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1. Jack The Bear 3:18 9. Bojangles 2:56 17. Across The Track Blues 3:03 Transfers & Production: David Lennick (Duke Ellington) (Duke Ellington) (Duke Ellington) Digital Noise Reduction: K&A Productions Ltd. Victor 26536, mx BS 044888-1 Victor 26644, mx BS 050321-1 Victor 27235, mx BS 053579-1 Original monochrome photo of Duke Ellington Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 October 1940, Chicago from Michael Ochs Archives / Redferns 2. Morning Glory 3:20 10. A Portrait Of Bert Williams 3:12 18. The Sidewalks Of New York 3:17 (Duke Ellington–Rex Stewart) (Duke Ellington) (Chas. B. Lawlor-James W. Blake) Personnel Victor 26536, mx BS 044890-1 Victor 26644, mx BS 050322-1 Victor 27380, mx BS 053780-1 Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 December 1940, Chicago DUKE ELLINGTON & HIS FAMOUS ORCHESTRA 3. Ko-Ko 2:46 11. Harlem Air-Shaft 3:02 19. Flamingo 3:27 Cootie Williams, Wallace Jones, trumpets; Rex (Duke Ellington) (Duke Ellington) (Ted Grouya–Edward Anderson) Stewart, cornet; Tricky Sam Nanton, Lawrence Victor 26577, mx BS 044889-2 Victor 26731, mx BS 054606-1 Herb Jeffries, vocal Brown, trombones; Juan Tizol, valve trombone; Recorded 6 March 1940, Chicago Recorded 22 July 1940, New York Victor 27326, mx BS 053781-1 Johnny Hodges, alto & soprano sax; Otto 4. Concerto For Cootie (Do Nothing Till 12. Sepia Panorama 3:27 Recorded 28 December 1940, Chicago Hardwick, alto & bass sax; Ben Webster, tenor You Hear From Me) 3:23 (Duke Ellington) 20. Rumpus In Richmond 2:51 sax; Harry Carney, baritone sax, clarinet; Duke (Duke Ellington–Bob Russell) Victor 26731, mx BS 054625-1 (Duke Ellington) Ellington, piano; Fred Guy, guitar; Jimmy Victor 26598, mx BS 049016-1 24 July 1940, New York Victor 26788, mx BS 054609-1 Blanton, bass; Sonny Greer, drums Recorded 15 March 1940, Chicago (3:18) 13. In A Mellotone 3:20 Recorded 22 July 1940, New York 5. Me And You 2:58 (Duke Ellington) (Duke Ellington) Victor 26788, mx BS 053428-1 Ivie Anderson, vocal Recorded 5 September 1940, New York Victor 26598, mx BS 049017-1 14. Five O’Clock Whistle 3:22 Also available in the Naxos Jazz Legends series ... Recorded 15 March 1940, Chicago (Kim Gannon–Joe Myrow–Gene Irwin) 6. Cotton Tail 3:14 Ivie Anderson, vocal (Duke Ellington) Victor 26748, mx BS 053429-1 Victor 26610, mx PBS 049655-1 Recorded 5 September 1940, New York Recorded 4 May 1940, Hollywood 15. Warm Valley 3:26 7. Never No Lament (Don’t Get Around (Duke Ellington) Much Any More) 3:21 Victor 26796, mx BS 053430-3 (Duke Ellington–Bob Russell) Recorded 17 October 1940, Chicago Victor 26610, mx PBS 049656-1 16. Chlo-e 3:29 Recorded 4 May 1940, Hollywood (3:16) (Gus Kahn–Neil Moret) 8. Dusk 3:22 Victor 27235, mx BS 053580-1 (Duke Ellington) Recorded 28 October 1940, Chicago Victor 26677, mx BS 053020 8.120677* 8.120729* 8.120760 Recorded 28 May 1940, Chicago * Not available in the USA
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DUKE ELLINGTON 1940 was very impressive. Cootie Williams The opener Jack The Bear has some orchestra and Brown plays with a great deal of tune its own personality. Vol.7 (Bubber Miley’s successor) and Rex Stewart had prominent Blanton bass, which was authority. Dusk is a haunting ballad with an In November 1940 it was major news in the ‘Cotton Tail’ Original Recordings 1940 very different but equally unique sounds on unprecedented in jazz at the time when bassists eerie harmony, a beautiful melody and an swing world when Cootie Williams accepted a trumpet, and the same can be said for the were almost always restricted to simply playing inventive utilization of the sounds of Stewart lucrative offer to join Benny Goodman’s smooth virtuosity of Lawrence Brown and the four notes to the bar. There are also some fine and Brown. Bojangles pays tribute to the very orchestra. Luckily for Ellington, he quickly ran By 1940, Duke Ellington had been a major Fortunately he was able to develop his musical otherworldly sounds of his fellow trombonist spots for the unique voices of Bigard, Carney popular tap dancer Bill “Bojangles” Robinson across Ray Nance, a cornetist who not only bandleader for thirteen years, he had developed talents quickly and in 1922 he went to New York Tricky Sam Nanton. Barney Bigard was one of and Nanton but Blanton