Section One - Sessions 1021

Total Page:16

File Type:pdf, Size:1020Kb

Section One - Sessions 1021 OESOR Section one - Sessions 1021 BING CROSBY IIITH DUKE ELLINGTON AND HIS FAMOUS ORCHESTRA February. 11.1932 New York City,NY ARC ree.session Same as 3105.but: BCr(ve.)added. DE3205a St.Louis Blues veBCr Br 20105,CBS 88035 BX1l263 -A DE3205b St.Louis Blues veBCr Br 20105,Co CK·66372,CBS 88035 BX1l263-B DUKE ELLINGTON AND HIS FAMOUS ORCHESTRA Same session BCr(ve. lout. DE3205e Creole Love Call Br 20105,CBS 88035 BX1l264·A DE3205xa Creole Love Call unissued BX1l264-B DE3205d Rose Room Br 6265,CBS 88035 B1l265-A NOTE· 3205xa Same as 3205e. DUKE ELLINGTON AND HIS ORCHESTRA October 18.1971 Cinema Le Colisee Roubaix,F Concert Same as 7147. DE7151a C-Jam Blues unissued DE7151b rBlaek And Tan Fantasy unissued DE7151e ICreole Love Call unissued DE7151d LThe Mooehe unissued DE7151e rKinda Dukish unissued DE7151f !.Roeki n' In Rhytl'vn uni ssued PG(t.s.):DE(p.):JBe(b.):RJ(d.). DE7151g Happy Reunion unissued As before. DE7151xa Having At It unissued DE7151h Take The "A" Train unissued DE7151i Fife unissued DE7151j Chinoiserie unissued DE7151k I Can't Get Started unissued DE71511 "HARLEM" unissued DE7151m Satin Doll unissued DE7151xb Perdido unissued DEl151n Addi unissued DE7151xe Come Off The Veldt unissued DE71510 Medley: alI Let A Song Go Out Of My Heart unissued b)Don't Get Around Much Anymore unissued e)Mood Indigo unissued d)I'm Beginning To See The Light unissued e)Solitude veTW unissued flIt Don't Mean A Thing veTil unissued g)I Got It Bad veNB.CII unissued DE71510 h)Everybody lIants To Know veNB.CII unissued i)Sophistieated Lady unissued NOTE· 7l51xa Same as 7l39h,but: int4DE;P32BAND,32PG: 7l51xb Same as 7107f: 7151xe Same as 6821d.but: lib36RJ: 71510 h) Everybody 1°4DE,8DE&CII(ve.):2°/6°NB:7°BAND&NB. OESOR Section one - Sessions 1022 THE MILLS BROTHERS WITH DUKE ELLINGTON AND HIS FAMOUS ORCH. December 22.1932 New York City,NY ARC rec. session Same as 3213.but: AHa(vc.)out:THB(vc.)added. DE3214a Diga Diga Doo vcTMB Br 6519.Co OL·6770,CBS 88082 B12781-A DE3214b Diga Diga Doo vcTMB Co CK·66372 B12781·B ETHEL WATERS WITH DUKE ELLINGTON AND HIS FAMOUS ORCHESTRA Same session AW.CW.FJ(t.):LB.JN(tb.):JH(a.s.,s.s.);HC(b.s. ,cl .. bs.cl.);DE(p.):FG(bj.);WB(b.);SG(d. ,ch.);EW(vc.). DE3214c I Can't Give You Anything But Love vcEW Br 6517,Co OL·6770,CBS 88082 B12783-A DE3214d I Can't Give You Anything But Love vcEW Co CK·66372 B12783·B DE3214e Porgy vcEW Br 6521,Co OL·6770,CBS 88082 B12784·A DE3214f Porgy vcEW unissued B12784·B DE3214g Porgy vcEW unissued B12784-C NOTE - In Porgy. as second chorus is used the theme of I Can't Give You Anything But Love. 3214f Same as 3214e; 3214g Same as 3214e. DUKE ELLINGTON AND HIS ORCHESTRA November/December 1947 Lookout House Covington,KY MBS broadcast Same as 4722. DE9013a Riff 'n' Dri 11 unissued DE9013b Ole Buttermilk Sky vcDP unissued DE9013c The Mooche unissued NOTE - 9013a Same as 4609f,but: 1°X,12DE. 9013c Same as 4705c,but TG instead of WDP; and: 8°I17JHa·HC(cl .)