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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. -
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. -
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. -
Suggested Wedding Music
Suggested Wedding Music Bach-Gounod, Ave Maria Dekoven, O Promise Me Pachelbel, Canon in D Borodin, Polovetsian Dances Wagner, Bridal Chorus (Stranger in Paradise) Mendelssohn, Wedding March Grieg, Wedding Day at Troldhaugen Mouret, Rondeau Schubert, Ave Maria ~~~~~~~~~~~~~~~~~~~~~~~ Franck, Panis Angelicus Handel, Hornpipe “Water Music” Handel, La Rejouissance “Royal Jewish Repertoire Fireworks” Hava Nagila Massenet, Meditation from Thais Hatikvah Gluck, Minuet from “Orpheus” Raisins and Almonds Purcell, Trumpet Tune Mazel Tov! Clarke, Trumpet Voluntary Ceremony Schubert, Ave Maria Y’did Nefesh Mozart, Rondeau Jerusalem of Gold Bach, Jesu, Joy of Man’s Desiring Chorshat Ha’ekaliptus Bach, Air on the G String Hitragut Handel, Aria from Xerxes Erev Shel Shoshanim Vivaldi, Largo, from the Erev Ba Four Season Hana’ava Babanot English Folk Melody, Greensleeves K’var Achare Chatzot Molloy, Love’s Old Sweet Song Al Kol Ele Bond, I Love You Truly El Ginat Egoz Schubert, Serenade Dodi Li Gluck, Melody Dodi Li II Ivanovici, Waves of the Danube MacDowell, To a Wild Rose Bride and Groom Entrance Chopin, Etude No. 3 Od Yishama De Koven, Oh, Promise Me Od Yishama II Traditional, Believe Me, If All Those Yasis Alayich Endearing Young Charms Ose Shalom Bach, Sheep May Safely Graze Vay’hi Bishurn Melech Mozart, Alleluia Asher Bara Handel, Entrance, Queen of Sheba Y’varch’cha Liszt, Liebestraum Kozatske Grieg, I Love Thee (Ich Liebe Dich) and others…… Liszt, Liebestraum Tschaikowsky, Love Theme from Romeo and Juliet Barnby, O Perfect Love 1 Suggested Music for Weddin g Preludes and other Events Mozart Early Quartets Vocalise, Rachmaninoff Mozart, 3 Divertimenti Danse Des Mirlitons, Tschaikowsky Mozart, Sonate in D Bacarolle, Offenbach Beethoven Op. -
Newsletternewsletter March 2015
NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered. -
Flying Dutchman Label Discography
Flying Dutchman Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Flying Dutchman Label Discography Flying Dutchman was a jazz label created 1969 by the renowned producer/arranger Bob Thiele. It produced a fascinating mix of forward thinking music; the label combined the sounds of jazz, soul, experimentation, and black politics. Although the label put out some standard jazz albums, their most incredible records were those of unique musicians such as Leon Thomas, Lonnie Liston Smith, Gil Scott-Heron and Angela Davis. Initially the label was distributed by Atco Division of Atlantic, but later was switched to Bob Shad’s Mainstream label for two years. By 1974 the distribution was switched to RCA which distributed the label to 1984. The Flying Dutchman catalog was acquired by Legacy Recordings in 1993 from Bob Shad's daughter Tamara when she sold the assets of Mainstream Records, which had distributed Flying Dutchman until it closed in 1978. The Flying Dutchman label had several subsidiaries the specialized in different musical styles. The Amsterdam label concentrated on popular music including the recordings of Thiele’s wife Teresa Brewer. The Reggae label was established to release the reggae music from Jamaica. The Bluestime label was established to release blues recordings. Starting in 1974, Flying Dutchman albums were released in the RCA numbering system and were distributed by RCA. This numbering system was also used for albums on the Signature which was reactivated in 1974; Thiele also established the Bob Thiele Music label. For other albums on the Flying Dutchman, Signature, Bob Thiele Music label releases see the discography of the Bob Thiele labels. -
