BULLETIN NR 4, NOVEMBER 2019, ÅRGÅNG 27

Elmer Snowden An early Washingtonian I detta nummer In this issue

Ledare/Medlemsmöte 2 4 Sweet Thunder 7 Dukes tillfälliga vokalister 8 The Duke in Seattle 11 Morning Glory 12 Spike Hughe’s view 14 Konferensagenda 15 Duke in Uppsala 1971 17 Conga Brava 18 Duke’s Ups & Downs 19 Kallelse 20 4-2019

Vi går mot årets slut

Ännu ett år läggs till DESS existens. Vi ser med tacksamhet fram emot era inbe- Gonsalves är så stort och omfattande och har nu existerat i 27 år och vi hoppas talningar. det är svårt att göra en koncentration av kunna fortsätta i många år till. Men det Som alla medlemmar självklart note- hans karriär på 4/6 sidor. Han hade en grundar sig naturligtvis på att vi har till- rat de senast åren, så koncentreras varje betydande plats i Ellingtons orkester un- räckligt många medlemmar som betalar Bulletin kring en personlighet i Duke der sin långa karriär från 1951 ända fram sin medlemsavgift så att vi kan fortsätta Ellingtons orkester. Vi har under årens till slutet 1974 och det finns mycket att att ge ut en 20-sidig Bulletin och arrang- lopp speglat de stora namnen och börjar säga om honom. Men vi lovar, i ett fram- era 4 medlemsmöten per år. Meningen är nu även studera de mindre kända. I före- tida nummer av Bulletinen kommer han att medlemsavgiften skall i första hand gående nummer var det Betty Roché och att bli noggrant studerad. täcka tryckningen och distributionen av i detta nummer har vår redaktion valt att Vi ses den 25 november i Franska Bulletinen. Medlemsmötena går kost- spegla Elmer Snowden. Många kanske Skolan för att lyssna på Jesse Lindgren nadsmässigt ungefär plus/minus noll undrar om han verkligen hör hemma i och hans Swing Wing och jag hoppas över året. En del orkestrar är relativt bil- den samlingen. Han gjorde ju aldrig någ- att ni inhandlar våra hemgjorda baguet- liga, andra kan vara dyra, men det jäm- ra grammofoninspelningar med Duke. ter, öl, vin och köper alla våra lotter. Alla nar ut sig. Viktigt är att så många som Kan han anses vara en Ellingtonian? Som vinster är skänkta av styrelsen och andra möjligt kommer på våra medlemsmöten framgår av artikeln måste man anse ho- medlemmar. Ni är alla hjärtligt välkom- och vi välkomnar naturligtvis om goda nom tillhöra denna skara och han hade na. Det är mycket ni får för inträdesav- vänner medföljer. Ju mer öl och vin som nog ett större inflytande över Ellingtons giften på 150 kronor. dricks, desto större är chansen att vi skall tidigaste karriär än vad många tror. Kan- kunna göra en mindre vinst. Lotteriet ske kan vi med denna studie få veta nå- inte att förglömma. Kan vi sälja lotter got mer om banjoisten Elmer Snowden. för en tusenlapp så bidrar det mycket till När dessa speglade musiker kommer kalkylens resultat. Med detta nummer på tal så kanske någon frågar sig om vår av Bulletinen bifogar vi även ett inbetal- redaktion inte glömt bort Paul Gonsal- ningskort för 2020 års medlemskap. Jag ves. Nej, det har dom inte. Ämnet Paul Leif Jönsson, ordförande i DESS

Ellingtons 30-tal och hans sånger med swing

en stor del av de mera kända melodier, som vi förknippar med Ellington, skriv- Duke´s Place na just under 30-talet. Naturligtvis hindrade inte detta El- lington från att spela in andra komposi- DESS första höstsamling lockade ett törers musik också, bl a av Fats Waller, större antal intresserade än normalt, Harold Arlen, Sam Coslow, Dorothy vilket gladde alla. Anders Lindgren var Fields och många andra. Flera av Dukes först på plan med ett engagerat föredrag betydelsefulla musiker fanns också med om Ellingtons 30-tal. Mångårig medlem under hela 30-talet, , i föreningen, kapellmästare för JazzMa- Lawrence Brown, Joe Nanton, , Tazz och stor Ellingtonkännare samt en , , Harry älskare av just detta årtionde i Mästarens Carney, , Fred Guy, Sonny liv. En period som kanske är en neglige- Greer och . Duke passade rad period för alla oss entusiaster. Det även på att besöka Europa två gånger var en uppskattad presentation och vi under denna period. 1933 var orkestern i fick också lyssna till en del sällan hörda England och 1939 kom de bl a till Sverige melodier. Men, som Anders betonade, är Anders Lindgren. och Danmark.

2 Dussinet inspelningar fick vi lyssna till, med inspelningsdatum inom paren- tes: Old Man Blues (20/8 1930), Maori (21/9 1932), Dallas Doings (26/9 1933), Get Yourself A New Broom (9/5 1933), Dear Old Southland (4/12 1933) Four And One Half Street (29/4 1937, Barney Bi- gard), Love In My Heart (7/7 1937, ), I Met My Waterloo 17/4 1934 Sam Coslow, ur filmen Belle Of The Nineties), Isn´t Love The Strangest Thing (27/2 1936), I Don´t Know Why I Love You So (20/1 1936), I Let A Song Go Out Of My Heart (3/3 1938), Lambeth Walk (9/8 1938) samt Mighty Like The Blues (2/9 1938). De uppskattande applåderna ef- ter föredraget var välförtjänta. Och alla ni som inte tog er till Franska skolan denna kväll kan lyssna till Anders på Peter Asplund kvartett. webben, www.ellington.se

Peter Asplund kvartett Duke Ellingtons sånger och swing! I Let ton standards och personlig ´stridetolk- Så var det dags för ´the second set´, A Song Go Out Of My Heart i ett inspire- ning´ av en lysande Claes Crona. Don´t nu med levande musik: Peter Asplund, tp rat, kraftfullt framförande med mycket Get Around Much Anymore med Peters och sång, Claes Crona, p, Hans Backen- driv. Do Nothing Till You Hear From Me, sång och många, långa baslinjer. In A roth, b, istället för aviserade Hans Anders- dvs ”Concerto For Cootie” med Claes Sentimental Mood, en av de finaste låtar son, samt Johan Löfcrantz Ramsay, tr. Att Crona i sitt esse. , med för- som skrivits, säger Peter. It Don´t Mean grabbarna känner varandra mycket väl nämlig sångtolkning av Peter – inte så A Thing, med Peter och skön scatsång. var inte att ta miste på. Det var en verk- ofta hört numera. Briljanta bas och pia- Bravo! Som avslutning ännu en It Don´t lig svängmaskin vi fick lyssna till med en nosolon. What Am I Here For där Hans Mean A Thing, med en fenomenal Back- lysande frontfigur i Peter Asplund, både Backenroth fick fullt soloutrymme. Ena- enroth på stråkbas. Här var det verkli- som speleman och som musikberättande stående. Sordinerad Peter med en dri- gen drag i stråken! Sammanfattningsvis presentatör. Inte minst det senare tyckte vande Löfcrantz. Så det svängde… In A – en konsert av högsta kvalitet med per- åtskilliga i auditoriet. Mellow Tone. Funkkomp med en intensiv sonliga tolkningar av en rad välkända Rubriken på gruppens framträdande Peter. Hårt tryck med lyhörda pianoto- Ellingtonnummer. kan lätt uttryckas med Peters egna ord, ner och trumkomp. Medley på Elling- Thomas Harne

Diahann Carroll in memoriam Diahann Carroll gick ur tiden den 4 1978 spelade hon in en LP tillsam- oktober 2019 i en ålder av 84 år. Hon mans med Duke Ellingtons orkester samarbetade med vid under ledning av . några enstaka tillfällen. Första gången Skivan är en hyllning till Ethel Waters var vid inspelningen av filmen ”Pa- och hon sjunger melodier ur hennes ris Blues”, som spelades in just i Paris repertoar. Musiken arrangerades av 1961. I denna film har hon emellertid Bruce Miller. ingen framträdande roll. För övrigt hade Diahann Carroll en Andra gången deras vägar korsas lång karriär i Hollywood och deltog i är då TV-filmen ”The Strolling Twen- ett stort antal filmer. Hon gjorde sin ties” spelas in 1965. Nu har hon blivit debut 1954 i filmen ”Carmen Jones”. mer etablerad både som skådespeler- Hon hade även stor framgång som ska och sångerska. I filmen personifie- musikalartist på Broadway och no- rar hon Josephine Baker och kan höras i minerades vid flera tillfällen för olika Nobody Wants You When You’re Down Davis Jr. kan hon även höras i Ain’t ”awards”. And Out. Tillsammans med Sammy Misbehavin’. Bo Haufman