constantly commands while A Portrait Of Bert Williams remembers could fill in expertly for Williams as a plunger a personal style as a pianist, he was an for the first time to play with clarinettist Wilbur the major clarinettists in jazz, Johnny Hodges one’s attention. Morning Glory was one of the the pioneering black entertainer. mute specialist but was a top jazz violin soloist innovative arranger and he had written a couple Sweatman’s group. That gig did not last long was indisputably the top altoist and Harry finest features for Rex Stewart, whose half-valve The plot behind Harlem Air Shaft was and a personable vocalist. His impact would be of dozen standards. A household name for a and he soon went home, but the following year Carney was virtually the only major soloist on technique allowed him to utilize alternate supposedly the depiction of the many musical quite strong in 1941. decade and widely recognized as a genius, he returned to the Big Apple as a member of baritone sax. Ben Webster, the newest member fingering to achieve an unusual tone. Ko-Ko, sounds and moods that can be heard in an Nance was in the trumpet section when the Ellington led a unique orchestra that continued banjoist Elmer Snowden’s Washingtonians. A of the band having joined in March 1940, was although a simple minor blues, is completely apartment house in Harlem although the results band revived the old warhorse The Sidewalks to thrive during the swing era despite the heavy money dispute the following year resulted in the Ellington’s first important tenor soloist and he unpredictable, mostly featuring the colors of the are uniformly swinging. Several Ellington Of New York in inspired fashion with spots for competition. Amazingly enough in 1940, his big sidemen having a mutiny and making Ellington ranked just below Coleman Hawkins and Lester ensemble propelled by Blanton. soloists are heard from briefly on Sepia Bigard, Nanton (perfect for this song), Webster, band actually improved from the high level it the leader. Young on his instrument. In addition to such Concerto For Cootie, a showcase for Cootie Panorama (including Webster and Carney) but Hodges and Carney. Flamingo was an oddity, had attained in the late 1930s. In fact, music The Washingtonians were based at the fine section players as trumpeter Wallace Jones, Williams, would soon have its melody simplified, Blanton steals the show. Blanton is also an Ellington hit on a song that Duke and historians often consider Ellington’s orchestra of Kentucky Club during 1924-27, developing their valve trombonist Juan Tizol, altoist Otto its alternate theme discarded and lyrics added, significant on In A Mellotone (Ellington’s fresh Strayhorn did not write. It made Herb Jeffries 1940-42 to be his greatest. sound based on Ellington’s writing and the Hardwicke, rhythm guitarist Fred Guy and transforming it into Do Nothing Till You Hear melody over the chord changes of “Rose into a star and in 2004 the 92-year old singer Born 29 April 1899 in Washington D.C., inventive plunger mute work of trumpeter drummer Sonny Greer, Ellington was himself a From Me. Ivie Anderson, who had already been Room”) but the stars are Hodges and especially (who sounds sixty) still happily answers requests Edward Kennedy Ellington early on had dreams Bubber Miley and trombonist Tricky Sam major player. And the year before he had added with Duke’s band for eight years, sings on the Cootie. for the ballad. This collection closes with of being an artist but instead he ended up Nanton. In December 1927 Ellington landed a the first modern bass soloist in jazz, Jimmy forgotten but rather catchy Me And You which Ivie Anderson returns to sing the sly lyrics of Rumpus In Richmond, recorded a few months painting music with unique tone colours. He job for his orchestra as the house band at the Blanton. features Lawrence Brown and Johnny Hodges Five O’Clock Whistle while Johnny Hodges before Cootie Williams left Ellington, starring enjoyed watching local ragtime and stride Cotton Club and the regular radio broadcasts Add to that the adventurous arrangements trading off. Cotton Tail, one of those rare sounds quite sensuous on the slow ballad Cootie, Brown, Bigard and the glorious pianists perform and he emulated his musical resulted in the band soon being billed accurately and compositions