DOCSLIB.ORG

Dems Bulletin Duke Ellington Music Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL EDITOR: SJEF HOEFSMIT ASSISTED BY: ROGER BOYES Voort 18b, Meerle, Belgium Telephone: +32 3 315 75 83 Email: [email protected] If you are like me, you save your DEMS Bulletins and consult them with reasonable frequency. I often have trouble remembering when something was published in DEMS, thus I thought to make this Table of Contents for the DEMS Bulletins (with Sjef Hoefsmit's permission, of course). The items below are listed in the order that they were published in DEMS. Issues are arranged in reverse chronological order. Each item consists of the DEMS issue and the title and page number of each article. You can search the article titles using the search function on your internet brower, which in Netscape is Ctrl + F (both keys at the same time). Thus, if you remember reading about a good place to buy discographies somewhere in a DEMS Bulletin, hit Ctrl + F, type discog into the search window (you don't have to type the whole word) and hit enter. You will be taken to the following entry: 2001/3 DEMS 4 : Discographies available from Arthur Newman Here you learn that Arthur Newman is the man and that the information you seek is in the 2001 DEMS Bulletin, issue number 3, on page 4. Admittedly you can only find entries if you remember a word from the title of the DEMS article, but I still found this useful. I began with the most current DEMS Bulletin and am working backwards. If you wish to subscribe to this wonderful publication, write to: The Duke Ellington Music Society Voort 18b 2328 Meerle Belgium or send an email to: [email protected] 2001 DEMS Issue #3 2001/3 DEMS 1 : September 11, 2001 2001/3 DEMS 1 : Important News - Ellington Conference in Hawaii 2001/3 DEMS 1 : Important New Book - Something to Live For - The Music of Billy Strayhorn by Walter van de Leur [notice] 2001/3 DEMS 2 : At the End of 2001 [DEMS cassette CA-29] 2001/3 DEMS 3 : Change of Mind [movie poster reprinted] 2001/3 DEMS 4 : New Book - Adelaide Hall 2001/3 DEMS 4 : Discographies available [from Arthur Newman] 2001/3 DEMS 4 : Ellington: Beyond Categories of XX Century 2001/3 DEMS 4 : The Duke Ellington Reader 2001/3 DEMS 5-6 : Rex or Ray? An Internet discussion 2001/3 DEMS 6 : Collectors' item? 2001/3 DEMS 6 : Saddest Tale 2001/3 DEMS 7 : Blue Serge [music] 2001/3 DEMS 7 : The Mooche - 1oct28 2001/3 DEMS 7 : Unusual credits 2001/3 DEMS 8 : A re-issue on order 2001/3 DEMS 8 : Music America Loves Best 2001/3 DEMS 9 : Blue Serge [music] 2001/3 DEMS 9 : Missing early Ellington Recordings? 2001/3 DEMS 9 : How long is Loco Madi? 2001/3 DEMS 10 : Hamburg concert was on 29may50 2001/3 DEMS 10 : Nameless Hour 2001/3 DEMS 10 : The last Studio Session 78 rpm standard groove recording issued 2001/3 DEMS 11 : Blue Serge [diagram] 2001/3 DEMS 11 : Could Ben Webster play acetates? 