3 Elmer Snowden An early Washingtonian

By Bo Haufman

As we know, Elmer Snowden was an ear- ly Washingtonian, but it begs the ques- tion; was he also an Ellingtonian? From my vantage point, he was, even though he never recorded with Ellington. As history judges, it is quite apparent that Snowden played an important role in Duke Ellington’s early career. He was instrumental in bringing Ellington out of Washington and launching his career, which would eventually become very successful. Duke Ellington recogni- zed him with a short chapter in his auto- biography Music Is My Mistress: When Elmer Snowden came to Wash- ington in Joe Rochester’s band, all the banjo and banjorine players were playing everyth- ing right, right on the nose, according to the city’s disciplinary climate. It seemed that he was not playing according to Hoyle, yet he had something extra going on that really upset everybody in Washington – musici- ans and audience. He had a flair for soul, plus ragtime, and a jumping thing that tore us all up. He immediately became the No. 1 Banjorine* Player, and he had a tremendous influence on all the local banjorinists, and a Morris, Rex Stewart and . entrepreneur. He played gigs with his El- kind of fusion resulted that was really com- is also said to have played lington Serenaders and organized other pelling, for he remained No. 1 until we went with Snowden in his early days. Snow- pick up bands to play parties and dances to New York. Before that happened, he had den also became very involved with the even when he himself was unable to at- taken Sterling Conaway’s place in a trio with clarinetist with whom he re- tend. It was apparently a lucrative busi- and me, and he later played with corded extensively in trio format under ness and Duke stated that he earned as us at Barron’s and at the Kentucky Club. such fantasy names as Three Jolly Mi- much as $10.000 a year, which was quite Elmer Chester Snowden was born in ners, Rocky Mountain Trio, Three Monkey a handsome income for a 21 year young on October 9, 1900. He became Chasers and Three Hot Eskimos. Over the guy at that time. a professional musician in his teens and timespan of 1922 thru 1927 these groups could manage several instruments, such made numerous recordings accompa- Arriving in Washington, DC. as various saxophones and the guitar, but nying various blues singers. They often In 1919, Elmer Snowden was enga- he made his name as a banjoist. He soon accompanied the great blues singer Ma- ged by a band leader named Joe Roches- moved to New York where he was very mie Smith when she recorded with her ter, who had been running his Syncopa- active and started several orchestras. In Hounds. According to the Snowden tors for a couple of years in Washington. addition it seems that he was a good bu- discography he recorded as early as 1922 Snowden didn’t remain with Rochester sinessman as well. These bands went un- together with and Clau- for too long, as he started his own band der such names as The Kansas City Five, de Hopkins, but this Columbia recording that took on engagements in a very si- Six Black Diamonds and The Choo Choo was never issued. milar style to the way that Duke Elling- Jazzers. In these bands various musici- As we know from Duke Ellington’s ton did. In fact they often collaborated. ans played, such as Bubber Miley, Tom early history he acted much as a musical Snowden frequently made use of Duke

4 Ellington and his friends and vice ver- were on their own and had to find work renamed The Kentucky Club. The gig sa. They established a friendship, but it somewhere to support themselves. started on September 9, 1923, and the was somewhat imbalanced as it seems Furthermore, in order to function as a band was advertised as Elmer Snowden’s as if Snowden was the more influential band, they needed a piano player and Washingtonian Black Dot Orchestra. Af- of them and he mostly appeared as the therefore they contacted Duke Elling- ter a while Arthur Whetsel decided to band leader. Of interest is the fact that ton and asked him to join them in New leave the band and returned to Washing- he stated in an interview that he was York. He was delighted to be invited and ton to take up studies in medicine. He leading the most popular band in Wash- he joined them right away. The appeal was replaced by Bubber Miley, whom El- ington, DC., consisting of Arthur Whet- of making it in New York trumped eve- mer Snowden knew from his earlier days sel, Otto Hardwick, Sonny Greer and rything for Ellington and he did not he- in New York, and it may well be that it “Eddie” Ellington. sitate to leave his wife, son and his esta- was Snowden who brought Miley into By the 1920s the Harlem Renaissance blished position in Washington, in order the band. Miley’s influence on Duke’s fu- was at its peak and almost every musi- to live this incredible career opportunity, ture development as a musician is a part cian had a dream of making it in New as he saw it. of jazz history. Some time later, the band York. Surely Duke Ellington and his col- They struggled for a time but even- was further enlarged with the addition leagues had such a dream and Elmer tually they got lucky. With the assistance of trombonist . It should be Snowden, who had his own experience of New York, probably supported those ideas. According to Sonny Greer the Washingtonians went to New York on March 10, 1921, and were employed for three weeks at a club called Busoni’s Bal- conade, following which they returned to Washington. This statement by Sonny Greer has been questioned by resear- chers disputing that Greer actually refer- red to the trip in 1923.

Going to New York By early 1923 Duke Ellington, Sonny Greer and Otto Hardwick went to New York and joined Wilbur Sweatman’s band for an unspecified period of time. After the engagement ended they remai- ned in trying to find jobs. Elmer Snowden apparently remained in Washington during this time. Those days in New York were difficult and when ha- ving put together enough money they The Washingtonians. decided to return to Washington. As the story goes one of them found an envelo- of Ada “Bricktop” Smith they were able noted that Snowden also played the so- pe in the street containing fifteen dollars. to land a job at Barron Wilkins’ Exclusive prano saxophone and other reed instru- While that story sounds a bit fetched, it Club. Elmer Snowden appeared as the ments in addition to his banjo. certainly makes a good story. leader of the band and on July 26, 1923, Some time after their return to Wash- they were reported to have made their Leaving the Washingtonians ington, Elmer Snowden got an offer to first recording for Victor Records. Unfor- By February 1924 there was an un- form a band for a show in New York. tunately, only one number was recorded, fortunate crisis in the band. Story has The mediator was none other than Fats Home, by Snowden’s Novelty Orchestra. it that someone in the band asked the Waller, who would fill the piano chair in Since the recording was never issued, management for a raise and was told the band. Consequently this left no room some researchers even doubt it was ac- that the band had already been given for Duke Ellington to perform with the tually made. But it is interesting to note several raises in the past. Unbeknownst band. Snowden, Hardwick, Whetsel and that Snowden appeared as the orchestra to them, Snowden had kept the raises Greer all went, but upon their arrival leader. to himself. Understandably, that bet- in New York, much to their surprise, Their stay at Barron Wilkins’ lasted rayal caused an upheaval in the band they learned there was no job and Fats for about six months and then they got and they decided to kick him out. In Waller was nowhere to be found. They engaged at Hollywood Café, later to be short order, he was replaced by George

5 for. For those of our readers who want to know more details concerning these early years, I suggest visiting David Palmqvist’s web page www.tdwaw.ca (The Duke - Where And When).

Further career Moving forward, Elmer Snowden soon established himself with a new band, and as can be seen in the enclosed facsimile of America’s Leading Orchest- ras, he was playing at the well reputed Nest Club. The Washingtonians were also mentioned as playing at Club Ken- tucky, but it is of interest to note that it is not Duke Ellington’s name that is featu- red, but rather the name of the band with Duke’s name shown in lower case un- derneath. By way of contrast, the name of Elmer Snowden is represented in bold letters. It seems that at this time, around 1924/1925, the name of Elmer Snowden was more valuable and admired than that of Duke Ellington. As we all know things would soon change. Over the rest of the 1920s Elmer Snowden was very active in the recor- ding studios, primarily working with blues singers. At one time he had as many as five bands playing under his name in New York. Most of his bands were not recorded, but in 1931/32 he was leading a band at Smalls Paradise. At one time the band included many fu- ture names in jazz, such as Roy Eldridge, Francis, who in turn would soon be re- started their careers as “songpluggers”, , , , placed by Freddy Guy. Sonny Greer was demonstrating new songs to customers. Sidney Catlett. It also included Otto initially appointed band leader but soon At this time in his career, Duke Ellington Hardwick, who had returned from his turned over the leadership to Duke El- probably saw his future more as a com- stay in France. Interestingly, this band lington, who reluctantly accepted it. poser than as a band leader. made a film soundtrack called “Smash Elmer Snowden later explained in an As history would later show he was Your Baggage”, which may be viewed interview that Ellington at this time was very capable in both capacities. Unfor- on YouTube. more interested in composing rather tunately, a consequence of Snowden’s Although Snowden continued to be than leading a band. abrupt and unplanned departure was musically active throughout his life, his There is certainly a grain of truth the fact that he never got to record with career declined after the mid 1930s, and in this statement by Snowden. In those Duke Ellington and the Washingtoni- was relegated to relative obscurity. He days, radio services were not yet fully ans. continued to play throughout the 30s, developed and people who wanted to In the history of Duke Ellington we 40s and 50s, but was far from the lime- listen to music had to go to concerts, get the impression that it was Duke El- light that he once enjoyed. After a dis- clubs, listen to records or play the music lington who was instrumental in the de- pute with the musicians’ union in New themselves. To play music on your own, velopment of the early Washingtonians, York, he moved to , where and especially the novelties of the day, but we cannot dismiss the possibility he taught music. Among his pupils were required written charts. Back then, sel- that Elmer Snowden played a more sig- and . ling music charts was a big market and nificant role in that development. A role Unfortunately, Snowden’s life and several of the great American composers he has never been given proper credit career took a turn for the worse and