of Ellington and his new instrumental performances where every single Warm Valley. Chlo-e, which was initially a Ellington ensemble. heroes, even slowing down James P. Johnson as Duke Ellington’s Famous Orchestra. musical partner Billy Strayhorn, and one has an note fits, has long been renowned for its perfect sentimental ballad until being destroyed by If Duke Ellington had done nothing but piano rolls so he could learn stride piano. Due The Cotton Club position and the Harlem orchestra with unlimited potential. It is no Ben Webster tenor solo and the chorus by the Spike Jones in the mid-1940s, was an off-the- record the twenty selections on this set, he to his charming personality, Ellington was able nightlife scene shielded Ellington and his wonder that so many of Duke’s recordings saxophone section, both of which became wall choice for Ellington to record. Billy would be considered immortal. But for Duke, to get off to a faster start in his hometown than musicians from the Depression and, years before during 1940 are memorable. Out of the twenty integral parts of the song. Strayhorn’s arrangement finds unexpected this was just one year out of a truly remarkable his early abilities deserved. Before he had a the swing era began, Duke Ellington was a selections on this collection, four (Do Nothing Never No Lament would, like Concerto For warmth in the tune, and features individual half-century career full of musical gems. regular band, he placed a large ad in the Yellow household name. His band’s personnel was very Till You Hear From Me, Cotton Tail, Don’t Get Cootie, have its name changed (to Don’t Get statements by Nanton, Blanton and Webster. Pages and was soon sending out groups to stable throughout the 1930s and their Around Anymore and In A Mellotone) became Around Much Anymore) when lyrics were added Across The Track Blues has spots for Bigard, – Scott Yanow parties and engagements. He only knew how to recordings were quite consistent both in their standards, Flamingo was a big hit and Five but the song itself would be unchanged. Hodges Stewart and Brown although it is the arranged author of seven jazz books including Swing, Bebop, play a few songs initially, so his appearances quality and their quantity. O’Clock Whistle and Harlem Air Shaft were plays beautifully, Williams shows why he was ensembles behind the solos that really give this Trumpet Kings and Jazz On Record 1917-76 with each of the orchestras was purposely brief. Even for Ellington, his lineup of musicians in popular. considered such a valuable member of the
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DUKE ELLINGTON 1940 was very impressive. Cootie Williams The opener Jack The Bear has some orchestra and Brown plays with a great deal of tune its own personality. Vol.7 (Bubber Miley’s successor) and Rex Stewart had prominent Blanton bass, which was authority. Dusk is a haunting ballad with an In November 1940 it was major news in the ‘Cotton Tail’ Original Recordings 1940 very different but equally unique sounds on unprecedented in jazz at the time when bassists eerie harmony, a beautiful melody and an swing world when Cootie Williams accepted a trumpet, and the same can be said for the were almost always restricted to simply playing inventive utilization of the sounds of Stewart lucrative offer to join Benny Goodman’s smooth virtuosity of Lawrence Brown and the four notes to the bar. There are also some fine and Brown. Bojangles pays tribute to the very orchestra. Luckily for Ellington, he quickly ran By 1940, Duke Ellington had been a major Fortunately he was able to develop his musical otherworldly sounds of his fellow trombonist spots for the unique voices of Bigard, Carney popular tap dancer Bill “Bojangles” Robinson across Ray Nance, a cornetist who not only bandleader for thirteen years, he had developed talents quickly and in 1922 he went to New York Tricky Sam Nanton. Barney Bigard was one of and Nanton but Blanton constantly commands while A Portrait Of Bert Williams remembers could fill in expertly for Williams as a plunger a personal style as a pianist, he was an for the first time to play with clarinettist Wilbur the major clarinettists in jazz, Johnny Hodges one’s attention. Morning Glory was one of the the pioneering black entertainer. mute specialist but was a top jazz