2001/3 DEMS 12 : Broadcasts at the Library of Congress 2001/3 DEMS 12 : Paris - 20sep59 2001/3 DEMS 12 : Monk's Moods - Anthony Brown 2001/3 DEMS 13 : The Harlem Footwarmers 2001/3 DEMS 13 : Manchester, N.H. - 3jun47 2001/3 DEMS 13 : Larry Adler 2001/3 DEMS 14 : New Releases - Sugabeat S3Beat 301 - 3 CD set - Sir Duke - The classic Victor recordings 1940-1942 2001/3 DEMS 14 : New Releases - Stardust CLP 1138-2 - 2 CD set - DE and his Famous Orchestra - Cotton Club Anthology 1938 2001/3 DEMS 14 : New Releases - ... and His Mother Called Him Bill 2001/3 DEMS 14 : New Releases - The DETS CDs 2001/3 DEMS 15 : New Releases - Penny (E) New Sound - Ltd PYCD 253 - Duke Ellington - 2 CD set 2001/3 DEMS 15 : New Releases - Columbia/Legacy CK 85316 - Duke Ellington Love Songs 2001/3 DEMS 16 : New Releases - Bethlehem R2 74315 - Historically Speaking The Duke 2001/3 DEMS 16 : New Releases - High definition Jazz HDJ 326 (CD) - Duke Ellington Swings (1999) 2001/3 DEMS 16 : New Releases - Storyville 103 8341 - 2 CD set - Carnegie Hall - 11dec43 2001/3 DEMS 16 : New Releases - Storyville STCD 8324 2001/3 DEMS 16 : New Releases - Columbia 501654 2 - 2 CD set - Duke Ellington presents Ivie Anderson 2001/3 DEMS 16 : New Releases - Jazz Hour JHR 73504 - Rockin' In Rhythm 2001/3 DEMS 17 : New Releases - Bella Musica BMMC 26.4008 (MD) - Duke Ellington 2001/3 DEMS 17 : New Releases - Definitive 11170 - 4 CD box - DE - Complete Columbia and RCA Victor sessions with Ben Webster 2001/3 DEMS 17 : New Releases - Musica Jazz MJCD 1141 - Mary Lou's Idea - Mary Lou Williams 2001/3 DEMS 17 : New Releases - Musica Jazz MJCD 1140 - Rex Stewart - Take It Easy 2001/3 DEMS 18 : Ellingtonia - Avid AMSC 720 - double CD - A Centenary celebration 2001/3 DEMS 18 : Ellingtonia - Blue Moon 1028-1029-1030-1031-1032 - Johnny Hodges - The Complete 1941- 1953 Small Group Sessions 2001/3 DEMS 18 : Ellingtonia - Hep CD 1065 Sounds of Harlem Volume 1 2001/3 DEMS 18 : Ellingtonia - Naxos 86032-2 - Double Duke - Joe Temperley 2001/3 DEMS 18 : Ellingtonia - Arbors CD ARCD 19225 - The International All-Star Band - A Portrait of Duke 2001/3 DEMS 18 : Ellingtonia - Arbors CD ARCD 19226 - Manhattan Swing: Bucky Pizzarelli, John Bunch and Jay Leonhart - A Visit With The Duke 2001/3 DEMS 19 : Ellingtonia - A Touch of Elegance LP Columbia CL 1649 (Stereo CS 8449) Andre Previn trio 2001/3 DEMS 19 : Ellingtonia - Mainstem Duo Series Vol. 3 - MCD 0021 - Ellingtonian Tales - Kep Peplowski, John Horler, Phil Lee 2001/3 DEMS 19 : Ellingtonia - Over the Edge Records - Goin' Home - A Tribute to Duke Ellington 2001/3 DEMS 20-22 : Questions (Q) by Willie Timner (WT) and answers by Sjef Hoefsmit (SH) 2001/3 DEMS 22 : Desor small corrections 5004 2001/3 DEMS 22 : New Desor correction-sheets 2001/3 DEMS 23 : Blue Rose album dubbing sessions reprint 2001/3 DEMS 24-27 : The New Desor corrections 2001/3 DEMS 27 : Errors in Bulletin 01/2 2001/3 DEMS 28-30 : New Releases on Compact Disc by Jerry Valburn 2001/3 DEMS 31 : Paying instructions 2001/3 DEMS 32 : Your donations for DEMS in 2002 2001 DEMS Issue #2 2001/2 DEMS 1 : Sad News - Helen Oakley Dance 1913-2001 2001/2 DEMS 2 : Sad News - Anita Moore 1949-2001 2001/2 DEMS 2 : Sad News - Ken Rattenbury 1920-2001 2001/2 DEMS 2 -3 : Sad News - Al Hibbler 1915 -2001 2001/2 DEMS 3 : Mark Tucker Memorial Fund at CBMR 2001/2 DEMS 3 : Tape collectors 2001/2 DEMS 3 : The Benny Aasland Collection 2001/2 DEMS 3 : The Irving Jacobs Collection 2001/2 DEMS 4-9 : An open letter to Ms Sylvia Miller, Publisher, Routledge Group, [regarding