zug.-Nr.: 58.483 eines Klarinetten-Trios im New- Orleans-Sound ist eine gelungene Enthalten sind : Vokal-Imitation von Bubber Mi- Jump for Joy leys Wah-Wah-Trompete. Chelsa Bridge ”Black and tan fantasy” und ”East Johnny come lateley St. Louis toodle-Oo” sind hervor- Moon mist radende Beispiele für den soge- Main stern nannten ”Jungle Style” der sich What am i here for? gegen Ende der zwanziger Jahre - Perdido wohl weniger aus musikalischen, The "C" jam blues denn aus gesellschaftlichen Erwä- I'm beginning to see the light gungen - durchsetzen konnte. Things ain't what they used to be Afrikanismus und Negritüde wa- In a Sentimental mood ren bei der damaligen Intelligenz Caravan ”in”. Der Wunsch, der erotisie- Black and tan Fantasy renden Faszination der schwarzen It don't mean a thing (If ain't got Welt im weißen Gewand bei ei- that swing) nem Glas Champagner im Club zu Sultry sunset begegnen, sollte damals die Lust Blues skies auf ein frivoles, prickelndes, frei- Magenta Haze lich ungefährliches Abenteuer On a turquoise Cloud befriedigen. Bubbers Growl- Park at 106th Effekte, die übrigens schon im do nothin till you hear from me Blck, brown and beige - Part I Black, brown and beige - Part II The kissing bug everything but you Riff Staccato Prelude to a kiss Caravan Black and tan fantasy Mood indigo Harlem airshaft The Minor goes a muggin It don't mean a thing Sophisticated lady Tonight i shall sleep Hampton / Ellington: Ellington: The Duke Ellington Duke Ellington and His Orches- I let a song go out of my heart It don't mean a thing. - Emmen- Carnegie Hall . - Merenberg : tra: Solitude brücke : Music Alliance, [ca. ZYX. Ellington at Newport. - [S.l.] : 1997]. - 2 Compact Discs, mono + Bandangabe: January 1946 Sony, [o.J.]. - 1 Compact Disc 1 Beih. - P 1977. - 2 Compact Discs, + 1 Beih. (Recordings by the greatest musi- mono + 1 Beih (Columbia jazz masterpieces) cians of the big band era 1929 - Best.-Nr.: PCD-24074-2 (Presti- Aufn.: Newport, 7.7.1956 1947) ge) Best.Nr.: 450986 2 (Columbia) Aufnahmen: 1945 - 1946 Zug.-Nr.: 58.877 Zug.-Nr.: 58.876 Best.Nr.: History 20.1920-HI Zug.-Nr. 58.474 Enthalten sind : Enthalten sind : Newport Jazz Festival suite Enthalten sind : Caravan Jeep's blues Vibe Boogie In a mellow tone Diminuendo and crescendo in Screamin'Boogie Solid old man blue Doublin'With Dublin Rugged Romeo ribs and hot sauce Sono Air-conditioned jungle Blow top blues Rolling Stone Album Guide: Pitter panther patter ***** Two finger boogie Someday Take the "A" train Beulah's Boogie A tonal group Playboy Magenta haze Punch and Judy Diminuende in blue Pinetop's Boogie Woogie Transbluency On the sunny side of the street Crescendo in blue Rockin in Rhythm - Part I Suborbanite Rockin in Rhythm - Part II I'm just a lucky so and so Gay notes Riffin' drill Tempo's Birthday Black, brown and beige / Aus- Hamp's Salty blues wahl Ridin' On the l and n Frantic Fantasy Rolling Stone Album Guide: It don't mean thing ***** ”His best-selling album, it cap- glücklicher Umstände, die das sind, so ist diese Platte nicht nur tures a ground-breaking live per- Publikum vom passiven Zuhörer ein Tondokument, das einen formance in which tenor saxo- zum aktiven Mitgestalter machte. Wendepunkt in Ellingtons Ge- phonist Paul Gonsalves set the Beide - Musiker wie Zuhörer - schichte festhält, sondern zuge- crowd afire by blazing through 25 schaukelten sich dabei derart auf, leich einer der packendsten Live- choruses of ”Diminuende and daß der Veranstalter George Wein Mitschnitte der Jazz-Geschichte, crescendo in blue” - it’s roughly es zeitweise mit der Angst bekam vergleichbar vielleicht nur mit the jazz equivalente of Hendrix at und Duke per Zeichen zum Ab- Benny Goodmans ebenfalls le- Woodstock.” bruch der Orgie bewegen wollte. gendärem Carnegie-Hall-Konzert Doch der hatte inzwischen offen- von 1938, als Jess Stacy in ”Sing, ”Ellingtons stürmisch gefeiertes sichtlich die Gunst der Stunde sing, sing”, ebenfalls völlig uner- Comeback beim Newport-Festival erkannt und machte weiter. Nach wartet zu einem längeren Solo von 1956 wird wohl für immer Gonsalves’ 27 Chorussen war die ausholt. Gonsalves wie Stacy, die mit Paul Gonsalves’ längst legen- sonst so sichere Band dermaßen man bei aller Wertschätzung eher därem Solo über Dukes ”Diminu- angetörnt, daß es gar zu einigen zum zweiten Glied zählen möchte, Duke Ellington and His Orches- endo and crescendo in blue” ver- bösen Ausrutschern kam, so z.B., hatten da ihre Sternstunden.” tra: bunden bleiben. In sage und als die Rhythmus-Gruppe am Ruland, Hans: Duke Ellington. – First time: the Count meets the schreibe 27 Chorussen trieb Gon- Ende des ersten Klarinetten Cho- Gauting-Buchendorf : Oreos, 1984 Duke : 2 great orchestras: Duke salves sich, die Band und vor rus’ aus einem gewöhnlichen Ellington and allem das Publikum dabei zur 4taktigen Break sieben Takte Count Basie. - [S.l.] : Sony, [o.J.]. Raserei. Der Funke sprang so machte oder Cat Anderson zum - 1 Compact Disc + 1 Beih. - (Co- etwa gegen Ende des siebenten Schluß gar mehrfach einen Halb- lumbia jazz masterpieces) Chorusses über, als - so steht es in ton daneben lag. Aber was soll’s! Aufn.: 6. Juli 1961 den Liner Notes - ein junges, Der Durchbruch war geschafft Best-.Nr.: 450509 2 (Columbia) unbekanntes Mädchen plötzlich zu und die Zeitungen waren am Zug.-Nr.: 58.874 tanzen begann und die etwa 7000 nächsten Tag voll von ü- Zuschauer ihr spontan folgten. berschwenglichen Kommentaren Enthalten sind : Mitverantwortlich an dieser Rase- über Duke und sein Orchester Battle royal rei muß allerdings auch der für So ärgerlich die Erkenntnis auch To you das Publikum unsichtbare, hinter sein mag, daß ausgerechnet diese Take the der Bühne stehende Drummer Jo musikalische belanglose, unkon- Until I met you Jones gewesen sein, der mit einer trollierte und nur von Atmosphäre Wild man zusammengefalteten Zeitung den getragene Aufführung zum Wen- Segue in C Bleat schlug und die Band mit depunkt für Ellington werden B D B Zurufen derart anfeuerte, daß Sam sollte, so darf man einfach nicht Take the "A" train Woodyart und Jimmy Woode bald vergessen, daß gerade in einem Jumpin' at the woodside mehr Jo Jones als Paul Gonsalves sogenannten ”freien Musikmarkt” folgten.
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