violin soloist innovative arranger and he had written a couple Sweatman’s group. That gig did not last long was indisputably the top altoist and Harry finest features for Rex Stewart, whose half-valve The plot behind Harlem Air Shaft was and a personable vocalist. His impact would be of dozen standards. A household name for a and he soon went home, but the following year Carney was virtually the only major soloist on technique allowed him to utilize alternate supposedly the depiction of the many musical quite strong in 1941. decade and widely recognized as a genius, he returned to the Big Apple as a member of baritone sax. Ben Webster, the newest member fingering to achieve an unusual tone. Ko-Ko, sounds and moods that can be heard in an Nance was in the trumpet section when the Ellington led a unique orchestra that continued banjoist Elmer Snowden’s Washingtonians. A of the band having joined in March 1940, was although a simple minor blues, is completely apartment house in Harlem although the results band revived the old warhorse The Sidewalks to thrive during the swing era despite the heavy money dispute the following year resulted in the Ellington’s first important tenor soloist and he unpredictable, mostly featuring the colors of the are uniformly swinging. Several Ellington Of New York in inspired fashion with spots for competition. Amazingly enough in 1940, his big sidemen having a mutiny and making Ellington ranked just below Coleman Hawkins and Lester ensemble propelled by Blanton. soloists are heard from briefly on Sepia Bigard, Nanton (perfect for this song), Webster, band actually improved from the high level it the leader. Young on his instrument. In addition to such Concerto For Cootie, a showcase for Cootie Panorama (including Webster and Carney) but Hodges and Carney. Flamingo was an oddity, had attained in the late 1930s. In fact, music The Washingtonians were based at the fine section players as trumpeter Wallace Jones, Williams, would soon have its melody simplified, Blanton steals the show. Blanton is also an Ellington hit on a song that Duke and historians often consider Ellington’s orchestra of Kentucky Club during 1924-27, developing their valve trombonist Juan Tizol, altoist Otto its alternate theme discarded and lyrics added, significant on In A Mellotone (Ellington’s fresh Strayhorn did not write. It made Herb Jeffries 1940-42 to be his greatest. sound based on Ellington’s writing and the Hardwicke, rhythm guitarist Fred Guy and transforming it into Do Nothing Till You Hear melody over the chord changes of “Rose into a star and in 2004 the 92-year old singer Born 29 April 1899 in Washington D.C., inventive plunger mute work of trumpeter drummer Sonny Greer, Ellington was himself a From Me. Ivie Anderson, who had already been Room”) but the stars are Hodges and especially (who sounds sixty) still happily answers requests Edward Kennedy Ellington early on had dreams Bubber Miley and trombonist Tricky Sam major player. And the year before he had added with Duke’s band for eight years, sings on the Cootie. for the ballad. This collection closes with of being an artist but instead he ended up Nanton. In December 1927 Ellington landed a the first modern bass soloist in jazz, Jimmy forgotten but rather catchy Me And You which Ivie Anderson returns to sing the sly lyrics of Rumpus In Richmond, recorded a few months painting music with unique tone colours. He job for his orchestra as the house band at the Blanton. features Lawrence Brown and Johnny Hodges Five O’Clock Whistle while Johnny Hodges before Cootie Williams left Ellington, starring enjoyed watching local ragtime and stride Cotton Club and the regular radio broadcasts Add to that the adventurous arrangements trading off. Cotton Tail, one of those rare sounds quite sensuous on the slow ballad Cootie, Brown, Bigard and the glorious pianists perform and he emulated his musical resulted in the band soon being billed accurately and compositions of Ellington and his new instrumental performances where every single Warm Valley. Chlo-e, which was initially a Ellington ensemble. heroes, even slowing down James P. Johnson as Duke Ellington’s Famous Orchestra. musical partner Billy Strayhorn, and one has an note fits, has long been renowned for its perfect sentimental ballad until being destroyed by