A.H. Lawrence, Duke Ellington and His World] by Steven Lasker 2001/2 DEMS 9 : Talk by A.H. Lawrence at Esowon Books 2001/2 DEMS 10-11 : Video Reports - The Duke Ellington Masters 2001/2 DEMS 11 : Video Reports - Tivoll Gardens - 2nov69 2001/2 DEMS 11 : Video Reports - French TV-Film "La Legende Due Duke" 2001/2 DEMS 12 : New Books - Duke's Diary Part Two by Ken Vail 2001/2 DEMS 12 : New Books - Brunswick Discography 2001/2 DEMS 12 : New Books - John Franceschina - Duke Ellington's Music for the Theatre 2001/2 DEMS 13 : The Brunswick Recording Laboratories Work Order & Questionnaire - Chicago - 11aug31 2001/2 DEMS 14 : New Books - Ben Webster His Life and Music - Jeroen de Valk 2001/2 DEMS 14 : New Books - The King of All Sir Duke Ellington and the Artistic Revolution by Peter Lavezzoli 2001/2 DEMS 15 : The 1931, 1933 and 1934 Advertising Manuals for Duke Ellington and His Famous Orchestra (Published by the office of Irving Mills). (Apparently lost) Motion picture trailers advertising Ellington. A 1930 Ellington short: Pathe Audio Review No. 1 2001/2 DEMS 15 : Hayes Alvis and/or Billy Taylor 2001/2 DEMS 15 : Doin' the Crazy Walk 2001/2 DEMS 15 : Adelaide Hall 2001/2 DEMS 16 : Ivie Anderson 2001/2 DEMS 16 : Ivie Anderson's recordings witout Duke Ellington's Orchestra 2001/2 DEMS 16 : Ivie Anderson's recordings witout Duke Ellington's Orchestra on CD 2001/2 DEMS 16 : Bunny Hop Mambo 2001/2 DEMS 17 : I Can't Put My Arms Around a Memory 2001/2 DEMS 17 : How long is Loco Madi? 2001/2 DEMS 17 : Windmill LP WMD 198 2001/2 DEMS 17 : Cootie Williams on Warwick 2001/2 DEMS 17 : Collectors' item? CBS CSP 16769 2001/2 DEMS 18 : The Harlem Footwarmers 2001/2 DEMS 18 : Ann "Sis" Quander 2001/2 DEMS 19 : The Harlem Footwarmers OKeh matrix cards 2001/2 DEMS 20 : Discography on CD-ROM 2001/2 DEMS 20 : Broadcasts at the Library of Congress 2001/2 DEMS 21 : What is the correct date of the 1950 Hamburg concert? 2001/2 DEMS 21 : Sentimental Lady on Unique Jazz-UJ35 2001/2 DEMS 22 : The Last Studio Session 78 rpm standard groove recording issued 2001/2 DEMS 22 : Suave Swing 2001/2 DEMS 23 : New Releases - Masters Of Jazz Double CD R2CD 8005 (1997) Duke Ellington 2001/2 DEMS 23 : New Releases - The Gold Collection (EEC) 1997 Retro R2CD 40-19 (double CD) 2001/2 DEMS 24 : New Releases - Gallerie GALE 405 (double CD) A Portrait of Duke Ellington 2001/2 DEMS 24 : New Releases - Golden Options (Sw) GO 3836 Duke Ellington Cocktails For Two 2001/2 DEMS 24 : New Releases - RCA Victor 09026 63459 2 The best of the complete recordings (1927-1973) 2001/2 DEMS 25 : New Releases - Duke Ellington Volume 12 1930/31 Masters of Jazz MJCD 174 2001/2 DEMS 25 : New Releases - Storyville CD STCD 8323 Togo Brava Suite 2001/2 DEMS 26 : Soso and Wood lead sheets 2001/2 DEMS 27 : Togo Brava Suite recording sheets 2001/2 DEMS 28 : New Releases - Arpeggio ARJ 009 Duke Ellington Cotton Club Nights available through Magnum Distribution 2001/2 DEMS 28 : New Releases - Warner Jazz 9362-47876-3 Afro Bossa - Concert In The Virgin Islands 2001/2 DEMS 28 : Ellingtonia - Early Jimmie Blanton 2001/2 DEMS 28 : Ellingtonia - Bang & Olufsen
Recommended publications
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)

    JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)

    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
  • Duke Ellington Kyle Etges Signature Recordings Cottontail

    Duke Ellington Kyle Etges Signature Recordings Cottontail

    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
  • Guide to Ella Fitzgerald Papers

    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.................................................................
  • J. Dorsey, Earl Hines Also Swell Trombone Showcased

    J. Dorsey, Earl Hines Also Swell Trombone Showcased

    DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de­ Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em­ side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat.
  • Ellington-Lambert-Richards) 3

    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.
  • Selected Observations from the Harlem Jazz Scene By

    Selected Observations from the Harlem Jazz Scene By

    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
  • Morgenstern, Dan. [Record Review: Thad Jones & Mel Lewis: Live at the Village Vanguard] Down Beat 35:8 (April 18, 1968)

    Morgenstern, Dan. [Record Review: Thad Jones & Mel Lewis: Live at the Village Vanguard] Down Beat 35:8 (April 18, 1968)

    Records are reviewed by Don DeMicheal, Gilbert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPartland, Dan Mor 11e nslar Bill Quinn, Harvey Pekar, William Russo, Harvey Siders, Pete Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by !lie Wr't n, I ers Ratings are : * * * * * excellent, * * * * very good, * * * good, * * fair, * poor . ' When two catalog numbers are listed, the first is mono, and the second is stereo . times (especially on Yellow Days) · his Thad Jones-Mel Lewis •- •- -. ... touch is uncannily close to the master 's. LIVE AT THE Vl.LLAGB VANGUA.ll." Solid S1A1e SS l80l6: L/lflc Pi:<lo ll; ,1 "/l'v..,. BIG BANDS Two ringers were brought in to beef up l'reodom; Barba l'eo/i11'; Do11'1 Git Sn1ty• tltl•, /0111 Tree; Samba Co11 Gde/m. ' "' 1I. Duke Ellington the trumpet section, currently the ban.d's weakest link. Everybody was on best be­ Personnel: Jone1, flu·cgelhoro; Snooky y 0 SOUL CALL-Verve V/V6·870l: La Pim Bell• Jimmy No1tingb3m, Marvin Stamm, Rkfiard ~•• Af.-i&11l11r;IVett litdia11 Pa11caltt; Soul C111/;Slti11 Jiavior, it seems-the band sounds tight Iiams, Bill Berry. trumpets; Bob Brool<o, II, Du/I; Jan, Will, Sm11. and together at all times. The superb ·re­ Garnett Bl'owo, Tom Mclmo,h, Cliff fi~a~yer, Personnel: Cnt Anderson, Herbie Jones, Cootie irombones; Jerome Richnrdson, Jerry Dad !>tr, \Villla 'ms. M,rccer I!llingron. uumpors; Buster cord ing brings out the foll flavor of the Joe Parcell, '.Eddie Daniels, -Pepper Adams r~t• lloiaod Hannn piano; Sam Herm an, • IM • Cooper, Lawrence Brown, Chuck Connors , rrom• magnificent Ellington sound; the reeds, in 1 bonci.: Russell Procope.
  • Pioneers of the Concept Album

    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.
  • Robert GADEN: Slim GAILLARD

    Robert GADEN: Slim GAILLARD

    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
  • Gerry Mulligan Discography

    Gerry Mulligan Discography

    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
  • Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra

    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.
  • John Cornelius Hodges “Johnny” “Rabbit”

    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”.