6 he had to leave the music scene. Sadly he had to take up a job as a parking lot attendant. However, in 1959, Chris Al- Sweet Thunder bertson, then a Philadelphia disc jockey, befriended him and in 1960 brought him and guitarist Lonnie Johnson to- Duke Ellington’s Music in Nine Themes gether for a Prestige album released on Bluesville as Blues And Ballads. He made a few more albums such as Harlem Banjo En ny bok om Duke El- Ellington som spelar utan on Riverside. His career somewhat re- lingtons musik har nyli- en pianist vid namn Law- bounded and in 1963 he appeared at the gen publicerats. Den är rence Cook. Det är förvå- . He then moved författad av Jack Cham- nande att Chambers inte to to teach at the University bers, professor vid Uni- är medveten om detta. of California, Berkeley. In addition, he versity of Toronto. Efter taught lessons for private students in att ha tagit del av närmare guitar and banjo. In 1967 he toured Eu- hundra böcker om Duke Som bokens titel kan rope with the Newport Guitar Work- Ellingtons liv och musik antyda så fördjupar sig shop. In 1969 he moved back to Phila- undrar man om det finns Chambers i Ellingtons delphia, where he passed away on May mer att skriva om. Men storverk Such Sweet Thun- 14, 1973. det gör det faktiskt. Äm- der. Som den kanadensare net Duke Ellington är så Chambers är besitter han fantastiskt stort, och för att särskilda kunskaper i äm- skriva en meningsfull bok i ämnet måste net eftersom verket var avsett att fram- man helst koncentrera sig på någon de- föras vid The Shakespearean Festival i talj i jätteämnet Ellington. Det är precis Ontario, Kanada. Ellingtons relation till vad Chambers gjort på ett föredömligt Orienten får ett särskilt kapitel. Flera av sätt. Som titeln anger koncentrerar han Ellingtons kompositioner hade en orien- sig på nio nischer i ämnet Ellington och tal prägel, inte bara The . utvecklar sina synpunkter på ett infor- Chambers fördjupar sig även i Elling- mativt och intressant sätt. tons s.k. ”stockpile”. Merparten av den- na samling finns deponerad hos Danska Harlem Radion, som dels gjort utsändningar av Första kapitlet handlar om Ellingtons det och dels med jämna mellanrum låtit relation till stadsdelen Harlem. Han spe- Storyville Records ge ut valda delar på lade in mängder av kompositioner, som CD. Men Chambers hävdar med viss rätt på ett eller annat sätt anspelade på Har- att mycket stockpile-material använts ti- lem, och naturligtvis fördjupar han sig i digare i olika sammanhang. den som Ellington kallade A Toneparallell To Harlem. The River Han fortsätter med ingående stu- Sista kapitlet ägnas åt Ellingtons The dier av de growl-trombonister, som vid River, som var ett beställningsverk för olika tidpunkter ingick i Ellingtons or- The American Ballet Theater och som kester. Han behandlar tenorsaxofonens koreograferades av Alvin Ailey. Verket roll i orkestern. Ett instrument som El- producerades under stora våndor men lington inte började utveckla förrän vid blev till slut ett lyckat verk. Det har efter Ben Websters inträde i bandet. Vidare Ellingtons död framförts som en balett behandlas Johnny Hodges insatser och vid otaliga tillfällen runt om i världen, speciellt de nummer som komponerats men tydligen aldrig i Sverige. av . Ellington som pia- Boken är absolut läsvärd och låter nist är ett självklart inslag i denna stu- oss få ta del av personliga infallsvinklar * The banjorine is a banjo with a shorter die av Ellingtons verk och här finner vi på Duke Ellingtons otroligt innehålls- neck and mostly used by orchestras in the ett allvarligt fel i Chambers uppgifter. rika liv och produktion. Den är utgiven 1920s. A search on Internet under the name Det existerar en 78-varvare på märket av förlaget Milestones Music & Art och “Hoyle” shows a certain Eddie Hoyle, who Paramount (14024) med Duke Ellington kan i nuläget lämpligast inhandlas från is a modern and extremely capable banjoist. framförande Jig Walk. Senare forskning Adlibris. I believe that it is to this Hoyle Ellington is har emellertid konstaterat att det inte är Bo Haufman

7 Duke Ellingtons tillfälliga vokalister

Irving Mills hade många järn i elden. verkade han huvudsakligen i Holly- Duke Ellington och hans orkester var wood där han hade stor framgång som bara ett av dessa. Orkestrar som Cab Cal- en sjungande cowboy. loway, Mills Blue Rhythm Band och flera Den 21 november 1930 medverkar andra fanns också med i den elden. En han i en inspelning med Duke Ellington annan viktig detalj i Mills affärsverksam- för Victor. Han sjunger i Nine Little Miles het var hans och brodern Jacks musikför- From Ten Ten Tennessee. Just denna inspel- lag, Mills Music Inc. Många jazzmusiker ning är speciellt intressant eftersom vi har berättat hur man enkelt kunde sälja här kan höra Cootie Williams i sitt för- en enkel komposition för runt tjugofem sta utvecklade trumpetsolo med growl- dollar till förlaget. Sedan gällde det för effekt. Han sjunger även I’m So In Love Mills att få tillbaka pengarna genom att With You, som även Sid Garry och Chick försöka lansera melodierna, oftast via de Bullock skulle sjunga in. Tydligen var orkestrar han kontrollerade. Som regel angelägen om att få denna Sid Garry. hade melodierna en text, eller också såg Ellingtonkomposition ordentligt lan- Mills till att de fick en text genom den menterar Eddie Lambert inspelningarna serad. Båda numren görs med två tag- stab av textförfattare han hade tillgång med följande ord: ningar. Av kontraktsskäl kunde Ballew till. Det gällde då att använda sig av den The session includes two pop tunes with inte uppträda med eget namn utan står rätte sångaren till den rätta orkestern. vocals by Sid Garry, who is arguably the på skivan angiven som Billy Smith. Ar- När det gäller Duke Ellingtons inledan- most dated of the occasional Ellington sing- rangemanget av I’m So In Love With You de karriär under Mills ledning finner vi ers of this period. After some stilted band flera exempel på detta tillvägagångssätt. playing and an excruciating vocal, “I Can’t Man kan utan vidare påstå att Ellington Realize You Love Me” comes to life for a blev pådyvlad både dessa melodier och couple of choruses, one a Nanton solo and the sångare av Mills, men han var tvungen other a chase between Hodges and Williams. att ta skeden i vacker hand och ställa upp There are no such compensations on “I’m So på Mills önskemål. Knappas någon av In Love With You”, which stays in a thirties dessa inspelningar har gått till historien dance music vein throughout, even Carney’s som några av Ellingtons bättre, men de alto solo being played “straight”. förtjänar ändå en viss uppmärksamhet. Duke försökte ändå alltid göra det Låt oss närmare studera några av dessa: bästa av dessa ofta undermåliga kompo- sitioner, som han tvingades spela, genom Sid Garry att låta någon av sina förnämliga solister Ibland skrivs hans namn Sid Gary förgylla numren. Men ofta lyser orkes- men hans riktiga namn var Sid Garfun- terns ointresse igenom. kel. Han uppträdde som komiker, dansa- Sid Garry återkommer som sångare re och sångare i vad som kallades vaude- vid en inspelning för Victor den 26 no- Smith Ballew. ville. Sid Garry deltog som sångare med vember 1930 och kan höras i Blue Again Duke Ellington vid två tillfällen. Första och When A Black Man’s Blue. skiljer sig från det som användes för Sid gången var den 8 november 1930, då en Garry. Behållningen av dessa nummer är inspelning gjordes för OKeh och Elling- Smith Ballew knappast Smith Ballews sång utan sna- tons orkester var tvingad att skylta som Smith Ballew började sin karriär som rare Cootie Williams solon. The New York Syncopators. Sid Garry med- banjoist i mitten på 1920-talet, men blev verkade i två nummer; I Can’t Realize You senare mer utnyttjad som sångare. Han Bennie Payne Love Me och I’m So In Love with You. Det har under 1920/30-talet deltagit i mäng- Benjamin ”Bennie” Payne torde mest andra numret är faktiskt komponerat av der av inspelningar med orkestrar som vara känd som pianist i Cab Calloways Duke Ellington (och Irving Mills), vilket t.ex. Dorsey Brothers, Ben Pollack, Ben orkester. I motsats till de övrigt nämnda var ett undantag i dessa fall. Som regel Selvin, Frankie Trumbauer, California tillfälliga vokalisterna var han färgad. I var de melodier som spelades in med Ramblers för att nämna några i en lång Calloways band fick han av förklarliga dessa sångare skapade av andra kompo- rad. Han gjorde även inspelningar under skäl inga möjligheter att sjunga, men han sitörer. I sin bok A Listener’s Guide kom- eget namn. Fr o m mitten av 1930-talet får några sådana tillfällen med Duke El-

8 ratals inspelningar med band som Jean veals an easy rhythmic delivery of a most att- Goldkette, McKinney’s Cotton Pickers, ractive kind. No doubt the presence of Bing och Fess Williams. Han Crosby had a lot to do with this. The alert gjorde även mängder av inspelningar work of the Ellington band here is in contrast under eget namn, men endast ett fåtal to the stodgy playing found on most of its po- av dessa är listade i diskografierna p g a pular song recordings of these days. bristande kvalitet sett ur jazzsynvinkel. Den 11 februari 1932 skulle Bing Av speciellt intresse kan vara hans delta- Crosby återkomma för en inspelning av gande i en inspelning med Bubber Miley St. Louis Blues med Duke Ellington. Cros- and his Mileage Makers den 16 maj 1930. by scatsjunger på ett riktigt bra sätt trots Den 11 april 1930 deltog han i en Elling- att han inte var någon genuin jazzsång- toninspelning för Victor och kan höras i are. Två tagningar gjordes, som endast My Gal Is Good For Nothing But Love och skiljer sig åt genom att Cootie Williams I Was Made To Love You. I diskografierna spelar öppet på en tagning och sordine- förväxlas ibland Frank Marvin med Ben- rat på den andra. Crosbys sång är förvå- nie Payne. nansvärt lika i båda tagningarna.