If Duke Ellington had done nothing but piano rolls so he could learn stride piano. Due The Cotton Club position and the Harlem orchestra with unlimited potential. It is no Ben Webster tenor solo and the chorus by the Spike Jones in the mid-1940s, was an off-the- record the twenty selections on this set, he to his charming personality, Ellington was able nightlife scene shielded Ellington and his wonder that so many of Duke’s recordings saxophone section, both of which became wall choice for Ellington to record. Billy would be considered immortal. But for Duke, to get off to a faster start in his hometown than musicians from the Depression and, years before during 1940 are memorable. Out of the twenty integral parts of the song. Strayhorn’s arrangement finds unexpected this was just one year out of a truly remarkable his early abilities deserved. Before he had a the swing era began, Duke Ellington was a selections on this collection, four (Do Nothing Never No Lament would, like Concerto For warmth in the tune, and features individual half-century career full of musical gems. regular band, he placed a large ad in the Yellow household name. His band’s personnel was very Till You Hear From Me, Cotton Tail, Don’t Get Cootie, have its name changed (to Don’t Get statements by Nanton, Blanton and Webster. Pages and was soon sending out groups to stable throughout the 1930s and their Around Anymore and In A Mellotone) became Around Much Anymore) when lyrics were added Across The Track Blues has spots for Bigard, – Scott Yanow parties and engagements. He only knew how to recordings were quite consistent both in their standards, Flamingo was a big hit and Five but the song itself would be unchanged. Hodges Stewart and Brown although it is the arranged author of seven jazz books including Swing, Bebop, play a few songs initially, so his appearances quality and their quantity. O’Clock Whistle and Harlem Air Shaft were plays beautifully, Williams shows why he was ensembles behind the solos that really give this Trumpet Kings and Jazz On Record 1917-76 with each of the orchestras was purposely brief. Even for Ellington, his lineup of musicians in popular. considered such a valuable member of the
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DUKE ELLINGTON 1940 was very impressive. Cootie Williams The opener Jack The Bear has some orchestra and Brown plays with a great deal of tune its own personality. Vol.7 (Bubber Miley’s successor) and Rex Stewart had prominent Blanton bass, which was authority. Dusk is a haunting ballad with an In November 1940 it was major news in the ‘Cotton Tail’ Original Recordings 1940 very different but equally unique sounds on unprecedented in jazz at the time when bassists eerie harmony, a beautiful melody and an swing world when Cootie Williams accepted a trumpet, and the same can be said for the were almost always restricted to simply playing inventive utilization of the sounds of Stewart lucrative offer to join Benny Goodman’s smooth virtuosity of Lawrence Brown and the four notes to the bar. There are also some fine and Brown. Bojangles pays tribute to the very orchestra. Luckily for Ellington, he quickly ran By 1940, Duke Ellington had been a major Fortunately he was able to develop his musical otherworldly sounds of his fellow trombonist spots for the unique voices of Bigard, Carney popular tap dancer Bill “Bojangles” Robinson across Ray Nance, a cornetist who not only bandleader for thirteen years, he had developed talents quickly and in 1922 he went to New York Tricky Sam Nanton. Barney Bigard was one of and Nanton but Blanton constantly commands while A Portrait Of Bert Williams remembers could fill in expertly for Williams as a plunger a personal style as a pianist, he was an for the first time to play with clarinettist Wilbur the major clarinettists in jazz, Johnny Hodges one’s attention. Morning Glory was one of the the pioneering black entertainer. mute specialist but was a top jazz violin soloist innovative arranger and he had written a couple Sweatman’s group. That gig did not last long was indisputably the top altoist and Harry finest features for Rex Stewart, whose half-valve The plot behind Harlem Air Shaft was and a personable vocalist. His impact would be of dozen standards. A household name for a and he soon went home, but the