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Ellingtons Musiker Harald Grut ELLI NGTONS MUSIKER Andra avsnittet i artikelserien om de musiker som medverkat i Duke Ellingtons orkester Tizol sedan kom tillbaka 1951. Och så vän Quentin Jackson som den som skulle fort Trombonisterna der vi tillbaka till år 1932. sätta i Glenns spår. Det året beslöt Ellington att utöka trom Charlie Irvis spelade trombone med E l Quentin Jackson kom med Duke Ellington bonsektionen till att omfatta tre man. Hans lingtons första band från 1924 till 1926. redan 1948, men dittills endast som obemärkt val av tredje trombonist föll på Lawrence men kom sedan bort i Harlems asfaltdjungel. sidoman, vilket också gick väl ihop med Brown. »Omöjligt!» »Skamligt!» »Han Hans efterträdare blev Joe »Tricky Sam» hans blygsamma personlighet. Han hade kommer aldrig att klara det!» var de van Nanton, som blev något av en legend. Hans varit med länge i gam et: han hade varit ligaste kommentarerna. Men Brown gick i behandling av sordinen var en lika särpräg med M cKinneys Cotton Pickers, Don Red land med det, och Duke fick rätt än en lad del av Ellington-klangen som Bubber man och i många år med Cab Calloway, gång. Lawrence Brown kom från Kalifor Mileys, hans andliga broder, vän och in men han hade aldrig fått något solofram nien, där han hade spelat med Paul Howard spiration. »Tricky Sam» skapade sitt eget trädande. Hans plats hade varit på forste- och Les Hite. Han var häpnadsväckande sätt att spela trombone, och det kan sägas trombonistens stol, som sektionsledare. Duke teknisk, men att döma av vad som hörts att denna stil levde och dog med honom, gjorde honom till solist, och varken Jackson av honom från den tiden var det en viss för ingen har någonsin kunnat rekonstruera själv eller Ellington fick någonsin anledning ytlighet över hans spel. I varje fall anpas den. Kanske orsaken därtill är att Nanton att ångra detta. Quentin Jackson är ingen sade Brown sig väl i Ellingtons band, även var en primitiv, mycket okomplicerad natur »Tricky Sam» med sordinen, inte heller om olyckligt corny fraser halkade med här _ men han var en äkta musiker. Hans im någon Tyree Glenn, men han har bildat sitt och var när han var med. Och med var provisationer kanske inte var så fantasifulla, eget ganska dämpade sätt att använda sor han, under en lång tid, och han blev en kon men de hade en överväldigande rytmisk in dinen som passar på ett ypperligt vis till stant figur i orkestern, en av dessa musiker tensitet. (»Echoes o f the Jungle», »Work Duke Ellingtons musik. (»Fancy Dan», »The som helt enkelt hörde dit på grund av sitt Song».) När han spelade öppet gjorde han Mooche».) Jacksom är en musiker som har musikaliska tänkesätt. Det är svårt att före inte alls samma intryck. »Tricky Sam» stan tillgodogjort sig ofantligt mycket av sitt ställa sig sådana typiska Ellington-komposi- nade hos Duke ända till sin död 1946. Utan samarbete med Duke. för Ellingtons orkester kände han inte till 1929 kompletterade Duke sin orkester med någon musikalisk tillvaro. en andra trombone. Den hanterades av Juan Wilbur de Paris blev insatt som ersät Tizol, som kom från Porto Rico. Han spe tare för Joe Nanton efter dennes död. Han lade ventilbasun och blev ledare för den klarade inte av detta jobb, men satt kvar tvåhövdade trombonsektionen. Under sina till 1947, då han efterträddes av Tyree försita år med orkestern skötte han sin ledar Glenn. I honom fann Duke Ellington en ställning perfekt, tog ett habilt solo då och man som hade alla möjligheter att bli en då, och var den minst påträngande av E l god Ellington-musiker. Han var alls inte lingtons musiker. Men när han 1937 slog okänd när han började hos Duke, han hade ut i full blom med »Caravan» stod det klart spelat en längre tid med Cab Calloway och att han utgjorde ett »orientaliskt» inslag i turnerat i Europa med Don Redman. Men orkestern. Flera nummer av samma slag inte förrän han kom till Ellington fann han följde (»Pyramid», »Bakiff»), där Tizol sig riktigt till rätta. Han spelade inte som spelade straight och med fin kontroll (som »Tricky Sam» — det var det ingen som kunde också anstår en förstatrombonist). Tizols — men han spelade som Tyree Glenn. Hans specialiteter utgjorde ännu en färgton på sätt att använda sordinen hade en personlig Dukes palett. Han lämnade Ellington 1944 anstrykning, och han skötte sitt jobb be för att spela med Harry James orkester. undransvärt. Hans öppna spel var också av Det måtte inte ha varit så givande i längden, god kvalitet. (Dans nr 5 ur»Liberian Suite», för 1951 återvände han för en tid till E l »Sultry Serenade».) A v mindre betydelse i lington. detta sammanhang är, att han också var en När Tizol lämnade bandet 1944, blev pos duktig vibrafonist. Tyree Glenn lämnade ten som förstetrombonist lämnad åt Claude Ellington 1951 och har, liksom så många Jones, en old-timer som passerade jobbet andra av Dukes före detta musiker, alldeles obemärkt, sedan kom Quentin Jackson, som Joe "Tricky Sam" Nanton hade stort in försvunnit ut i det okända. Lotten föll på sedan blev utnämnd till trombonsolist, när flytande på Ellingtons musik. 