Rex Stewartwith His Orchestra in Sweden October L947
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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. -
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. -
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. -
JAMU 20141112-2 – Duke Ellington: BLACK, BROWN and BEIGE (1943, 1958, 1965-71)
JAMU 20141112-2 – Duke Ellington: BLACK, BROWN AND BEIGE (1943, 1958, 1965-71) Carnegie Hall, New York City, January 23, 1943: 1. Black 20:44 2. Brown 10:10 3. Beige 13:29 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; Betty Roche-voc; Billy Strayhorn-assistant arranger. LP Prestige P-34004 (1977) / CD Prestige 2PCD-34004-2 (1991) Columbia Studios, New York City, February 4, 11 & 12, 1958: 1. Part I 8:17 2. Part II 6:14 3. Part III (Light) 6:26 4. Part IV (Come Sunday) 7:58 5. Part V (Come Sunday) 3:46 6. Part VI (23rd Psalm) 3:01 (plus 10 bonus tracks on CD reissue) Cat Anderson, Harold Baker, Clark Terry-tp; Ray Nance-tp, vio; Quentin Jackson, Britt Woodman-tb; John Sanders-vtb; Jimmy Hamilton-cl; Russell Procope-cl, as; Bill Graham-as; Paul Gonsalves-ts; Harry Carney-bs; Duke Ellington-p; Jimmy Woode-b; Sam Woodyard-dr; Mahalia Jackson-voc. LP Columbia CS 8015 (1958) / CD Columbia/Legacy CK 65566 (1999) New York, March 4, 1965 & May 6, 1971; Chicago, March 31, 1965 & May 18, 1965: 1. Black 8:09 2. Comes Sunday 5:59 3. Light 6:29 4. West Indian Dance 2:15 5. Emancipation Celebration 2:36 6. The Blues 5:23 7. Cy Runs Rock Waltz 2:18 8. Beige 2:24 9. -
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. -
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”. -
Black, Brown and Beige
Jazz Lines Publications Presents black, brown, and beige by duke ellington prepared for Publication by dylan canterbury, Rob DuBoff, and Jeffrey Sultanof complete full score jlp-7366 By Duke Ellington Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington series black, brown, and beige (1943) Biographies: Edward Kennedy ‘Duke’ Ellington influenced millions of people both around the world and at home. In his fifty-year career he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime. -
Svensk Jazzhistoria - En Översikt Norstedts 1985
Svensk jazzhistoria - en översikt Norstedts 1985. Av Erik Kjellberg Förord till den reviderade nätupplagan 2009 Denna bok är slutsåld sedan många år. Men intresset för jazzhi storia har ökat och litteraturen är numera mycket omfattande. Jazzens historia i Sverige har under de senaste 25 åren doku menterats på skivor och sysselsatt flera forskare, författare och musiker. Förutsättningen då jag skrev boken var min deltidsan ställning vid Svenskt visarkiv (1978-83) i den verksamhet som resulterade i arkivets Jazzavdelning. Jag hade förmånen att ta del av de intervjuer som vi gjorde i Gruppen för svensk jazzhisto ria och de noter, tidskrifter och skivor som vi samlade in till den nya avdelningen vid Svenskt visarkiv. Boken författades på ledi ga stunder. Varje tid ställer nya förväntningar på det som skildras. Det är det med viss tvekan som jag nu gör min text tillgänglig igen. Jag har justerat en del formuleringar och felaktigheter, och (den för åldrade) diskografin har utelämnats liksom även personregistret som ju hänvisar till boksidor. I övrigt är boken intakt. En diskus sion av jazzens öden och äventyr i Sverige fr.o.m. 1980-talet till idag finns alltså inte med. En sådan komplettering skulle kräva en ny bok! Stockholm i september 2009 Erik Kjellberg INLEDNING 1900-talets musik och musikkulturer skulle kunna liknas vid ett brokigt lapptäcke, sammansytt av olikstora bitar i de mest varie rade former, färger och mönster. Vi finner en rad musiksorter och musiktraditioner sida vid sida, men där finns också över-gångar och samspel mellan olika riktningar och tendenser. Det som bru kar kallas konstmusik, populärmusik, folkmusik och jazzmusik, uppvisar var och en sin speciella färgskala och sina skiftningar, även om gränserna mellan dem inte alltid är så skarpa och enty diga som man kanske förleds att tro. -
“New Negro Movement” Among Jazz Musicians