following year Carney was virtually the only major soloist on technique allowed him to utilize alternate supposedly the depiction of the many musical quite strong in 1941. decade and widely recognized as a genius, he returned to the Big Apple as a member of baritone sax. Ben Webster, the newest member fingering to achieve an unusual tone. Ko-Ko, sounds and moods that can be heard in an Nance was in the trumpet section when the Ellington led a unique orchestra that continued banjoist Elmer Snowden’s Washingtonians. A of the band having joined in March 1940, was although a simple minor blues, is completely apartment house in Harlem although the results band revived the old warhorse The Sidewalks to thrive during the swing era despite the heavy money dispute the following year resulted in the Ellington’s first important tenor soloist and he unpredictable, mostly featuring the colors of the are uniformly swinging. Several Ellington Of New York in inspired fashion with spots for competition. Amazingly enough in 1940, his big sidemen having a mutiny and making Ellington ranked just below Coleman Hawkins and Lester ensemble propelled by Blanton. soloists are heard from briefly on Sepia Bigard, Nanton (perfect for this song), Webster, band actually improved from the high level it the leader. Young on his instrument. In addition to such Concerto For Cootie, a showcase for Cootie Panorama (including Webster and Carney) but Hodges and Carney. Flamingo was an oddity, had attained in the late 1930s. In fact, music The Washingtonians were based at the fine section players as trumpeter Wallace Jones, Williams, would soon have its melody simplified, Blanton steals the show. Blanton is also an Ellington hit on a song that Duke and historians often consider Ellington’s orchestra of Kentucky Club during 1924-27, developing their valve trombonist Juan Tizol, altoist Otto its alternate theme discarded and lyrics added, significant on In A Mellotone (Ellington’s fresh Strayhorn did not write. It made Herb Jeffries 1940-42 to be his greatest. sound based on Ellington’s writing and the Hardwicke, rhythm guitarist Fred Guy and transforming it into Do Nothing Till You Hear melody over the chord changes of “Rose into a star and in 2004 the 92-year old singer Born 29 April 1899 in Washington D.C., inventive plunger mute work of trumpeter drummer Sonny Greer, Ellington was himself a From Me. Ivie Anderson, who had already been Room”) but the stars are Hodges and especially (who sounds sixty) still happily answers requests Edward Kennedy Ellington early on had dreams Bubber Miley and trombonist Tricky Sam major player. And the year before he had added with Duke’s band for eight years, sings on the Cootie. for the ballad. This collection closes with of being an artist but instead he ended up Nanton. In December 1927 Ellington landed a the first modern bass soloist in jazz, Jimmy forgotten but rather catchy Me And You which Ivie Anderson returns to sing the sly lyrics of Rumpus In Richmond, recorded a few months painting music with unique tone colours. He job for his orchestra as the house band at the Blanton. features Lawrence Brown and Johnny Hodges Five O’Clock Whistle while Johnny Hodges before Cootie Williams left Ellington, starring enjoyed watching local ragtime and stride Cotton Club and the regular radio broadcasts Add to that the adventurous arrangements trading off. Cotton Tail, one of those rare sounds quite sensuous on the slow ballad Cootie, Brown, Bigard and the glorious pianists perform and he emulated his musical resulted in the band soon being billed accurately and compositions of Ellington and his new instrumental performances where every single Warm Valley. Chlo-e, which was initially a Ellington ensemble. heroes, even slowing down James P. Johnson as Duke Ellington’s Famous Orchestra. musical partner Billy Strayhorn, and one has an note fits, has long been renowned for its perfect sentimental ballad until being destroyed by If Duke Ellington had done nothing but piano rolls so he could learn stride piano. Due The Cotton Club position and the Harlem orchestra with unlimited potential. It is no Ben Webster tenor solo and the chorus by the Spike Jones in the mid-1940s, was an off-the- record the twenty selections on this set, he to his charming personality, Ellington was able nightlife