·RP(cl .)&RN,t. DUKE ELLINGTON AND HIS ORCHESTRA Earl y Jul y 1967 Carter Barron Amphitheater Washington,DC Concert Same as 6759. DE9019a Take The "A" Train theme unissued DE9019b Swarrp Goo unissued DE9019c Girdle Hurdle unissued DE9019d The Shepherd unissued DE901ge Mount Hari ssa unissued DE9019f Salome unissued DE9019g Passion Flower un; ssued DE9019h Things Ain't What They Used To Be unissued DE9019i Medley: alSatin Doll unissued b)Solitude unissued c)Don't Get Around Much Anymore unissued dlMood Indigo unissued elI'm Beginning To See The Light uni ssued f)Sophisticated Lady unissued glCaravan unissued hlDo Nothin' Till You Hear From Me unissued i)I Let &Don't Get unissued DE9019j Things Ain't What They Used To Be unissued NOTE - 9019a Same as 5702a: 9019b Same as 6705h,but: cod4RP(cl.),t: 9019c Same as 6746c: 9019d Same as 6708b: 901ge Same as 6707h: 9019f Same as 6759ae,but: int22CCo: 9019g Same as 6233c: 9019h Same as 6124x: 9019i a)int6BAND,8DE:1°BAND: 2°24DE.8BAND:cod4DE. b)Same as 6680j, c)Same as 6003m, d)Same as 6110j, e)Same as 6023g, f)Same as 6538i, g)Same as 6350d. h)Same as 6344h, i)Same as 4624h,but: int8DE; 9019j Same as 7250ac. DESOR Section one - Sessions 1036 JOHNNY HODGES AND HIS ORCHESTRA May 20,1937 Master Records Studio New York Citv.NY Master rec.session CW(t .. vc.);BB(cl.);JH.OH(a.s.);HC(b.s.);DE(p.);FG(g.);HA1(b.):SG(d.);BCk(vc.). DE3710a Foolin' Myself vcBCk Va 576.CBS 88185 B21186-1 DE3710b Foolin' Myself vcBCk Ra RTE·23005.CBS 88185 B21186 -2 DE3710c A Sailboat In The Moonlight vcBCk Va 586.CBS 88185 B21187 -1 DE3710d A Sailboat In The Moonlight vc8Ck Ra RTE·23005 B21187 -2 DE3710xa You'll Never Go To Heaven vc8Ck unissued 821188 -1 DE3710e You'll Never Go To Heaven vc8Ck Va 576.C8S 88210 821188-2 DE3710f Peckin' vcCW FDC 1022.CBS 88210.TOH 10 821189·1 DE3710g Peckin' vcCW Ra RTE·23005.CBS 88210 821189 -2 DE3710h Peck;n' vcCW Ra RTE·23005.CBS 88210 B21189·3 NOTE - 3710xa Same as 3710e. DUKE ELLINGTON AND HIS ORCHESTRA August 19,1951 New York City.NY Gotham rec.session Same as 5111,but: NO(vc.)out. DE5124a Take The "A" Train theme SoP P-575 DE5124b Fancy Dan Gt (GRC·DE1R/DE2R).SoP P·575.Du KLJ- 20034.P30 02 DE5124c The Hawk Talks Gt (GRC-DE1R/DE2R).SoP P·575.Du KLJ· 20034.P30 02 DE5124d 01' Man River veAH Gt (GRC·DE1R/DE2R).SoP P·575.Du KLJ- 20034.P30 02 DE5124e C-Jam Blues Gt (GRC·DE1R/DE2R).SoP P·575.Du KLJ· 20034 DE5124f Caravan Gt (GRC·DE1R/DE2R) DE5124g Mood Indigo Gt (GRC·DE1R/DE2R) BS(p.)added. DE5124h Blues No.04 Gt (GRC·DE1R/DE2R) BSCp. lout. DE5124; Tea For Two Gt (GRC·DEIR/DE2R) DE(tk.)acc.by; JHa.RP(cl.).HC(bs.cl.). DE5124j Monologue Gt (GRC-DE1R/DE2R) As before. DE5124k Duet Gt (GRC·DE1R/DE2R).Gt (GRC·2873) DE51241 rV. I.P. Boogie Gt (GRC·DE1R/DE2R).Gt (GRC·2873) DE5124m LJam With Sam Gt (GRC-DE1R/DE2R).Gt (GRC·2873) DE5124n Primping At The Prom Gt (GRC·DE1R/DE2R) DE51240 Moonlight Fiesta Gt (GRC·DE1R/DE2R) DE5124p Sophisticated Lady Gt (GRC·DE1R/DE2R) NOTE· V.I.P. Boogie and Jam With Sam are presented as Threesome. 