BULLETIN NR 3, AUGUSTI 2019, ÅRGÅNG 27

Betty Roché Duke’s unforgettable vocalist

I detta nummer In this issue

Ledare 2 120 år med 2 Ny DVD med Duke 3 Betty Roché 4 The discography of Betty Roché 8 9 Den 26:e Ellington- konferensen 11 Duke Ellington i Storvik 12 The Savory Collection 13 14 Sebastian’s Cotton Club 15 – An original voice 16 Kallelse 20 3-2019

Sommar med vokalister

I denna Bulletin har vår Redaktör valt vad skall man då säga om Billie Holi- sen sträcker sig över hela fem dagar, en att spegla Betty Rochés karriär. Artikeln day? Hon höll sig alltid exakt till texten ovanligt lång tid, så man får anta att den inleds med några uppfattningar av hur när hon framförde ett nummer men ändå blir synnerligen innehållsrik. man kan kategorisera en jazzsångerska. blev det av högsta kvalitet. När hon Nu tänker jag njuta av sommaren i Detta föranleder mig att komma med sjunger Yesterday, håller hon sig nogsamt mitt sommarviste i Skåne. Men jag har några kompletterande synpunkter. I arti- till texten, gör inga improvisationer i den mycket musik med mig. Inte minst Gö- keln sägs att en jazzsångerska är en sång- och ändå blir det jazz på högsta nivå. ran Axelssons samlade Smoke Rings erska, som framför sin text på ett impro- Svårt att förklara. höll sig program. Kanske skall jag dessutom viserat sätt, som kan liknas vid vad en också som regel noga till texten, men hon lyssna på en del vokalister. Det borgar jazzmusiker gör när han spelar ett solo. hade en fin rytmkänsla och låg alltid en för en fin sommar oavsett hur vädret blir. Det kan man väl i princip hålla med om. aning efter i takten, vilket gjorde henne Nästa gång vi ses är den 16 septem- , speciellt under senare de- till den säregna artist hon var. Den här ber då vi skall få njuta av Peter Asplunds len av sin karriär, Anita O’Day och Annie skillnaden mellan ”vokalist” och ”jazz- välljudande trumpet. Ni är alla hjärtligt Ross är några exempel på denna typ av sångerska” kan säkert utvecklas mycket välkomna då. jazzsångerskor. Ella Fitzgerald utveck- mer. Finns någon bland våra läsare som lade sin improvisationsteknik till det yt- vill fördjupa sig i ämnet? tersta. Vi har ju sett flera filmsnuttar där Arrangörerna av nästa Ellingtonkon- hon tillsammans med Duke Ellingtons ferens, som skall äga rum i Washington, orkester gör stor musik av nummer som DC., i mars nästa år har äntligen kommit och C-Jam Blues. Fler exempel med litet information, som kan läsas på på denna typ av sångerskor finns. Men annan plats i denna Bulletin. Konferen- Leif Jönsson, ordförande i DESS

120 år med Duke Ellington

Vårens sista möte med Ellingtonentusi- aster bjöd på en årskavalkad med Elling- tonfakta och dito musik samt en avslu- Duke´s Place tande jazzkonsert med JazzMaTazz. Håkan Skytt, humoristen, språksnit- saren, estradören och pedagogen bjöd på Jack the Bear, , Pitter Panther sin Ellingtonuppfattning i ord och ton. Patter, The Hawk Talks, U.M.M.G., Blood Personligt och spännande. Hans musik- Count, Portrait of Sidney Bechet samt Lotus exempel var naturligtvis omsorgsfullt Blossom. valda, både de som hade spelats under Det skall här med eftertryck påpekas Ellingtons levnad, men även de som spe- att samtliga DESS-sammanträden sedan lades efter ikonens bortgång. Under före- en tid tillbaka har filmats och i övrigt dragets gång passade Håkan på att kom- kommenterats på föreningens hemsida mentera vissa avsnitt i melodivalen med www.Ellington.se, som på ett fantastiskt personliga synpunkter, vilket noterades sätt administreras av vår föreningsmed- med glädje och stor förnöjelse av under- lem Ulf Lundin. Så och detta senaste tecknad m.fl.. sammanträde. Vi uppmanar därför Vi fick följa Ellingtons musikaliska samtliga Ellingtonvänner att logga in på karriär genom kända och ofta spelade detta innehållsrika ”Ellington–bibliotek” kompositioner med kommentarer till då- – alltid och oftare! tid och nutid: , Black Kvällens levande musikaliska inslag Beauty, Saratoga Swing, I en röd liten stuga, levererades av Stockholmsorkestern Jazz- Håkan Skytt.