scene shielded Ellington and his wonder that so many of Duke’s recordings saxophone section, both of which became wall choice for Ellington to record. Billy would be considered immortal. But for Duke, to get off to a faster start in his hometown than musicians from the Depression and, years before during 1940 are memorable. Out of the twenty integral parts of the song. Strayhorn’s arrangement finds unexpected this was just one year out of a truly remarkable his early abilities deserved. Before he had a the swing era began, Duke Ellington was a selections on this collection, four (Do Nothing Never No Lament would, like Concerto For warmth in the tune, and features individual half-century career full of musical gems. regular band, he placed a large ad in the Yellow household name. His band’s personnel was very Till You Hear From Me, Cotton Tail, Don’t Get Cootie, have its name changed (to Don’t Get statements by Nanton, Blanton and Webster. Pages and was soon sending out groups to stable throughout the 1930s and their Around Anymore and In A Mellotone) became Around Much Anymore) when lyrics were added Across The Track Blues has spots for Bigard, – Scott Yanow parties and engagements. He only knew how to recordings were quite consistent both in their standards, Flamingo was a big hit and Five but the song itself would be unchanged. Hodges Stewart and Brown although it is the arranged author of seven jazz books including Swing, Bebop, play a few songs initially, so his appearances quality and their quantity. O’Clock Whistle and Harlem Air Shaft were plays beautifully, Williams shows why he was ensembles behind the solos that really give this Trumpet Kings and Jazz On Record 1917-76 with each of the orchestras was purposely brief. Even for Ellington, his lineup of musicians in popular. considered such a valuable member of the
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1. Jack The Bear 3:18 9. Bojangles 2:56 17. Across The Track Blues 3:03 Transfers & Production: David Lennick (Duke Ellington) (Duke Ellington) (Duke Ellington) Digital Noise Reduction: K&A Productions Ltd. Victor 26536, mx BS 044888-1 Victor 26644, mx BS 050321-1 Victor 27235, mx BS 053579-1 Original monochrome photo of Duke Ellington Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 October 1940, Chicago from Michael Ochs Archives / Redferns 2. Morning Glory 3:20 10. A Portrait Of Bert Williams 3:12 18. The Sidewalks Of New York 3:17 (Duke Ellington–Rex Stewart) (Duke Ellington) (Chas. B. Lawlor-James W. Blake) Personnel Victor 26536, mx BS 044890-1 Victor 26644, mx BS 050322-1 Victor 27380, mx BS 053780-1 Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 December 1940, Chicago DUKE ELLINGTON & HIS FAMOUS ORCHESTRA 3. Ko-Ko 2:46 11. Harlem Air-Shaft 3:02 19. Flamingo 3:27 Cootie Williams, Wallace Jones, trumpets; Rex (Duke Ellington) (Duke Ellington) (Ted Grouya–Edward Anderson) Stewart, cornet; Tricky Sam Nanton, Lawrence Victor 26577, mx BS 044889-2 Victor 26731, mx BS 054606-1 Herb Jeffries, vocal Brown, trombones; Juan Tizol, valve trombone; Recorded 6 March 1940, Chicago Recorded 22 July 1940, New York Victor 27326, mx BS 053781-1 Johnny Hodges, alto & soprano sax; Otto 4. Concerto For Cootie (Do Nothing Till 12. Sepia Panorama 3:27 Recorded 28 December 1940, Chicago Hardwick, alto & bass sax; Ben Webster, tenor You Hear From Me) 3:23 (Duke Ellington) 20. Rumpus In Richmond 2:51 sax; Harry Carney, baritone sax, clarinet; Duke (Duke Ellington–Bob Russell) Victor 26731, mx BS 054625-1 (Duke Ellington) Ellington, piano; Fred Guy, guitar; Jimmy Victor 26598, mx BS 049016-1 24 July 1940, New York Victor 26788, mx BS 054609-1 Blanton, bass; Sonny Greer, drums Recorded 15 March 1940, Chicago (3:18) 13. In A Mellotone 3:20 Recorded 22 July 1940, New York 5. Me And You 2:58 (Duke Ellington) (Duke Ellington) Victor 26788, mx BS 053428-1 Ivie Anderson, vocal Recorded 5 September 1940, New York Victor 26598, mx BS 049017-1 14. Five O’Clock Whistle 3:22 Also available in the Naxos Jazz Legends series ... Recorded 15 March 1940, Chicago (Kim Gannon–Joe Myrow–Gene Irwin) 6. Cotton Tail 3:14 Ivie Anderson, vocal (Duke Ellington) Victor 26748, mx BS 053429-1 Victor 26610, mx PBS 049655-1 Recorded 5 September 1940, New York Recorded 4 May 1940, Hollywood 15. Warm Valley 3:26 7. Never No Lament (Don’t Get Around (Duke Ellington) Much Any More) 3:21 Victor 26796, mx BS 053430-3 (Duke Ellington–Bob Russell) Recorded 17 October 1940, Chicago Victor 26610, mx PBS 049656-1 16. Chlo-e 3:29 Recorded 4 May 1940, Hollywood (3:16) (Gus Kahn–Neil Moret) 8. Dusk 3:22 Victor 27235, mx BS 053580-1 (Duke Ellington) Recorded 28 October 1940, Chicago Victor 26677, mx BS 053020 8.120677* 8.120729* 8.120760 Recorded 28 May 1940, Chicago * Not available in the USA