5124n Same as 5318a; 51240 int4BAND;1°JT;2°16BAND&CA.16WS; 3°CA;4°BAND&CA;cod8JT.2BAND: 5124p 1°DE;2°WS:cod6WS. OESOR Section one - Sessions 1023 DUKE ELLINGTON AND HIS FAMOUS ORCHESTRA December 21,1936 Los Angeles,CA Master rec.session Same as 3505. DE3612a Scattin' At The Kit Kat (Scattin' At The FDC 1022.CBS 88140,FMRS (FM-4001/02) L0375-1 Cotton Club) DE3612b Bl ad. Butterfl y Br 8044,CBS 88140 L0376-1 DE3612xa Black Butterfly unissued L0376·2 DUKE ELLINGTON Same session DE(p.) . DE3612c rMood Indigo Ma 102,CBS 88140.Ra RTE-23001 1 DE3612d ISolitude Ma 102,CBS 88140.Ra RTE-23001 IL0377-1 DE3612e LMood Indigo Ma 102.CBS 88140,Ra RTE·23001 J DE3612f rln A Sentimental Mood Ma 102,CBS 88140,Ra RTE·23001 1 L0378-1 DE3612g LSophisticated Lady Ma 102,CBS 88140.Ra RTE-23001 J NOTE - 3612xa int2DE:lo8HC&DE,24BAND;pas4BAND;2°LB. DUKE ELLINGTON AND HIS ORCHESTRA March 3,1961 Radio Recorders Los Angeles,CA CBS rec.session Same as 6102.but. AB(b.)otJt,alid. AlIK(b.)added. DE6103a Where In The World vcMG CBS 26306 RHC070041· DE6103xa Tulip Or Turnip vcRN unissued RHC070042-2 DE6103b Tulip Or Turnip vcRN FMRS (FM-4001/02) RHC070042·3 DE6103c Tulip Or Turnip vcRN CBS 88654 RHC070042 -6 DE6103d Song From "Moulin Rouge" vcMG CBS 26306 RHC070043· BS(p.)out;DE(p.)added. DE6103xb Harlem Air·Shaft unissued RHC070044- DE6103xc Harlem Air·Shaft unissued RHC070044· DE6103xd Harlem Air'Shaft unissued RHC070044· DE6103e Harlem Air'Shaft unissued RHC070044·2 DE6103xe Harlem Air·Shaft uni ssued RHC070044·6 NOTE· 6103xa Same as 6103b: 6103xb int4DE;lO(nc)2PG; 6103xc int4DE;lO(nc)28PG; 6103xd int4DE;loPG;2°(nc)13BAND; 6103xe Same as 6103e. DUKE ELLINGTON AND HIS ORCHESTRA Earl y 1937 Los Angeles,CA Soundtrack Same as 3505, but: The Chrinoline Choir(vc.) added. DE9012a All God's Chillun Got Rhythm vcIA, TCC TCM R2. 79805 NOTE - The feature lenght film title is "A Day At The Races". produced by Metro Goldwin Meyer. 9012a ver8IA;pas4IA;l"IA; pas4BAND;3°3TCC+4IA.3TCC+4IA,6IA&TCC,4IA+2TCC,16TCC;pa s4TCC.6BAND,2BB:4°(nc)14CW,2BAND:pasl0BAND:5°(nc)16BAND: cod6BAND. DESOR Section one - Sessions 1037 DUKE ELLINGTON AND HIS ORCHESTRA July 29,1940 Eastwood Gardens Detroit,MI NBC broadcast Same as 4003. DE4014xa At A Dixie Roadside Diner unissued DE4014a Harlem Air-Shaft JM (DE·003),Ev EV-3005.NI 4016 DE4014b All Too Soon (I Don't Hind) JH (DE·003).Ev EV·3005.NI 4016 DE4014c Me And You velA JH (DE·003) DE4014d Jack The Bear JH (OE'003) DE4014e Concerto For Cootie JH (DE·003) DE4014f Ko-Ko JH (DE·003).JS 705 DE4014g Orchids For Remembrance JH (DE·003) DUKE ELLINGTON AND HIS ORCHESTRA March 9,1964 Konserthuset Stockholm.S 2nd concert Same as 6376,but: ES(b.,vc.)out;and: JW(b.)added.