2 Drop Me Off At Harlem och Isn´t Love The Strangest Thing följde därefter. Låtarna interfolierades med diverse frågor från Anders om låtarnas upphovsmän och an- dra närliggande detaljer. Tävlingen om de rätta svaren utspelades mellan Bossarna Haufman och Scherman och slutade an- tagligen med oavgjort. Get Yourself A New Broom, med in- tensivt spel av Gustav, följd av Delta Bound samt Fine And Dandy spelades i snabb takt. 16 takters Take The ”A” Train inledde I´m Checkin Out, Goo´m Bye… som vi tyvärr inte får höra så ofta, med en studsande samspelthet, som också kännetecknade hela konserten. Let´s Fall In Love och I Never Felt This Way Before, JazzMaTazz. med en inkännande texthantering av Ul- rika och kul kommentarer av Gustav på MaTazz under ledning av Anders Lind- grammet i ett tempo över medel med in- saxen övergick till de avslutande num- gren på . Orkestern bestod vidare tressant basintro. Don´t Get Around… med ren Just Friends och I Let A Song Go Out av Gustav Rosén, altsax, Mårten Kork- ett sublimt spel på melodin av Gustav Of My Heart. man, bas, André Borgström, trummor, och med Ulrikas lagom ”spräckta” röst. En uppskattad, svängig och lättill- och Ulrika Goliats, sång. Thomas Petters- I I can´t Give You Anything… levererade gänglig musikavdelning som fick avslu- son, gitarr, var denna gång förhindrad att Ulrika trevlig scatsång med intelligenta ta vårsäsongen! delta. It Don´t Mean A Thing inledde pro- svarssignaler från Gustav. All Too Soon, Thomas Harne

Ny DVD med Duke Ellington New book a’coming och hans orkester Still a new book dealing with Duke Ellington is on its way to the market. En ny DVD- missat att mellan Caravan och New York, The author is Jack Chambers, a for- skiva med New York spelas In Duplicate och efter mer professor of the University of material från Chinoiserie, men före Medley spelas Met- Toronto, Canada. Those of us who Bryssel den curia, The Lion. attended the Ellington Conference 16 novem- Anita Moore lanseras i tre nummer, in Birmingham last year could listen ber 1973 har varav ett tillsammans med Tony Wat- to his interesting speech about an dykt upp från kins. Kanske är avslutningen (Encore) unknown composition by Ellington, Tyskland. Det det intressantaste med föreställningen, viz. Celebration. See Bulletin 3/2018. rör sig om en ty här får vi se och höra i tur och ordning Chambers’ book “Black and Tan videosänd Raymond Fol, Claude Bolling och Duke Fantasies” invites the readers to ex- konsert, en av Ellington spela var sitt pianosolo på Take plore the music of Duke Ellington de absolut sis- The ”A” Train. Som nämnts är detta en by pursuing nine themes that recur ta som finns dokumenterade med Duke. av de sista TV-upptagningar som finns in his music. The themes have been Denna skiva har en utmärkt bildkvalitet, med Duke och hans orkester och man pieced together selectively from medan repertoaren inte på något sätt av- tvingas konstatera att Duke förefaller Ellington’s voluminous output and viker från det gängse mönstret från det att inte vara vid bästa hälsa. Detta var ju show how he developed them, pick- årets turné. bara 6 månader innan han avled. ing and choosing images, ideas and I det medföljande korta texthäftet Denna DVD är utgiven av EuroArts predilections that intrigued him. nämns följande titlar: Opening, C-Jam med nummer 2064938 och kan enklast The intention is to have the book Blues, Take The “A” Train, , införskaffas via hemsidan https://www. available on Amazon in July. DESS Caravan, New York, New York, Blem, Chi- euroarts.com/labels/6493-jazz-legends- has contributed to the publishing noiserie, Medley, Somebody Cares, Encore. duke-ellington-and-his-orchestra. costs with a symbolic sum of money. Dessutom verkar producenten ha Anders Asplund Bo Haufman