Bennie Payne. The Rhythm Boys Dick Robertson Detta var en synnerligen kapabel vo- Var en av 1920/30-talets populära lingtons orkester. Den 27 oktober 1930 kaltrio bestående av Bing Crosby, Al Rin- sångare, som gjorde mängder av inspel- spelar Ellington in Wang Wang Blues för ker och Harry Barry, som under flera år ningar tillsammans med band som Leo OKeh under namnet The Harlem Music ingick i Paul Whitemans stora entourage Reisman, Roger Wolfe Kahn, Red Nic- Makers. Melodin hade gjorts populär av på 1920-talet. De medverkade i filmen hols, Sam Lanin, Ben Selvin m.fl. Han Paul Whiteman och Irving Mills ansåg Check And Double Check tillsammans med gjorde även insjungningar under eget det vara lämpligt att göra en cover. Vo- Duke Ellington och hans orkester och namn och var då alltid kompad av i kalinslaget består av en duo med Dick kan höras i Three Little Words men syns jazzsammanhang kända namn. Han var Robertson och Bennie Payne. Robertson inte i bild. Några dagar efter filminspel- även verksam som kompositör, och lig- sjunger texten och Payne gör kommen- ningen, den 26 augusti 1930, gör de en ger bl.a. bakom en melodi som Frank Si- terande inpass i sann Louis Armstrong- inspelning av nämnda melodi för Victor natra gjorde populär, We Three – My Echo, anda. med Ellingtons orkester. Detta är faktiskt My Shadow And Me. Nästa gång Bennie Payne får tillfälle en av de bättre inspelningarna med El- Dick Robertson deltog i inspelningar att sjunga med Ellington är den 10 de- lington och ett vokalinslag av en tillfällig med Duke Ellington vid flera tillfällen. cember 1930 då When A Black Man’s Blue sångensemble. Eddie Lambert beskriver Den första ägde rum den 22 april 1930, spelas in för Victor. Han är återigen syn- numret med följande ord: One might ex- då han kan höras i två tagningar av Ac- nerligen Armstronginspirerad i sitt sätt pect that an arrangement of “Three Little cordion Joe. Den som vill läsa mer om att sjunga. Slutligen får Payne göra ett Words” with a vocal by The Rhythm Boys denna inspelning rekommenderas att sånginslag i Hoagy Charmichaels Rockin’ would be a severe anticlimax. This is not the leta upp Bulletin 1, 2015, vari finns en Chair den 14 januari 1931 i en inspelning case, for the number is excellently arranged artikel om dragspelaren Joe Cornell. Den som initialt gavs ut på Melotone un- and superbly played, while the vocal trio re- 2 oktober 1930 är Robertson återigen der namnet Earl Jackson and his Musical Champions. Nu sjunger Payne utan några Armstronginfluenser. Slutligen skall också nämnas att Ben- nie Payne fick en chans att spela piano tillsammans med Duke Ellington. Detta gör han i Twelfth Street Rag, likaledes från den 14 januari sessionen. Eddie Lambert säger om denna inspelning: The recording contains a rarity in the form of an improvised jazz solo by Juan Tizol, but the piano duet between Ellington and Payne are of greater musical substance.

Frank Marvin Var en mycket aktiv sångare under 1920/30-talet. Han har deltagit i hund- The Rhythm Boys.

9 ta av den tidens stora namn. Han gjorde disponerade. Under åren 1928-30 gjorde även inspelningar under eget namn, han flera inspelningar med det ”pick-up ”Chick Bullock and his Levee Loung- band” som han kallade The Hotsy Totsy ers”. Bullock led av en ögonskada, som Gang. Ofta förekommer Mills som voka- begränsade hans möjligheter att uppträ- list vid dessa inspelningar, men flera av da inför publik, varför han i huvudsak dem är orkesternummer av god karaktär tvingades begränsa sig till grammofon- eftersom Mills förstod att använda sig av inspelningar. Med Duke Ellington gjorde den tidens mest renommerade jazzmu- han inspelningar vid två tillfällen. Första siker. På skivmärket Sensation Records gången den 10 januari 1931. Då gjordes (769748024-2 och 769748025-2) har hela tre tagningar av Them There Eyes och fyra hans produktion getts ut på två CD och tagningar av Rockin’ Chair. Slutligen även de är väl värda att införskaffa.

Dick Robertson. en tagning av Duke’s komposition I’m So Eftersom Mills hade en så kontrol- In Love With You. Inspelningarna gjordes lerande position får man lätt intrycket tillsammans med Ellington i Victors stu- för ett mindre bolag och Ellingtons or- att han valde de mest populära och slag- dio och sjunger in Hittin’ The Bottle, That kester måste av kontraktsskäl uppträda kraftiga melodierna för egen del och lät Lindy Hop, You’re Lucky To Me och Me- under namnet The Whoopee Makers. ovan nämnda sångare få nöja sig med mories Of You. Eddie Lambert anser helt En vecka senare, den 16 januari, är mera mediokra kompositioner. Första riktigt att vokalinslaget i dessa nummer Ellington och Bullock tillbaka i inspel- gången han medverkar tillsammans ”is hopelessly and hilariously dated”. ningsstudion, nu hos Victor, och Bullock med Duke Ellington är den 10 juli 1928, Memories Of You skulle komma att ingå i deltar i tre för dagen populära nummer, då man spelar in Diga Diga Doo och Doin’ den amerikanska musikskatten. The River And Me, Keep A Song In Your The New Lowdown för OKeh med Mills Den 17 oktober 1930 gör Ellington Soul och Sam And Delilah. Gemensamt för som vokalist. I det första numret kan ett sin andra inspelning av och av Bubber Mileys bättre solon avnjutas. vid samma tillfälle får Dick Robertson Båda numren var mycket populära och sjunga en av tidens populära melodier, spelades in av mängder av olika band. Runnin’ Wild, som hamnade på Mood Den 30 oktober och 10 november Indigos ”flipside”. Den 27 oktober 1930 1928 spelas två versioner av I Can’t Give sjunger Robertson in Home Again Blues You Anything But Love in för Victor. Ir- och Wang Wang Blues med Duke Elling- ving Mills uppträder under namnet ton. I det senare numret medverkar även Goodie Goodwin och delar på voka- Bennie Payne. Den 26 november 1930 lutrymmet med en growlsjungande är det åter dags för en vokalsession och Baby Cox. De båda versionerna skiljer Robertson hörs i What Good Am I Without sig endast åt genom viss omkastning You, som endast är hörvärd tack vare av Hodges och Nantons solon. Den 15 Johnny Hodges introduktion. Den 10 november är det dags för en ny inspel- december 1930 får Robertson chansen att ning av Diga Diga Doo, där Mills, alias göra om insjungningen av samma num- Goodie Goodwin, assisteras vokalt av mer, men någon större skillnad kan inte Ozzie Ware. noteras. Sista gången Robertson sjunger Som den PR-man han var anordnar med Ellington är den 20 januari 1931 då Chick Bullock. Irving Mills med en reklaminspelning Is That Religion? spelas in, enligt Lambert för Duke Ellington and his Cotton Club Or- ”one of the least characteristic Ellington samtliga dessa inspelningar med Chick chestra. Den dubbelsidiga skivan hade records in the catalogue, in terms of both Bullock är knappast hans sånginslag titeln A Nite At The Cotton Club och Mills style and quality”. Enligt Brian Rust är utan snarare de soloinpass som levereras låter sig höras i Freeze And Melt. För öv- sångaren vid detta tillfälle Frank Marvin av flera av Ellingtons solister. rigt uppträder Mills som en tänkt konfe- medan New DESOR, som är aktuellare, rencier på Cotton Club och annonserar hävdar att det är Dick Robertson. Irving Mills de olika numren på ett säljande sätt. Huruvida Irving Mills skall kate- Den 29 januari 1930 spelar man in Chick Bullock goriseras som en tillfällig vokalist kan för det mindre skivbolaget Banner. El- Den mest namnkunnige av Duke El- diskuteras. Det var han som kontrolle- lingtons orkester uppträder som The Ten lingtons tillfälliga vokalister torde vara rade hela cirkusen. Under sena 1920-ta- Blackberries och Mills som Sunny Smith. Chick Bullock. Under sin karriär, som let hyste han allvarliga planer på att Man gör flera tagningar av St. James In- varade från slutet av 1920-talet fram till etablera sig själv som sångare och han firmary, denna synnerligen populära och mitten 1940-talet, gjorde han omkring hade alla möjligheter att lansera sig via ofta framförda melodi, som sägs vara 500 grammofoninspelningar med de fles- sitt musikförlag och de orkestrar han komponerad av en viss Joe Primrose. En-