Recommended publications
  • Hedenstromspr11.Pdf (1.367Mb)
    Big Band Jazz and 20th C. Art Music: The Historical Relationship Documented Aaron Hedenstrom Music Composition University of Wisconsin-Eau Claire Faculty Mentor: Ethan Wickman, DMA The Premise Data Analysis: Timeline of Events The art music tradition (music stemming from the European Classical tradition) and the jazz tradition have had major impacts on one another throughout the 20th and 21st 1920s 1922: Darius Milhaud composes composes Trois rag caprices centuries. This project was designed to lay out history's events to show the 1923: Darius Milhaud premieres La création du monde 1924: Gershwin premieres "Rhapsody in Blue" 1926: Duke Ellington's 10-piece band records "East St. Louis Toodle-oo" which was their first recording progression of 20th century music as it relates to the big band and art music traditions. 1927: Ellington's 10-piece band records "Black and Tan Fantasy" 1928: Ravel tours North America and composes Sonata for Violin and Piano, which has a slow movement called Blues. American press notes Ravel's love of jazz The importance of this relationship is evident in the immense popularity of jazz-art and blues music hybrids like Rhapsody in Blue and also in the vast range of possibilities to be 1929: Gershwin premieres "An American in Paris" found in future musical creations. 1930s 1930: Duke Ellington's 12-piece band appears in film Check and Double Check and records the famous Mood Indigo. 1930: Gershwin writes "I Got Rhythm" 1932-1942: Ellington band enlarges to become 6 brass, 4 reeds, and rhythm section 1933-1938:
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • Ellington-Lambert-Richards) 3
    1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43.
    [Show full text]
  • Where Stars Are Born and Legends Are Made™
    Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill.
    [Show full text]
  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
    HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • Pioneers of the Concept Album
    Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St.
    [Show full text]
  • Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra
    MUNI 20070315 DUKE ELLINGTON C D 1 1. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra. NY, November 29, 1926. 2. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra. NY, October 26, 1927. 3. Harlem River Quiver [Brown Berries] (Jimmy McHugh-Dorothy Fields-Danni Healy) Duke Ellington and his Orchestra. NY, December 19, 1927. 2:48 4. Tiger Rag [Part 1] (Nick LaRocca) 2:52 5. Tiger Rag [Part 2] 2:54 The Jungle Band. NY, January 8, 1929. 6. A Nite at the Cotton Club 8:21 Cotton Club Stomp (Duke Ellington-Johnny Hodges-Harry Carney) Misty Mornin’ (Duke Ellington-Arthur Whetsol) Goin’ to Town (D.Ellington-B.Miley) Interlude Freeze and Melt (Jimmy McHugh-Dorothy Fields) Duke Ellington and his Cotton Club Orchestra. NY, April 12, 1929. 7. Dreamy Blues [Mood Indigo ] (Albany Bigard-Duke Ellington-Irving Mills) 2:54 The Jungle Band. NY, October 17, 1930. 8. Creole Rhapsody (Duke Ellington) 8:29 Duke Ellington and his Orchestra. Camden, New Jersey, June 11, 1931. 9. It Don’t Mean a Thing [If It Ain’t Got That Swing] (D.Ellington-I.Mills) 3:12 Duke Ellington and his Famous Orchestra. NY, February 2, 1932. 10. Ellington Medley I 7:45 Mood Indigo (Barney Bigard-Duke Ellington-Irving Mills) Hot and Bothered (Duke Ellington) Creole Love Call (Duke Ellington) Duke Ellington and his Orchestra. NY, February 3, 1932. 11. Sophisticated Lady (Duke Ellington-Irving Mills-Mitchell Parish) 3:44 Duke Ellington and his Orchestra.