An Evening with the Duke
An Evening with the Duke The University Musical Society presents Duke Ellington and His Orchestra in a Special Benefit Concert SATURDAY EVENING, NOVEMBER 11, 1972, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN Mood Illdigo Mood ltldigo Sophisticatfd Lady Sophisticated Lady Solitllde Solitude I Lei A SOllg Go I Let A Song Go Out of My Hearl Out of My Heart DOIl't Get Around Don't Get Aroulld Milch A Ilymore Much Altymore I Got It Bad I Got It Bad Do N otMltg Til l'au Do Nothing Til You Hear From Me Hear From Me I'm Beginllillg to I'm Begilm ing to See Ihe Ligltt See the Light I'm Just A Lucky The Ann Arbor and University community I'm Just A Lucky So-alld-So welcomes Duke Ellington and his colleagues. So-and-So Just Squeeze Me Just Squeeze Me Satill Doll Their cooperation in making this evening pos Satin Doll Blac k alld Tall sible for the benefit of the University Musical Black ana Tall Fantasy Fantasy Creole Love Call Society is deeply appreciated. Creole Love Call The Mooche The Mooche Rockill' ill Rhythm Rockill' in Rhythm Warm Valley Warm Valley C Jam Bllles C Jam Blues III a Mellotone 111 a Mellotone Happy-Go-Lucky Happy-Go-Lucky Local Special Benefit Committee Local Afro-Bossa Afro-Bossa Black, Browll and Black, Brown alld Beige Sarah G. Power, Chairman Beige The Liberiall Suite Mary S. Palmer, Hazen J. Schumacher, Jr., The Liberian Suite The Perfume Suite The Perfume Suite Deep SOltth Suite Lois U. -
The Frog” in This Issue We Present a Portrait of Ben Webster Written in a Personal Way by Steve Wallace
BULLETIN NR 2, APRIL 2016, ÅRGÅNG 24 ”The Frog” In this issue we present a portrait of Ben Webster written in a personal way by Steve Wallace. 2-2016 Vårnyheter! I vårt förra nummer av Bulleti bidragit med insiktsfulla artiklar av utprovningen är avklarad och alla nen hade vi glädjande nog två nya diskografisk natur. Vi hoppas och tror beslut har fattats läggs webbplats medlemmar att hälsa välkomna och att vi framdeles kan konsultera Björn en upp och ellington.se får ett nytt i detta nummer kan vi meddela att när diskografiska problem uppstår. utseende. Det kan komma att ske vi åter har fått två nya medlemmar. I förra numret rapporterade jag före nästa medlemsmöte. Ulf Lun Men tyvärr minskar medlemskad om de tankar som finns på att ge din har varit föreningen synner ern undan för undan och det är klubben närvaro på Facebook i syfte ligen behjälplig i utformandet av mycket tråkigt att konstatera. att ge klubben ett ansikte där och den nya webbplatsen och kommer Fjärde måndagen i februari hade stimulera kontakten och utbyten framdeles att ha en central roll i vi årsmöte. I år avgick Key Jiger mellan medlemmarna och mellan hanteringen av densamma. ström som ledamot av styrelsen. medlemmar och andra Ellington Som vi nämnde i förra bulletinen Han har varit medlem sedan DESS intresserade. Det arbetet har gått kommer vi i år åter att ge ut en ny startade sin verksamhet 1994. Som vidare och olika lösningar för en CD till Er. Den kommer att in ledamot av styrelsen invaldes han Facebookgrupp har studerats. -
EARL HINES PLAYS New World Records 80361 DUKE ELLINGTON
EARL HINES PLAYS New World Records 80361 DUKE ELLINGTON When time pulled the rug from under Earl Hines in 1983, he was still enjoying a comeback that had lasted almost twenty years. That comeback was one of the most important events in recent jazz history and the music included here was recorded when his return to action was in high gear. In 1964, when Stanley Dance talked him into appearing for two performances at the Little Theater in New York, Hines had been in near obscurity and on the verge of retiring. Few at that point understood or valued his position in the development of jazz. Like too many others, Hines had by then begun to experience the dismay of