10 ligt officiella uppgifter är det en pseudo- nym för Irving Mills, men för de flesta av oss verkar det tveksamt att Mills skulle The Duke in Seattle kunna komponera en så pass slagkraftig melodi. Troligare är kanske att han köp- te melodin av någon som kanske hette Those of us who are old section in jazz history – it Primrose. Vid samma tillfälle spelas enough to have expe- had lasted unchanged from också Irving Mills slagnummer in, When rienced Duke Ellington and 1955 to 1968 – when Jimmy You’re Smiling. his Orchestra in a live per- Hamilton retired from tra- Någon gång under mars månad 1930 formance surely remembers veling in 1968 and Johnny gör Ellington och Mills en inspelning för it well. Lee Farley, DESS Hodges passed away in det lilla bolaget Durium, som gav ut bil- member and Board Mem- 1970. , Paul liga ensidiga pappskivor. Under namnet ber of The Duke Ellington Gonsalves, and Harry Car- Harlem Hot Chocolates spelar man in Sing Society Southern California ney were the holdovers. To You Sinners och en ny version av St. Ja- Chapter, has the following replace Hodges and Ha- mes Infirmary. Den 20 mars 1930 gör El- memory of an Ellington milton, Ellington had hired lington och Mills ännu en inspelning concert in Seattle. We are three additional reed play- av When You’re Smiling, denna gång för grateful to Lee for letting us ers: , Harold Brunswick då som regel Ellingtons or- quote his memories of it here: Ashby, and Harold “Geezil” Minerve. kester alltid uppträdde som The Jungle One of the last times I saw Duke El- But in addition to the now six-man Band. lington and his famous Orchestra per- section, there was a seventh saxop- Sista gången Irving Mills uppträder form was at the Paramount Theatre in honist in the band in Seattle: Murray på skiva tillsammans med Duke Elling- Seattle on April 10th, 1973. Personnel McEachern, a Los Angeles session and ton är vid en inspelning för OKeh den anomalies made this performance uni- studio musician who would be with the 30 oktober 1930. Mills ackompanjeras que in my mind. For example, trumpeter band about six months. McEachern’s av The Harlem Music Masters i Three Little Cootie Williams was on vacation from main instrument was trombone, but he Words. the orchestra and had step- doubled on alto sax and could play it in ped in for him for about two weeks. In the style of Johnny Hodges. When the Ray Mitchell Seattle, it was Berry who played the solo orchestra came out onto the Paramount Slutligen skall nämnas denne sångare in Billy Strayhorn’s Take The “A” Train. stage, McEachern carried both instru- som den 22 september 1932 medverkade The drummer , with El- ments with him. He sat in the trombone i Duke Ellingtons inspelning av Stars. lington from 1955 to 1966 when he was section and played that instrument on Inget finns att hitta i litteraturen eller på replaced by Rufus “Speedy” Jones, was every number. I waited for him to pick up nätet om denne obskyre vokalist. Eddie suddenly back. But he didn’t displace the alto and solo, but he never did. When Lambert har i sin bok A Listener’s Guide Jones, he supplemented him – on con- the concert was over, McEachern picked gett en träffande diagnostik på denna gas (and would continue to do so for a up both his horns and left the stage. Wha- inspelning med dess sångare och som couple of months). tever his alto specialty with the Ellington torde gälla samtliga dessa artister under The orchestra had lost two of the five band, Duke never called for it in Seattle. tidsperioden 1927-1932: An inane popular members of the most famous saxophone Lee Farley song called ”Stars”, recorded for Brunswick with guest vocalist Ray Mitchell are among Billy Strayhorn Symposium the more forgettable segments of this year’s Vi har tidigare meddelat om den 26:e kännare kommer att föreläsa, bl.a. Da- output. ”Stars” does at least have the dis- Duke Ellingtonkonferensen i Wash- vid Hajdu, Walter van de Leur, Alyce tinction of marking the end of the policy of ington den 11-15 mars 2020. Nu kan Claerbaut m.fl. Allt avslutas med en using guest vocalists – usually of an abysmal vi även informera om att Library of konsert av Bill Charlap Trio med Jon quality – for the band’s popular recordings, Congress, Washington, DC., kommer Faddis. and Mitchell rounds off the series in wholly att arrangera ett Billy Strayhorn Sym- Library of Congress härbärgerar appropriate fashion. posium den 28-30 maj 2020. sedan en tid tillbaka Billy Strayhorns Under senare delen av 1930-talet Det hela startar med en konsert musikaliska arv bestående av närmare gjorde Ellington ett flertal inspelningar den 28 maj av ett som spelar 8000 objekt utgörande manuskript, med mindre grupper ur sitt band. Även kända och okända Strayhornkomposi- musikaliska skisser, fotografier och då blev han av Irving Mills pådyvlad ett tioner. De två följande dagarna visas ekonomiska rapporter. Ett intressant antal tillfälliga sångare och sångerskor två filmer, och Anatomy tillfälle för den som vill fördjupa sig i av varierande kvalitet. Vi hoppas kunna of a Murder. Själva symposiet äger Billy Strayhorns liv och verk. studera dem vid ett senare tillfälle. rum den 30 maj då flera Strayhorn- Bo Haufman Bo Haufman

11 Morning Glory

By Mike Zirpolo

This recording comes from Duke Ellington’s first session for Victor Re- cords in 1940. The story of Duke’s so- journ through the 1930s world of swing is an interesting one having many im- portant chapters. The ones that were significant to this particular composition and recording were: Duke terminating his relationship with his long-time ma- nager/record producer/ music publis- her, Irving Mills; his move back to Victor Records in early 1940; and his 1939 trip/ tour of Europe and Scandinavia. Duke’s relationship with Irving Mills, which started in the mid-1920s, was complicated for many reasons. The simple fact that Mills played so many roles concurrently in Ellington’s career for so long, set the stage for numerous conflicts of interest for Mills, and he was a businessman who always resolved any such conflicts in his own favor. Duke gradually became aware of these con- flicts of interest. But his personality was such that he constantly did cost/benefit analyses in dealing with Mills, and was inclined to give Mills the benefit of the doubt, as long as he perceived an overall and continuing advancement of his care- er. Duke’s patience and tolerance in this Duke and Rex Stewart. Photo: Ronny Jacques. process were enormous, but at the point when he decided that his career was not Recording Corporation (ARC). Through men), and the fact that the recordings advancing and that Mills was taking too the generosity of several musicians and of these compositions were generally much of what Duke was working very historians who wish to remain nameless, good sellers. Money, then as now, spoke hard to build, he unceremoniously en- I have obtained copies of the various le- loudly. ded his various relationships with Mills. gal documents that made up that 1940 Finally, a particular incident that oc- The result was new management (by the Ellington/Victor contract. There were curred in 1939 while the Ellington band William Morris Agency), a new music no terms in that contract that specified returned to the USA on an ocean liner publishing company owned by Elling- what Duke would be required to do for from a tour of Europe and Scandinavia, ton (Tempo Music, Inc.), and a new re- Victor, except produce a certain number had a direct impact on the tune Morning cording contract, with Victor Records. of recordings within a certain period Glory, which was among the music re- of time. The fact that Duke Ellington’s corded by Duke on his first 1940 Victor Recording for Victor recordings for Victor in the early 1940s session. It is obvious from listening to the There has been much critical com- contain such a large proportion of his Ellington recording of Morning Glory that ment of Duke’s relationship with Victor own original compositions (and slightly it was a vehicle for Duke’s cornet soloist, Records as a result of the contract he sig- later, of Billy Strayhorn’s, including the Rex Stewart. But what is far less obvious, ned with that label in early 1940. Duke great Take The “A” Train) was the result despite the composer attribution of it to had been recording for several years for of Duke’s own strong advocacy on be- Duke, is who actually composed Mor- Columbia Records, and its antecedents half of his own (and Strayhorn’s) music ning Glory. under the general aegis of American with Victor producers (then called A&R

12 Rex Stewart the man ble sum, and I fully expected Duke to take it, but he didn’t concede, he raised me! Rex Stewart (1907-1967), whose Bob Wilber I might add at this point that Ellington’s playing is featured throughout this re- idea of strategy was to hang on until the last in memoriam cording, was a man of many talents. In card, and then attempt to overpower his opp- addition to being a fine jazz soloist, he Under sin onent with a huge bet, unless his opponent’s was a writer of considerable talent. He långa kar- overlay was in plain sight. So, as I figured was also at various times a gourmet chef riär deltog out his hand, he had to have either two pairs and Ellington’s barber. Toward the end Bob Wilber or three deuces, and if he had deuces back- of his life, he wrote a number of pieces vid två till- to-back, it would have been unlikely for him that were published in the jazz magazine fällen i in- to have demonstrated his strength by betting Down Beat. They were recollections of spelningar stronger. I deduced therefore that he had two his life as a musician during the golden tillsammans pairs, so the chances of his catching up with age of classic jazz that included multiple med Duke my three aces was remote. portraits of Duke Ellington. Because of Ellington. Bet and raises, bet and raise until all the Stewart’s position as a member of the Det är inspelningar som ingick i money on the table was in the pot. Then, he Ellington band from late 1934 until late Ellingtons s.k. ”stockpile” och gjor- bet me fifty dollars more. Being out of cash, I 1945 (with some time off in 1943), he had des den 30 juni och 2 juli 1965. In- put the rights to one of my tunes in the pot!! personal recollections and impressions spelningarna gjordes i Billy Stray- The boat seemed to stand still as I realized of Ellington that were unique. Here is horns namn och gick under namnet that I had just lost the pot, and my tune Mor- the one he related about Ellington’s fab- ”Billy Strayhorn Combo”. ning Glory! led luck, his poker strategy, and the tune Musiken har getts ut på CD Morning Glory: The music Red Baron AK 52760 ”Billy Stray- horn Lush Life”. Det är uteslutande The four-bar introduction to The poker game Strayhornkompositioner som spe- Ellington’s arrangement of Morning Then there was the episode of the four las och Bob Wilber kan höras på Glory contains a bit of Ducal piano and deuces versus the three aces. That happened sopransax tillsammans med Elling- two march-like syncopated and memo- in mid-Atlantic when the Ellington band ton i Smada, Oink och Pig Sty (på rable figures containing five repeated was returning home from Europe in 1939. CDn kallad för Pick Side). Fler num- notes, which establishes something of During one of the inevitable poker sessions mer spelades in med Strayhorn vid a leitmotif, which reappears later in the in the Ellington organization. My luck was pianot. piece. This leads to the first of two 32- running as good as the seas were running Bob Wilber var född den 15 bar choruses, which showcases Rex Ste- high. One by one, the game had dwindled un- mars 1928 och var alltså jämnårig wart playing the melody on his cornet til only two players were left: Duke and me. med många av de som skulle bilda into a felt derby. Stewart’s cornet sound, The first up card he dealt me was an ace, skola inom den genre som kom att muted or open, was very personal and and I didn’t dare look at it because I had al- kallas för be-bop. Men Wilber blev easily identifiable, especially when cont- inte gripen av dessa nya idéer utan rasted with the trumpet sound of Coo- präglades av den äldre jazzen och tie Williams, Duke’s primary soloist on dess utövare. Sidney Bechet blev that instrument. After a brief transition, hans ledstjärna precis som denne the Ellington saxophones come forward en gång var för Johnny Hodges. to begin chorus two with a lovely 16 Wilbers karriär var lång och här bar solo. Stewart then reappears with skall bara nämnas hans lyckade an open horn, improvising a bit. He has samarbete med Kenny Davern i some particularly inspired moments as den grupp som gick under namnet he plays on the tune’s bridge. The six ”Soprano Summit”. Under senare ready peeped at my hole card, another ace. bar tag ending has Stewart playing soft- delen av sitt liv bodde Wilber i Eng- His up card was a deuce, so in order not to ly and smoothly over the rhythmic five land och han var orkesterledare vid frighten him out before there was something note figure that started the performance. Ellingtonkonferenserna i Oldham in the pot, I bet in a very mild fashion. My 1985 och 1988. Vid det senare tillfäl- next card was insignificant, but I bet a little Mike Zirpolo is running a website “Swing let höll han ett uppskattat kåseri om stronger, despite his hitting himself with an- & Beyond” with lots of interesting studies of Johnny Hodges. other deuce. The battle was really on when music by various orchestras from the Swing Bob Wilber gick ur tiden den 4 a second ace leaped off the deck and I had Era. Go to: www.swingandbeyond.com. The augusti 2019 i den aktningsvärda two aces showing against his two deuces. I above article is a condensed version of the ori- åldern av 91 år. thought it best at this point to indicate my ginal. The full article, plus the music, can be Bo Haufman overwhelming supremacy by betting a siza- found at the blog.