THE INFLUENCE OF THE “NEW NEGRO MOVEMENT” AMONG JAZZ MUSICIANS A Master’s submitted to the Caspersen School of Graduate Studies in partial fulfillment of the requirements for the degree Master of Letters Advisor: Dr. Robert Butts Vincent Unger Drew University Madison, New Jersey May 2021 © Copyright 2021 Vincent Unger ABSTRACT The Influence of the “New Negro Movement” among Jazz Musicians Vincent Unger The Harlem Renaissance is usually thought of as a literary movement. However, it was much more than that, the Harlem Renaissance was a movement among the arts, music, and literature. The intellectual elite of Harlem saw the Harlem renaissance as new era for the African-American: one where African Americans could rise up from poverty to the middle class, and, shake off the stereotype of the primitive savage. The “New Negro Movement” was started by Alain Locke an W.E.B. Du Bois. Locke would lay the foundation for the movement with his book The New Negro. Du Bois on the other hand, would focus on educating African Americans about their African heritage. While integral to the movement, jazz music would be overlooked by Locke and other leaders of the movement. The New Negro only devotes a single entry to jazz in historian J.A. Roger’s “Jazz At Home.” Musicians Edward Kennedy “Duke” Ellington and William Grant Still would become an integral part of the “New Negro Movement.” Duke Ellington would make great strides as one of the most popular jazz musicians. William Grant Still would excel as a musician and a composer. These two musicians would pave the way for many young musicians. -
Rex Stewart and His Orchestra Ellingtonia Mp3, Flac, Wma
Rex Stewart And His Orchestra Ellingtonia mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Ellingtonia Country: US Released: 1951 Style: Big Band MP3 version RAR size: 1746 mb FLAC version RAR size: 1477 mb WMA version RAR size: 1728 mb Rating: 4.4 Votes: 235 Other Formats: MP2 APE AIFF MP2 DXD FLAC VOX Tracklist A1 Carnival In Naples A2 Deep South A3 Jug Blues A4 Duke 1949 B1 Hop Head B2 Trumpet's Prayer B3 Don't Get Around Much B4 Rome-Paris Express Companies, etc. Recorded At – Studio Technisonor, Paris Pressed By – Plastylite Credits Alto Saxophone – Johnny Harris Bass – Czabanyick* Clarinet – Hubert Rostaing Cornet [Trumpet] – Rex Stewart Drums – Ted Curry Guitar – Django Reinhardt Piano – Don Gais Tenor Saxophone – Vernon Story Trombone – Sandy Williams Notes Recorded at Studio Technisonor, Paris, France, December 8, 1947 (B1) and December 9 & 10, 1947 (A1 to A4, B2 to B3) Jazzdisco.org gives the following credits: Rex Stewart (cornet) Sandy Williams (trombone) John Harris (clarinet, alto saxophone, B1) Vernon Story (tenor saxophone) Don Gais (piano) Fred Emerlin (bass) Ted Curry (drums) George Kennedy (alto saxophone, clarinet, A1 to A4, B2 to B3) Barcode and Other Identifiers Matrix / Runout (A-side runout, etched): [the Plastylite "Ear"] D-215-A 3R Matrix / Runout (B-side runout, etched): [the Plastylite "Ear"] D-215-B 3R Related Music albums to Ellingtonia by Rex Stewart And His Orchestra Clarence Williams - Country Goes To Town (1929-1941) Alix Combelle - 1937-1940 Tome 1 Duke Ellington - Reminiscing In Tempo - Classic Recordings Vol.3: 1932-1935 Lionel Hampton And His Orchestra - Leapin' With Lionel Duke Ellington - Duke Ellington (Historic Recording) Sammy Price - Fire Various - Red Allen & James P. -
Blues in the Blood a M U E S L B M L E O O R D
March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz. -
Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15
ellington 101 a beginner’s guide Vital Statistics • One of the greatest composers of the 20th century • Composed nearly 2,000 works, including three-minute instrumental pieces, popular songs, large-scale suites, sacred music, film scores, and a nearly finished opera • Developed an extraordinary group of musicians, many of whom stayed with him for over 50 years • Played more than 20,000 performances over the course of his career • Influenced generations of pianists with his distinctive style and beautiful sound • Embraced the range of American music like no one else • Extended the scope and sound of jazz • Spread the language of jazz around the world ellington 101 a beginner’s guide Table of Contents A Brief Biography of Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15 Duke’s artistic development and sustained achievement were among the most spectacular in the history of music. His was a distinctly democratic vision of music in which musicians developed their unique styles by selflessly contributing to the whole band’s sound . Few other artists of the last 100 years have been more successful at capturing humanity’s triumphs and tribulations in their work than this composer, bandleader, and pianist. He codified the sound of America in the 20th century. Wynton Marsalis Artistic Director, Jazz at Lincoln Center Ellington, 1934 I wrote “Black and Tan Fantasy” in a taxi coming down through Central Park on my way to a recording studio. I wrote “Mood Indigo” in 15 minutes. I wrote “Solitude” in 20 minutes in Chicago, standing up against a glass enclosure, waiting for another band to finish recording.