3 Betty Roché Duke’s unforgettable vocalist

By Bo Haufman

There are very few areas where Duke Ellington has received criticism. One of them is his choice of male vocalists. But when it came to his choice of female vocalists no such criticism exists. He engaged many good female vocalists such as , , , Dolores Parker, Marie El- lington and many more. They were all good singers and they delivered their lyrics in a very competent and perso- nal way. There are numerous records where we can enjoy their artistry. But without criticizing them they were not what we today would call jazz singers. There were hardly any improvisations or in their performances. By the early 1940s more modern singers started to appear. Singers that wanted to express themselves in the same way as the instrumentalists. Into Ellington’s band came modern vocalists like Betty Roché, Chubby Kemp and later on Lil Greenwood and Anita Moore. Betty Ro- ché was the first of them, but unfortuna- tely it seems as she is a bit forgotten and neglected today. Duke Ellington devoted a short chap- ter to her in his autobiography Music Is My Mistress and he had the following to say about her: Betty Roché was an unfor- gettable singer. She came with us during is as classic as the original trum- amateur contest at the Apollo Theatre our Hurricane engagement in 1943, and she pet solo. She was the first to sing “The Blues” in Harlem in 1939. She was noticed by sang almost anything that was suggested or in “Black, Brown And Beige” (at Carnegie Al Cooper and joined his Savoy Sultans requested. She learned new songs so quickly, Hall in January, 1943), and every word was and remained with them until 1942. She and they always came off as Betty Roché ori- understandable despite the sophisticated hip made a recording with the Savoy Sultans ginals. She had a soul inflection in a bop state and jive connections. She was thirty years on December 29, 1941. After her time of intrigue, and it was presented to the liste- ahead of her time. She never imitated anybo- with Al Cooper she had short stints with ner in a most believable manner as by a little dy, and she never sounded like anybody but Hot Lips Page and Lester Young but no girl with an adult delivery. The recordings Betty Roché. recordings with them exist. she did with us are still considered great, and Betty Roché was born on January 9, they still have the luster of originality. Many 1920, in Wilmington, DE, as Mary Eli- Joining Duke Ellington of the phrases she came up with, along with zabeth Roach, and was raised by her In the meantime Duke Ellington had the words she added, would have been consi- grandparents in Atlantic City, NJ. Like problems with his female vocalists. Ivie dered good as instrumental licks. Her treat- Ella Fitzgerald, and many other stars, Anderson, his longtime vocalist, had an- ment of “Take The “A” Train”, for example, she began her career by winning an nounced her wish to terminate her en-