13 Spike Hughes’ view of Duke Ellington

In the early 1930s Spike Hughes made a of the prophet being without honour in trip to USA to study the American jazz his own country, when Duke is billed as scene. He kept a diary during his stay “The King of Symphonic Jazz” (White- and it was later on published in the man is now “The Dean”!) – oh, the vul- Melody Maker. Here follows parts of his garity of Broadway advertising! diary that dealt with Duke Ellington. So many times I have thanked my stars to have been born a European, I feel I cannot go on any further without proud in the knowledge that our dear writing of one of the big events of my old bankrupt continent has the sense to life: the meeting with Duke Ellington. appreciate good music when it hears it Nobody, meeting Duke for the first time, without having to wade through a mass could possibly have any doubts that of tasteless hokum first. To illustrate ex- they are coming into contact with one actly what goes on in this remarkable of the few great artists that America has city – of which I am inordinately fond, let produced; certainly Ellington is the first me assure you – I cannot do better than serious contribution the New World has try to describe Duke’s opening night at made to the history of music. the Cotton Club. Duke’s picture has appeared often enough in these pages, but none of them Vicious Waste does anything like justice to his great The band did play, but I will return personal charm and humour, his very to that later. Most of the time was taken infectious smile and that quiet dignity up by a very professional floor show and self-confidence that mark the man (“fastest show in the world”) which is, I of genius. suppose, more than three times too long. One of the most encouraging things ce to what one may call the Neo-Corner- The dancing is remarkable, it is true, but about him is his very healthy dislike of House-cum-Francis-Mangan Style. every turn consists of at least three rou- the pretentious noises which pass for tines too many, and one gets to a stage jazz on Broadway and masquerade un- Synthetic America when one would cheerfully die rather der such meaningless names as – well, It is the very simplicity of Ellington’s than watch any more tap-dancing or lis- perhaps we will not get personal until I music which makes it such a vital force ten to any more bawdy songs. leave the country. It would be safer. Duke in the art of our time. On reflection I find Noel Coward went up one evening, even mistrusts some of his own music; I that America’s two really international was bored to tears, heard Duke play a am quite sure he does not think so highly contributions to art have both been of couple of numbers and remarked that of his number as oth- Negro origin: tap-dancing and jazz. he could not understand why the singers ers do hereabouts. “Sophisticated” is a Up to a point one must consider did not say what everybody knew they word, which, as you know, America dis- American architecture and films also to meant and have done with it. For my covered a little while back, and has mis- be native products, but the building of own part, I walked out of the opening applied in every conceivable connection skyscrapers is not necessary elsewhere, night proceedings in disgust. I was more ever since. America being consciously and the most typical American films than infuriated at having to pay an im- smart and “moderne” is the most pathe- have either, like the “Front Page”, been mense sum for the privilege of hearing tic sight in the world. I suppose it is the the work of a Russian director, or, like Duke play chords of G, to introduce the only truly modern country in the world, Chaplin’s comedies, the inspiration of an spotlight celebrities that were present. but when it begins to realise it, the result Englishman. The “celebrities” consisted of (rightly) is ludicrous. This little interlude may strike you out-of-work film stars, two members of Every revue in New York has at least as being neither here nor there, but it has the British Peerage (what a thrill!) and a one “modern” scene, wherein the produ- recently been on my mind that America few obscure Broadway columnists and cer runs riot with lights, bad colours and does not honestly know or appreciate song-writers. worse symbolism, and the general effect the real treasure she possesses in Duke And the Cotton Club is New York’s is not a little humorous in its resemblan- Ellington. It must be the old, old story conception of Harlem! A place where no

14 Negroes are admitted, though as a spe- is not of this world at all. Another very cial concession the more distinguished exciting noise comes from Duke’s sco- members of the race, like Paul Robeson ring for the saxes, with much use made and Ethel Waters, are allowed, rather of Johnny Hodges’ soprano as the lead. apologetically, to sit away in the corner. I will not give away any secrets concer- Why they do not move the Cotton ning the mutes used for the brass. Let it Club down to the Forties I cannot ima- be said that the bands here have a mute gine. It would save many an expensive which is out to be found in England, as taxi-fare. On the other hand, the unima- far as I know. ginative American business man and his I was pleasantly surprised to find peroxide stenographer might not feel that Sonny Greer, who is surrounded that they were being “wicked” if it were by the most imposing array of percus- located in the mid-town section. sion instruments ever seen, makes very What most outrages me is that Duke good use of timpani in some numbers. A is playing at the Cotton Club. I have nicely timed roll adds a terrific emphasis been there since the opening night, but to some passages of Echoes of the Jungle, I took good care to find myself in espe- for example. It is little touches like this, cially charming company, and as they of place in Duke’s essentially direct and in themselves so simple, which make had already seen the show, we ignored it simple music. Brown is as much use to Duke’s band so really thrilling. altogether and talked. Eventually, Duke that band as Kreisler would be playing My own modest contributions to came over to our table and we persua- first fiddle in the New York Philharmo- Duke’s repertoire have been those two ded him to play all our pet Lazy Rhapsody nic. It is not that his individuality is too pieces which are most nearly his “cup of and Blue Tunes. That was more like... strong, just misplaced. tea”: Sirocco and Siesta. The former opus This is, of course, only my personal we tried over at Columbia one day, and The Band in Detail opinion. I have nothing but admiration was my face red? It really seemed as if I But for the rest, I make a point nowa- for Lawrence Brown’s talent, as such, were hearing it for the first time in my days of being home every night at two, but by its very nature it seems to me to life. I think my pride was pardonable to hear his half-hour broadcast. I may belong elsewhere. After all, can you ima- when Duke, after playing it through, say that I look forward to these periods gine Hawkins or Armstrong in Duke’s commented: “Gee, I go for that!” so much that I have almost completely band? I can’t. neglected to visit my respected mother Duke and his band are the only two An Endless Topic at Philadelphia on account of her radio things, apart from Toscanini, which have I must confess that I could go on wri- not being able to pick up WMCA, which exceeded my wildest hopes of New ting from now until the Judgment Day is a local New York station and not po- York. For one thing, Duke plays almost on the topic of Duke as a person and an werful.¨ entirely his own music and the very best artist, of the way he starts his numbers The Ellington band is all, and more, of that. Sophisticated Lady turns up a little by rippling away at the piano until the than I expected. Each individual mem- too often for my liking, but one can for- band is set to go, of how he accompa- ber of the orchestra (with one exception) give this commercial lapse from grace. nies tap-dancers, of how his personality, is completely and utterly a mouthpiece Even Dukes have to live these days. as he sits in front of the band, expresses for Duke’s own ideas. There is not a Even when an Ellington radio pro- every mood of his own glorious mu- note which comes from that remarkable gramme includes one or two of the more sic, and of the thousand and one other brass section, or from the rich tone of the trashy current popular songs, these are things that go to make him one of the saxes, that is not directly an expression treated with so much contempt as to be most delightful and vivid characters of of Duke’s genius. One can conceive of most pleasantly unrecognizable. Echo in our time. nobody to replace Bigard, or Carney, or the Valley, for instance, is taken at a fast ttt Hodges, or Hardwick; Cootie or Freddy swinging tempo, and we are spared the Jenkins or Art Whetsel, or that superb tune altogether. Editor’s comments: It is not clear to the trombone-blower Tricky Sam. editor exactly which time Spike Hughes The one person, to my mind, who Treatment of Tunes spent in New York but most probably is definitely out of place is Lawrence Cootie opens the proceedings with he arrived during the first week of April Brown. This artist is a grand player of the dirtiest solo imaginable, and from 1933 and may have stayed until the end the trombone, and would be a tremen- that moment the fun begins. I cannot of May. He made his famous recordings dous asset to any other band on account begin to describe some of the sounds the for Decca on three occasions, on April of his original style, but his solo work is Ellington aggregation produces. The use 19th, May 18th and 19th. Simultaneously altogether too “smart”, and “sophistica- of the full muted brass section, close to Duke Ellington had a long engagement ted”, if you will, to be anything but out the microphone, results in a sound which at Cotton Club from March 9th through