    [Show full text]
  • The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
    THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St.
    [Show full text]
  • ELLINGTON '2000 - by Roger Boyes
    TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world.
    [Show full text]
  • John Cornelius Hodges “Johnny” “Rabbit”
    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
    [Show full text]
  • The Album Was Recorded in the Sessions Described in the Original Liner Notes Which Follow
    The album was recorded in the sessions described in the original liner notes which follow. Two of the tracks that appear here- "Fillie Trillie" and "Satin Doll"---were part of the same recording sessions, but were not included on the album originally released, thus are not discussed in the notes that follow. The album began as a single recording session during which we intended to record three or four of Duke's recent compositions for release sometime in the future. It began early one afternoon in February when the band arrived back in New York from a long stay in Florida, and before we even began, the session was turning into a welcome-home party for Duke. Dozens of fans appeared in the studio, among them Dizzy Gillespie (with trumpet) and Jimmy Rushing, who likes to listen to big bands, and Jimmy Jones, who just happened to be passing by. As the crowd gathered Duke was on the phone calling his group of nine percussionists, and the studio lobby was filling up with kettle drums and xylophones. Chairs were set up for our unexpected audience, and Duke, with the innocent expression of a small boy who has just dropped a match into a gas tank, said, "Let's see what happens:" Last summer, between jazz festivals, Ellington introduced at New York's Lewisohn Stadium one of the dizzier flights of musical fancy in his long career. From the city's symphonic musicians he drew nine men to play a couple of short pieces written to feature a full set of tympani and a line of vibraphones and marimbas and xylophones long enough to stretch from one side of the large stage to the other.
    [Show full text]
  • The Descending Diminished 7Ths in the Brass in the Intro
    VCFA TALK ON ELLINGTON COMPOSITION TECHNIQUES FEB.2017 A.JAFFE 1.) Clarinet Lament [1936] (New Orleans references) https://www.youtube.com/watch?v=FS92-mCewJ4 (3:14) Compositional Techniques: ABC ‘dialectical’ Sonata/Allegro type of form; where C = elements of A + B combined; Diminution (the way in which the “Basin St. Blues” chord progression is presented in shorter rhythmic values each time it appears); play chord progression Quoting with a purpose (aka ‘signifying’ – see also Henry Louis Gates) 2.) Lightnin’ [1932] (‘Chorus’ form); reliance on distinctively individual voices (like “Tricky Sam” Nanton on trombone) – importance of the compositional uses of such voices who were acquired by Duke by accretion were an important element of his ‘sonic signature’ – the opposite of classical music where sonic conformity in sound is more the rule in choosing players for ensembles. https://www.youtube.com/watch?v=3XlcWbmQYmA (3:07) Techniques: It’s all about the minor third (see also discussion of “Tone Parallel to Harlem”) Motivic Development (in this case the minor 3rd; both harmonically and melodically pervasive) The descending diminished 7ths in the Brass in the Intro: The ascending minor third motif of the theme: The extended (“b9”) background harmony in the Saxophones, reiterating the diminished 7th chord from the introduction: Harmonic AND melodic implications of the motif Early use of the octatonic scale (implied at the modulation -- @ 2:29): Delay of resolution to the tonic chord until ms. 31 of 32 bar form (prefigures Monk, “Ask Me Now”, among others, but decades earlier). 3.) KoKo [1940]; A tour de force of motivic development, in this case rhythmic; speculated to be related to Beethoven’s 5th (Rattenbury, p.
    [Show full text]