12 OJ juni 1957 Leif Anderson: Brookmeyer (Forts. fr. sid. u) som ligger Basie ganska nära. På Basie byg ger vi också i viss mån . — Hur kom det sej att du började med ven tilbasun? — Jag vet inte riktigt. Kanske var det för jag kunde driva upp tekniken lättare på det Reflexer instrumentet. På den tiden jag bodde hemma i K. C. var Gerry där en gång i sällskap med 23. A Drum Is A Woman nen att finna just de fem rätta orden. Vem an Kai Winding. Då ville jag bara spela trombo Duke Ellington är vår tids största show nars? Vem är intelligent och framförallt ne. Det är visserligen lättare att nyansera på man. Han är en man som exakt vet vilken ef smart nog? en trombone, men för övrigt föredrar jag mitt horn. fekt han kan uppnå med ett pianoackord, en A Drum Is A Woman, Den frasen säger mer — Favoriter? orkesterklang eller en musikalisk bild: precis om Ellington som artist och människa än alla —. Earl Swope är en fin trombonist som det lika exakt som han förstår att utnyttja effek de miljoner ord som den övriga världen skrivit ten av en handrörelse, ett röstläge, en knyck om honom. talas för lite om. Fats Navarro, Art Blakey, på axeln eller en kolsvart manschettknapp. Zoot Sims, A l Cohn Thelonious Monk. Det Jazzintresserade kulturpersonligheter har Duke Ellington, mannen som varit en levande finns massor! A v arrangörer gillar jag förut kallat Duke en mystiker, en bitter sannings legend i mer än hälften av sitt liv, har gjort om Mulligan sådana män som Buster Harding, sägare i toner, en representant för PR O TES läran om »Slit-second-timing» (se Webster) Tiny Kahn, Johnny Mandel och Al Cohn. till en skön konst. Duke är sa STOR idag_ TEN, en rasfanatiker och så vidare, och kan Det måste finnas swing i musiken. Att knycka ske han också är allt det där; det Ellington- inom jazz, inom all musik, inom artisteri över eller låna in seriösa idéer i jazzen låter i nio ska budskapet har »tolkats» i glittrande ord huvudtaget — att det nästan är skrämmande. fall på tio bara fånigt. Men jag lyssnar gärna flöden på praktiskt taget alla tänkbara sätt, »Aha», säger vid detta laget den intelligente på riktig klassisk musik. Är det nån som håller men det är inte ofta någon har tänkt på att läsaren, »nu är den där Reflex-mannen blow- reda på tiden? Gerry hade visst nånting att beskriva Ellington som den han verkligen är. ing his top igen med sina sedvanliga våld prata om innan vi skulle in nästa gång . .. Den ouppnåelige showmannen. Som också rå samma överdrifter!» Det var faktiskt hög tid att dra sig tillbaka kar vara ett GENI. till Konserthuset. Bob beklagade att kvartetten De som tycker att vi excellerar i stora ord Lyssna på »A Drum Is A Woman» så för skulle åka vidare till Amsterdam redan tidigt och som ännu tvivlar på Ellington — lyssna står N i kanske vad vi menar. Om någon ar nästa morgon, eftersom han gärna hade velat på »A Drum Is A Woman», hans senaste tist har någonting att säga i dag så är det Duke se mer av Stockholm och höra betydligt mer verk! Inte bara för musikens skull — Duke Ellington. Tala om det för alla kultursnob svensk jazz. Men vad ska man göra. har skrivit bättre och framförallt mer kon bar och konstdebattörer som håller på med Vi halvsprang tillbaka till Konserthuset — centrerad och intensiv musik — utan lyssna sitt evighetstjat om intigheter. I vår tids and bara för att finna att det var gott om tid kvar. även, och speciellt, på Dukes sätt att låta liga öken är Duke en av de få orsakerna att Så blev det kvartettens tur igen. Deras andra sina vokala insatser hålla samman det hela. överhuvudtaget existera. framträdande på kvällen överträffade utan all Aldrig, har en talande röst så projicerat en så A Drum Is A Woman. jämförelse det första. En blandad säsongfinal helt förkrossande, magnetisk personlighet. fick en värdig avslutning. »A Drum Is A Woman». Redan titeln är så fantastiskt, diaboliskt, skickligt enkel och rik 24. Here W e Go Again tig att det är skrattretande att ingen kommit På sista tiden har det professionella jazz på den förr. V i lever i en tid då folk svettas bedömandet karakteriserats av ere strävan ef blod för att vara originella; då folk blir vric ter viss saklighet och neddämpning av alltför EN ENKEL BLUES kade i sina strävanden att hitta symboler och våldsamma känsloutbrott.
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