one who had not only been of seminal significance to the language of his instrument but had also been very popular at one time. But as of that engagement in 1964, at fifty-eight, he was working again, and in circumstances that did not reduce him to “bookings with a trio into the kind of after-theater clubs that feature self-effacing music, as an unobtrusive accompaniment to the patrons' conversation,” as Martin Williams wrote of Hines's worst professional period. That episode had been so appalling because Hines was the “seer” of modern piano-playing, in just the same way that Louis Armstrong was the seer of modern trumpet-playing: the solutions found within his approach indelibly influenced his contemporaries, in absolute terms, and the future by implication. To the orchestral style of Afro-American piano formed of ragtime, stride, and blues, Hines added a linear approach that was a counterpoint to what Armstrong was doing on his horn. -
ARSC Journal
GIANTS OF JAZZ - DUKE ELLINGTON Time Life STL-J02 P3-14729 EAST ST LOUIS TOODLE-00 VO CALION 1926 Nov 29 CREOLE LOVE CALL VICTOR 1927 Oct 26 BLACK AND TAN FANTASIE VICTOR 1927 Oct 26 BLACK AND TAN FANTASY OKEH 1927 Nov 3 BLACK BEAUTY VICTOR 1928 Mar 26 JUBILEE STOMP VICTOR 1928 Mar 26 YELLOW DOG BLUES BRUNSWICK 1928 Jun 5 HOT AND BOTHERED OKEH 1928 Oct 1 THE MOOCHE BRUNSWICK 1928 Oct 17 SHOUT 'EM, AUNT TILLIE VICTOR 1930 Jun 4 RING DEM BELLS VICTOR 1930 Aug 26 MOOD INDIGO BRUNSWICK 1930 Oct 17 ROCKIN' IN RHYTHM OKEH 1930 Nov 8 IT DON'T MEAN A THING (IF IT AIN'T GOT THAT SWING) BRUNSWICK 1932 Feb 2 BABY, WHEN YOU AIN'T THERE BRUNSWICK 1932 Feb 4 BUGLE CALL RAG VICTOR 1932 Feb 9 MERRY GO ROUND ENGLISH COLUMBIA 1933 Feb 15 HARLEM SPEAKS ENGLISH DECCA 1933 Jul 13 IN THE SHADE OF THE OLD APPLE TREE BRUNSWICK 1933 Aug 15 MERRY GO ROUND BRUNSWICK 1935 Apr 30 TRUCKIN' BRUNSWICK 1935 Aug 19 CLARINET LAMENT (BARNEY'S CONCERTO) BRUNSWICK. 1936 Feb 27 ECHOES OF HARLEM (COOTIE'S CONCERTO) BRUNSWICK 1936 Feb 27 CARAVAN MASTER 1937 May 14 I LET A SONG GO OUT OF MY HEART BRUNSWICK 1938 Mar 3 SOPHISTICATED LADY COLUMBIA 1940 Feb 14 JACK THE BEAR VICTOR 1940 Mar 6 KO-KO VICTOR 1940 Mar 6 CONCERTO FOR COOTIE (DO NOTHIN' TILL YOU HEAR FROM ME) VICTOR 1940 Mar 15 COTTON TAIL VICTOR 1940 May 4 NEVER NO LAMENT (DON'T GET AROUND MUCH ANY MORE) VICTOR 1940 May 4 HARLEM AIR SHAFT VICTOR 1940 Jul 22 IN A MELLOTONE VICTOR 1940 Sep 5 WARM VALLEY VICTOR 1940 Oct 1 TAKE THE "A" TRAIN VICTOR 1941 Feb 15 I GOT IT BAD AND THAT AIN'T GOOD VICTOR 1941 Jun 26 PERDIDO VICTOR -
The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). -
How to Use This Songfinder
as of 3.14.2016 How To Use This Songfinder: We’ve indexed all the songs from 26 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 10. The Charlie Parker Real Book (The Bird Book)/00240358 C Instruments/00240221 11. The Duke Ellington Real Book/00240235 B Instruments/00240224 Eb Instruments/00240225 12. The Bud Powell Real Book/00240331 BCb Instruments/00240226 13. The Real Christmas Book – 2nd Edition Mini C Instruments/00240292 C Instruments/00240306 Mini B Instruments/00240339 B Instruments/00240345 CD-ROMb C Instruments/00451087 Eb Instruments/00240346 C Instruments with Play-Along Tracks BCb Instruments/00240347 Flash Drive/00110604 14. The Real Rock Book/00240313 02. The Real Book – Volume II 15. The Real Rock Book – Volume II/00240323 C Instruments/00240222 B Instruments/00240227 16. The Real Tab Book – Volume I/00240359 Eb Instruments/00240228 17. The Real Bluegrass Book/00310910 BCb Instruments/00240229 18. The Real Dixieland Book/00240355 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 19. The Real Latin Book/00240348 03. The Real Book – Volume III 20. The Real Worship Book/00240317 C Instruments/00240233 21. The Real Blues Book/00240264 B Instruments/00240284 22.