15 May 31st, 1933. On April 16th the 22nd Cotton Club Parade was presented and apparently Spike Hughes attended its premiere. It was during this show that Den 26:e Ellingtonkonferensen 2020 Sophisticated Lady was introduced. On June 2nd Duke Ellington and his Agendan för konferensen är nu spikad och ser ut som följer: Orchestra boarded a ship heading for Europe, arriving in Southampton on the 9th. A photo taken on the arrival shows 11 mars the entire band plus Spike Hughes and Welcome Dinner & Concert Jack Hylton. Whether Hughes went to Southampton to meet the band or whether he happened to be a passenger 12 mars on the same ship remains to be found Anna Celenza: Welcome Speech out. Ken Steiner: Duke Ellington and the Rise of Radio – The Cotton Club Era Hughes mentions in his diary that he Maristella Feustle: Duke Ellington through the Eyes and Microphone of Willis was present during a recording session Conover with Ellington for Columbia. During this Bill Saxonis: Ellington and Civil Rights: A Delicate Balance period Ellington made two recordings Michon Boston: Ellington, Shaw & U. The House that Jass Built for ARC, May 9th and 16th. The records John Hasse: Keynote Lecture were released on Brunswick. The dis- Allyn Johnson: Ellington and the Piano cografies do not mention any Sirocco or Joe Medjuck: Film Screening: Festival – The Duke Siesta from these dates and there are no gaps in matrix numbers. It is quite pos- sible that Ellington and his Orchestra 13 mars played the melodies but Duke’s appre- David Berger: Assessing the Ellington Style ciation may have been an expression of Hanna Krall: The Caravan-Albany Hone Collaborative Conundrum: An politeness. Analysis Through Scores, Recordings and Anecdotes In the diary Hughes is constantly Jack Chambers: Anatomy of a Stockpile Session misspelling a few names. Cootie is th- Monika Herzig: Music is My Mistress: Women in Jazz roughout called “Cooty” and Whetsel’s Benjamin Bierman: An Examination of Ellington’s Legacy and Influence name is spelled “Whetsol”, as was com- Tammy Kernodle: Keynote Lecture mon in those days. We have taken the Nicole Higgins: A Tone Parallel: MIMM and Ellington’s Narrative Impulse liberty to correct these slips of the pen. Marilyn Lester: Riding on Duke’s Train: A Journey from Book to Animated Hughes’ recommendation that the Cot- Film ton Club should move from Harlem to Steven Lasker: New Discoveries Midtown became a reality a few years later. 14 mars

On a tour Duke and Michele Corcella: Blues for New Orleans: Duke and the “Craddle of Jazz” Jazz Cootie Williams León F. Garcia Corona: Duke Ellington and the Mexico City Massacre of 1968 umour were boarding a Darren LaCour: Performing Place: The Goutelas Suite and The UWIS Suite H plane together. Duke tur- Bill Egan: Duke Ellington in Australia and New Zealand ned left into the First Class sec- Reuben Jackson: I Wonder as I Wander: Ellington and The Natural World tion and Cootie was about to turn Thomas Brothers: Keynote Lecture right into the seats reserved for les- Adrian Oud & Louis ser beings. Tavecchio: Getting closer to Duke Cootie says “Hey Duke, how David Palmquist: When Walla Walla Washington Went Wild. On the Road come you get to fly first class and with Duke the rest of us have to travel tou- Roundtable Discussion: Mapping Ellington’s Future: Where Do We Go from Here? rist?” Closing Concert Duke replies “Now Cootie, you wouldn’t want to work for a leader who didn’t fly first class, would you?” Ytterligare detaljer kan inhämtas på https://www.ellington2020.org/agenda

16 Duke Ellington in Uppsala 1971

Storyville Records has released a new a long time. together with the TV crew. Anyhow, it is CD in its Ellington stockpile series. This Segments of not an important issue. What matters is time it is the second Ellington concert in the concert that Ellington fans and aficionados now Uppsala on November 9, 1971. Bjarne have also ap- can enjoy the full Duke Ellington concert Busk has produced the CD and also writ- peared in the in the Uppsala University Aula (Great ten the liner notes. The CD is the first (al- Danish Radio Hall) like us who were there. most) complete release of another inte- Ellington Bro- The following numbers were perfor- resting concert from the period when the adcasts (no. med at the concert: C-Jam Blues, Kinda Ellington orchestra was in some disarray 47 and 57) Dukish, Rockin’ In Rhythm, Happý Reu- but still performed well and sometimes and I Got It Bad in the Medley was inclu- nion, Take The “A” Train, Fife, Satin Doll, exceptionally well. The liner notes are ded in the Azure CA 10 cassette. Chinoiserie, Harlem, Medley, Things Ain’t very thorough and give a lot of informa- The tape used of the CD emanates What They Used To Be, Hello Dolly, One tion about the music played. Busk also from the Mercer Ellington donation. But More Time For The People, Lotus Blossom. writes about what he perceives as a spe- who recorded it? Was it done by George The missing piece from the concert cial relationship between Ellington and Wein, the organizer of the concert, at is Black Swan, which Ellington, Joe Ben- Sweden. “Duke Ellington and Sweden is the request of Ellington? It is doubtful jamin and Rufus Jones played at the very a true mutual love-affair” he says. since it would have called for a double end of the concert. The concert was filmed by Swe- recording set up during the concert. An- Ulf Lundin dish Television and one hour of it was other, and more likely possibility, is that telecasted in the beginning of January someone gave Ellington or Mercer El- A more detailed review by Ulf Lundin may be 1972. The soundtrack of the telecast has lington a copy of the tape (in stereo) that read on the Duke Ellington of Sweden web- circulated among Ellington collectors for technicians from Swedish Radio made site – Ellington.se

Lester Young och Duke Ellington

sina avsikter att lämna bandet och Duke började tidigt se sig om efter en ersättare. Eller kanske Duke hade noterat Count Basies succé med två tenorister och ville tillämpa samma metod. Vid tillfället var Lester Young inte längre anställd hos Ba- sie så någon form av ”stöld” var det inte fråga om. Hade Lester Young blivit engagerad i Dukes orkester tillsammans med hade säkerligen dessa tre gigan- ters historia inom jazzen tett sig något annorlunda. Vi kan bara spekulera i hur Bifogad notis var införd i the Pittsburgh Ellington hade utnyttjat deras gemen- Courier den 11 juli 1942, vari antyds att samma kapacitet för att uppnå oanade Lester Young skulle börja spela med höjder. Duke var aldrig främmande Duke Ellington. Att så inte blev fallet för att engagera stora namn i sitt band. Duke Ellington och Lester Young vid New- vet vi alla, men vilka tankar framkallar Charlie Parker var erbjuden en plats men port Jazz Festival den 17 juli 1955. Foto ur inte denna uppgift? Vid denna tidpunkt hade för höga krav på ekonomisk ersätt- Luanne och Aline Homzys kollektion. var Ben Webster Ellingtons tenorsolist ning. Enligt historien lär han ha begärt men han skulle lämna orkestern först $500 i veckan och på det kravet skall orkester. Kanske var det samma sak med i augusti följande år. Kanske hade han Duke ha svarat att han gärna skulle ac- Lester? redan vid denna tidpunkt börjat antyda ceptera det gaget för en plats i Parkers Bo Haufman

17 Conga Brava

I samlingsutgåvor innehållande Duke bok A Listener’s Guide beskriva Ellingtons a basis for two solo choruses by Ben Webster Ellingtons mest kända kompositoner stora nummer med viss entusiasm, men some interesting things happen. First of all, från början 1940-talet ingår alltid Conga begränsar sig till följande ord om detta Webster, essentially a traditionalist raised on Brava. Det är en komposition av Juan nummer: This is an Ellington-Tizol collabo- the blues traditions of the Southwest, totally Tizol och den har tydlig latinsk prägel, ration with the valve trombonist introducing ignores the basic ten times two 20-bar metric som de flesta av Tizols kompositioner a characteristic Latin American melody. Soon structure, and pieces together an excellently hade, vilket naturligtvis hade sin grund i the band takes over, and the rhythm changes swinging solo out of a series of 8-, 4-, and hans Puerto Ricanska ursprung. Stycket gear into a swinging four-four. Bigard and 6-bar phrases. Thus a two-tiered structure både inleds och avslutas med Tizols ”sta- Stewart have obbligato roles and Rex can be is achieved, a distant and drastically simp- tement of the theme” och däremellan heard leading the trumpet section to good ef- lified relative of those African polyrhythmic, hörs ett fantastiskt solo av Ben Webster. fect. Webster’s loose, lissome solo contributes polymetric structures. Whether by accident, to the variety and substance of the piece before by sheer instinct, or by design, it is impos- Fascinerande melodi it closes with the return of the original me- sible to say, but Ellington at the piano, and to Men det är något förbryllande med lody. Again played by Tizol. some extent Blanton, clearly aids and abets den här melodin. Alla Duke Ellingtons Webster in his revamping of the two 20-bar storverk från denna tidsperiod, som t.ex. choruses. Webster stays very close to the Ko-Ko, Harlem Air Shaft, Take The ”A” Train, tonic of B major throughout. Whether this Just A-Settin’ And A-Rockin’ för att nämna was done in self-defense – that is, playing it några få i den långa raden, spelades inte safe in view of the unfamiliar 10-bar chord bara in för RCA-Victor utan framfördes structure, or not – ultimately matters very dessutom vid otaliga konserter och dans- little. The result is a fine solo, remarkable for tillställningar runt om i USA. Men i fallet its economy and concentrated strength. It is Conga Brava gäller inte detta. Efter Vic- also in its way a very modern solo, not only torinspelningen den 15 mars 1940 finns because it is expressed in concise, varyingly numret endast registrerat i diskografi- elongated phrases which combine into a well- erna vid ett ytterligare tillfälle och det är balanced totality. It has some unexpected den berömda liveinspelningen från Crys- I Basilio Serranos biografi om Juan touches of Lester Young and . tal Ballroom i Fargo, ND., den 7 novem- Tizol citeras en intervju med Mark Tuck- Den som vill ta del av en djupare tek- ber 1940. Det kan finnas anledningar till er där Tizol uttalar sig om Conga Brava nisk analys av Conga Brava rekommen- detta. En kan vara att Ellington av någon på följande sätt: I think Conga Brava in the deras att studera Mark Tuckers The El- anledning ansåg att melodin inte passade three short minutes has in some way as much lington Reader (sid 427/428) där Lawrence in i repertoaren, vilket man i så fall måste music as sometimes a thirty minute symp- Gushee ingående dissekerar verket. anse vara minst sagt underligt. En annan hony might have. Because you get this rush kan vara att melodin faktiskt spelades vid of events, you get this rhythmic energy of the Andra inspelningar flera tillfällen, men just dessa tillfällen har underlying groove but then you have this Conga Brava har sällan spelats av an- inte blivit bevarade. Detta antagande kan Ben Webster solo that comes out of nowhere dra orkestrar. När Mercer Ellington drev också sägas vara något tveksamt efter- and you have these trumpets exploding. orkestern vidare efter Duke’s död tog han som det existerar så oerhört många beva- Duke Ellington är angiven som med- upp numret på repertoaren och inspel- rade radioutsändningar från 1940-talet, kompositör till Conga Brava och troligen ningar gjordes, men de har aldrig getts inte minst alla DETS-broadcasts, men är han ansvarig för arrangemanget. En- ut. I orkestern satt en ung tenorist vad ingen av dessa innehåller Conga Brava. ligt Serrano gjorde Tizol följande utta- namn Ricky Ford, som senare spelade in En annan förklaring till att numret inte lande om arrangörskonsten: I never did numret med eget band 1986. Den franske spelades så ofta, särskilt vid danstillställ- go much for arranging. I left that to Duke pianisten Claude Bolling spelade in num- ningar, är att det säkert inte var så dans- because he understood his band. ret 1956 och ytterligare en inspelning ex- vänligt p g a sina växlingar mellan latinsk isterar av en österrikisk grupp 2006, som rytm och ren swing. Unik komposition kallade sig 4 Jokers in the Park. Men fler Gunther Schuller skriver i sin välre- inspelningar har inte stått att finna. Sällan kommenterad nommerade bok The Swing Era: Conga Slutligen – vad betyder Conga Brava? Kanske av just denna anledning är Brava is most fascinating and uniquely pecu- Nätets olika översättningsprogram ger Conga Brava ovanligt sällan kommente- liar to jazz and its African rhythmic antece- inget svar så man är böjd att tro att det rad i någon större utsträckning i litteratu- dents. Tizol’s theme comprises twenty bars, är ett namn. På vad kan man bara gissa. ren. Eddie Lambert brukar som regel i sin divisible into twice ten bars. When used as Bo Haufman