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1. Jack The Bear 3:18 9. Bojangles 2:56 17. Across The Track Blues 3:03 Transfers & Production: David Lennick (Duke Ellington) (Duke Ellington) (Duke Ellington) Digital Noise Reduction: K&A Productions Ltd. Victor 26536, mx BS 044888-1 Victor 26644, mx BS 050321-1 Victor 27235, mx BS 053579-1 Original monochrome photo of Duke Ellington Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 October 1940, Chicago from Michael Ochs Archives / Redferns 2. Morning Glory 3:20 10. A Portrait Of Bert Williams 3:12 18. The Sidewalks Of New York 3:17 (Duke Ellington–Rex Stewart) (Duke Ellington) (Chas. B. Lawlor-James W. Blake) Personnel Victor 26536, mx BS 044890-1 Victor 26644, mx BS 050322-1 Victor 27380, mx BS 053780-1 Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 December 1940, Chicago DUKE ELLINGTON & HIS FAMOUS ORCHESTRA 3. Ko-Ko 2:46 11. Harlem Air-Shaft 3:02 19. Flamingo 3:27 Cootie Williams, Wallace Jones, trumpets; Rex (Duke Ellington) (Duke Ellington) (Ted Grouya–Edward Anderson) Stewart, cornet; Tricky Sam Nanton, Lawrence Victor 26577, mx BS 044889-2 Victor 26731, mx BS 054606-1 Herb Jeffries, vocal Brown, trombones; Juan Tizol, valve trombone; Recorded 6 March 1940, Chicago Recorded 22 July 1940, New York Victor 27326, mx BS 053781-1 Johnny Hodges, alto & soprano sax; Otto 4. Concerto For Cootie (Do Nothing Till 12. Sepia Panorama 3:27 Recorded 28 December 1940, Chicago Hardwick, alto & bass sax; Ben Webster, tenor You Hear From Me) 3:23 (Duke Ellington) 20. Rumpus In Richmond 2:51 sax; Harry Carney, baritone sax, clarinet; Duke (Duke Ellington–Bob Russell) Victor 26731, mx BS 054625-1 (Duke Ellington) Ellington, piano; Fred Guy, guitar; Jimmy Victor 26598, mx BS 049016-1 24 July 1940, New York Victor 26788, mx BS 054609-1 Blanton, bass; Sonny Greer, drums Recorded 15 March 1940, Chicago (3:18) 13. In A Mellotone 3:20 Recorded 22 July 1940, New York 5. Me And You 2:58 (Duke Ellington) (Duke Ellington) Victor 26788, mx BS 053428-1 Ivie Anderson, vocal Recorded 5 September 1940, New York Victor 26598, mx BS 049017-1 14. Five O’Clock Whistle 3:22 Also available in the Naxos Jazz Legends series ... Recorded 15 March 1940, Chicago (Kim Gannon–Joe Myrow–Gene Irwin) 6. Cotton Tail 3:14 Ivie Anderson, vocal (Duke Ellington) Victor 26748, mx BS 053429-1 Victor 26610, mx PBS 049655-1 Recorded 5 September 1940, New York Recorded 4 May 1940, Hollywood 15. Warm Valley 3:26 7. Never No Lament (Don’t Get Around (Duke Ellington) Much Any More) 3:21 Victor 26796, mx BS 053430-3 (Duke Ellington–Bob Russell) Recorded 17 October 1940, Chicago Victor 26610, mx PBS 049656-1 16. Chlo-e 3:29 Recorded 4 May 1940, Hollywood (3:16) (Gus Kahn–Neil Moret) 8. Dusk 3:22 Victor 27235, mx BS 053580-1 (Duke Ellington) Recorded 28 October 1940, Chicago Victor 26677, mx BS 053020 8.120677* 8.120729* 8.120760 Recorded 28 May 1940, Chicago * Not available in the USA
5 8.120738 6 8.120738 DUKE ELLINGTON Vol. 7 8.120738 “COTTON TAIL” ELLINGTON DUKE www. NOTES ANDFULLRECORDING DETAILS INCLUDED h 9 Flamingo 19. TheSidewalksOf NewYork 18. AcrossTheTrack Blues 17. Chlo-e 16. Warm Valley 15. Five O’ClockWhistle 14. InAMellotone 13. SepiaPanorama 12. Williams OfBert APortrait 10. 20. Rumpus InRichmond Rumpus 20. 1 HarlemAir-Shaft 11. .Bojangles 9. Dusk 8. Never NoLament(Don’tGetAround 7. CottonTail 6. MeAndYou 5. ForCootie(DoNothingTill Concerto 4. Ko-Ko 3. MorningGlory 2. .JackTheBear 1. & g Much AnyMore) You HearFrom Me) 04NxsRgt nentoa t Design:RonHoares 2004 NaxosRightsInternationalLtd naxos.com 3:22 2:46 3:29 3:27 2:56 3:14 2:58 3:26 3:18 3:20 3:20 3:27 3:02 3:21 3:23 3:22 2:51 3:03 Original 1940Original Recordings 3:12 3:17 Made intheEU Digital NoiseReductionbyK&AProductionsLtd Digital 64:33 ADD Total Time Transfers andProductionbyDavid Lennick Vol.7
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