18 Duke’s Ups & Downs

Ordföranden i vår systerförening i New Oliver. But Duke was jumping through his band were not viewed as a spectacle York (TDES, Inc.), Ray Carman, skriver hoops to satisfy the demands of the un- that people came up to The Cotton Club ofta mycket insiktsfulla ledare i fören- derworld wise guys who carried names to see. In the UK he was viewed as an ingens månatliga nyhetsbrev. Följande such as Boo Boo Huff, Yankee Schwartz, accomplished, professional musician for text skrev han i föreningens oktoberut- Dutch Schultz and Owney Madden. the first time. gåva 2018, som vi tar oss friheten att, They shuttled him between the shows Upon Duke’s return to the States, he med Rays medgivande, citera här: of The Cotton Club and those at the was reenergized and his creative skills downtown Ziegfeld Theater. It wasn’t al- soared. I believe his golden years were Almost everyone knows about Duke ways a pleasant experience, yet it’s here from 1939 to 1944. The royalties from Ellington’s successful 50-year career. where Duke soared and reached musical this period of work supported the band What we don’t know about are the ups heights even beyond his own beliefs. through the bad times of the 1950s. Duke and downs that he had to deal with Duke gained so much success that was resurrected once again in 1956. That during those years. Mention the name after five years it was becoming routine. rebirth was at the Newport Jazz Festival. Irving Mills and one has the tendency The glow of that success was slowly After that, national honors and recogni- to conjure up thoughts that are usually becoming less fulfilling. Patrons of The tion were given to him frequently. He be- slightly tarnished. Without him, though, Cotton Club were beginning to make came an International Jazz Ambassador I do not believe we would have the Duke demands and questioning why he was and spent many of his later years touring we all know today. Mills navigated Duke changing the songs and even the notes the world where he found they “loved through some very turbulent times up they were accustomed to hearing. That him madly.” through 1932. cartoon-character loud-mouth drunk In a quote from that era, it was writ- who calls out “I want to hear Tempta- Duke Ellington invald ten, “the pressure of jazz is so intense tion” – I can bet there were plenty such that the Negro takes to alcohol and dope personalities that got under Duke’s skin i Hall of Fame in an effort to attain the proper mood during performances. Did Mills sense Den 21 september 2019 blev Duke to produce their fevered art.” A classic this? He probably did and being a sharp Ellington vid en ceremoni i The racist statement of the times. Although manager, suggested a change, which was Palladium at the Center for the Sonny Greer, Otto Hardwick and Artie a tour abroad to the UK. It was a master- Performing Arts, Carmel, Indiana, Whetsel took their share of stimulants ful move! postumt invald i The Great Ameri- and caused Duke some problems, Sonny can Songbook Hall of Fame. Merce- Duke in Royal Company summed it all up by saying “We were des Ellington var på plats för att ta just trying to make it.” And with Duke Duke wooed the people of the UK emot utmärkelsen och i sitt tacktal they had a four-year run at the Kentucky everywhere he went. Sell-out crowds berättade hon om hur hon i unga år Club. Let me not overlook Bubber Miley, were commonplace. An example of the ofta medföljde Duke och orkestern whose exotic sound made the jungle mu- success of this tour was the opening night på deras resor. Särskilt nämnde hon sic downtowners were looking for. at the London Palladium. It was a night turnén till Ryssland 1971 för The “that scared the devil out of the whole State Department, varvid hon fick Organized crime band. The applause was so terrifying, it tillfälle att byta ett flak Pepsi mot Organized crime ran everything. It was applauses beyond applause. It was a ett antal Stolichnaya vodka. Som en was Mills who was telling Duke “when 10-minute continuous applause, it was a ytterligare hyllning till Duke fram- to hold them, and when to fold them.” tremendous thrill.” Duke was received at förde ett sextonårigt ungt löfte vid Harlem in 1926 was not a great place for Lord Beaverbrook’s party for the Prince namn Sadie Fridley sin version av It an intelligent, prideful musician such as of Wales. He even met The Duke of York Don’t Mean A Thing. Ellington. True, he was employed and who later became King George. He also The Great American Songbook writing the kind of music downtown played in Liverpool and Glasgow. har existerat sedan 2011 och har se- came uptown to hear, but he had to do There was no doubt that Duke was dan dess valt in ett trettiotal dignite- what was demanded of him. Looking at awed by the reception he received by UK ter i sin Hall of Fame. Bland de som Duke’s situation, he was at the top of his Royalty. What he felt more was the re- har någon anknytning till Duke El- game. Mills and his songwriter partner, spect and the honor bestowed upon him lington kan nämnas, Tony Bennett, Jimmy McHugh, were pushing for the by the everyday man in the street who , Ella Fitzgerald, very top, which was The Cotton Club, had exceptional knowledge of his music och Diahann Carroll. a gig Duke won, beating out Joe King and of his band members. To Duke, all of Bo Haufman this was something totally new. He and

19 KALLELSE! Duke Ellington

Duke Ellington Society of Sweden hälsar sina medlemmar väl- Society komna till medlemsmöte måndagen den 25 november 2019. of Sweden, DESS

ISSN 1400-8831 Org.nr. 802017-3681

DESS c/o Leif Jönsson Anbudsvägen 15, 187 50 TÄBY 08-510 503 14, 0706-22 88 16 [email protected]

Styrelse Leif Jönsson, Bo Haufman, Anders Asplund, Peter Lee, Göran Wallén, PLATS: tet mera traditionella jazzen. Vi kan Lars Björkman, Claes Brodda bereda oss på en fin föreställning. I Redaktionsgrupp gruppen återfinns förutom Jesse på Franska Skolans aula, trombon, Tord Larsson, tenor och Bo Haufman, Thomas Harne, Döbelnsgatan 3, Stockholm. Lars Björkman, Claes Brodda, klarinett, Per Larsson, piano, Mi- Portkod för kvällen: 2511 Andreas Andersson (layout) kael Selander, gitarr, Bo Juhlin, bas Entrén öppen från kl. 17.00. och Krister Ohlsson, trummor. Litet Entréavgift: 150:- i kontanter eller Hemsida Ellingtonmusik blir det, men också Swish. www.ellington.se musikaliska hälsningar till Haw- kins, Red Allen, Teddy Wilson m.fl. Facebook Duke Ellington Society of Sweden PROGRAM: Tidsangivelserna är ungefärliga. E-postadress 17.30-18.30 – ”FLAMINGO” – Gö- [email protected] ran Wallén och Bo Haufman kåserar om The Bronze Buckaroo, d.v.s. KOMMANDE Bankgiro , en av Duke Ellingtons MEDLEMSMÖTEN: 211-3207 vokalister. Reservera följande dagar under PayPal account 18.30-19.00 – PAUS med möjlighet nästa år för DESS medlemsmöten. [email protected] till mingel och inköp av öl/vin och International bank account baguetter. Obs! Endast kontanter el- • 17 februari – då vi kommer IBAN: SE95 6000 0000 0002 8408 3992 ler Swish. att få lyssna på Joakim Falks BIC: HANDSESS kornett tillsammans med hans 19.00-20.15 – DESS gästas i kväll av Spicy Advice. DESS medlemsavgift Jesse Lindgrens Swing Wing. Nå- • 27 april Per kalenderår inom Norden: 300 kr gon närmare presentation behövs • 14 september Membership outside of inte av denne försvarare av den li- • 23 november Scandinavia: annual fee USD 40

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