4 gagement. Apparently because of health and Ellington fans crowded the bandstand at hers, Count Basie, Bob Crosby, Frank problems. Betty Roché was engaged by a one-nighter in the Royal Windsor Ballroom Sinatra and Freddie Slack in addition Ellington in August 1942 and was joi- in uptown Manhattan to dig her. to Duke Ellington and his Orchestra. ned by two other singers, Joya Sherrill Barry Ulanov wrote his Ellington Ellington’s recording of Take The “A” and Phyllis Smiley. However, the young biography already in 1946, but there Train had become very popular and Co- Joya Sherrill had to go back to school exists no recordings of I Love My Lovin’ lumbia had the Orchestra appearing in and Phyllis Smiley also decided to leave. Lover until 1952. One version, recorded what seems to be a railway wagon play- Betty was consequently left as the sole at the same time as Take The “A” Train, ing their new theme song. The music female singer and had to take over most was included in the Columbia LP “The was recorded beforehand and the musi- of Ivie Anderson’s numbers, such as World of Duke Ellington – Vol. 3” and a cians are miming. Betty sings the lyrics Hayfoot Strawfoot, I Got It Bad and Rocks second take can be found on Up-to-Date and Ray Nance makes an improvised In My Bed to name a few, and she hand- 2004. Consequently it seems that the dance routine. led them without problems. Bob Thiele melody was performed already during It was very unfortunate for both in an article described Betty Roché with Betty’s first engagement with the band, Duke Ellington and Betty that the recor- the following words: Betty has a very de- but no such recording exists. In the ding ban took place during her engage- finite feeling for the blues and her voice is 1960s the song became a feature for Lil ment with Ellington. During her stay strong enough to take her out of the Harlem Greenwood. with the band no commercial recordings jump singer category. were made for RCA Victor to which Barry Ulanov, in his Duke Ellington company Ellington was contracted. Ho- biography, describes Betty Roché as fol- wever, during this period several radio lows: Betty had sung with the Savoy Sultans broadcasts were made from various lo- and other little outfits. She’d gigged around, cations, mainly from The Hurricane Res- played all kinds of spots and was a trained taurant, and several of them were parts blues singer with something of the manner of the Treasury Broadcasts, which have of Billie Holiday. She bent notes and carried all been reissued, initially on LP by Jerry measures along in cadenced groups much like Valburn and later by Storyville on CD. the magnificent Billie. In addition, she had On several of these we can hear Betty her own specialties, an infectious Body and singing. Despite the recording ban it was Soul, with her own added lyrics at up tempo, in order for orchestras to record for vari- lots of blues. ous Transcription systems. One of them It may be interesting to note that the was World Broadcasting System, for recording she made with Al Cooper and which Duke Ellington and his Orchestra his Savoy Sultans was a tune named At’s made several recordings. On November In There. While Duke Ellington appeared 9, 1943, Betty can be heard singing three at the Hurricane Restaurant in Septem- numbers; I Wonder Why, Go Away Blues ber 1943, Betty sang that song on a radio and I Don’t Want Anybody At All. All of broadcast and it has recently been issued these recordings have been released on on DETS Vol. 25. It should also be obser- Circle LPs and on the sleeve notes Eddie ved that it was not until she started with Reveille With Beverly Lambert says: that the three takes empha- Duke Ellington that she got the stage sise the skills and professionalism of the very Shortly after Betty’s start with Duke name Betty Roché. It was Ellington who gifted Betty Roché. Ellington and his Orchestra they all went proposed this more selling name rather to Los Angeles where they would par- than the more common Roach. There ex- At Carnegie Hall ticipate in two films. One of them was ists a photo (shown on page 7) taken by Cabin In The Sky, but Betty is not taking As mentioned by Duke Ellington the photographer Gordon Parks at Hur- part in any of the band’s performances in his MiMM, Betty Roché took part in ricane Restaurant in April 1943, and ac- in this MGM film. However, on October Ellington’s first Carnegie Hall Concert cording to Parks, Betty is performing Salt 8, 1942, they are in a Columbia studio to on January 23, 1943, where she sang The Lake City Blues. record for the film Reveille With Beverly. Blues, a part of Black, Brown and Beige. Barry Ulanov further states: Duke The star in the film is Ann Miller, who had the following to wrote a salacious set of blues choruses for plays a young girl who manages to be- say about her performance: Betty sang her her, I Love My Lovin’ Lover, which Betty come responsible for a radio program heart out that night – plaintively, evocative- sold with delicious gesture and rowdy shout. and converts it to a more modern show ly, dramatically. It was a high point in her It was all about taking her man to his wife’s catering to young people and especially career as well as in Ellington’s own. None front door and his wife turning out to be as military servicemen. Some of the most of the many girl singers who tried to follow big as Joe Louis. Betty was still new when popular bands and artists of the day ap- Betty in that role with Duke’s band could the band hit New York in the winter of 1942 peared in the film, like The Mills Brot- achieve the degree of expressive intensity she

5 There may also be another reason for Betty’s leaving. In an interview stated that Betty Roché was ang- ered by the addition of the singer Wini Johnson. Johnson being a very attractive young woman but, according to Greer, her voice was no match for her looks. Betty could sing all of Ivie’s stuff and I don’t know what Duke was thinking when he brought that girl on, Greer said. After her stint with Hines, Betty re- turned to Atlantic City, the town where she grew up. She joined the Quintaires, an instrumental and vocal group lead by the guitarist Bill Jennings. In this band Betty both played drums and sang. The next few years brought no big breaks. A short spell with the Jeter-Pillars band ended with a close down of the band. It seems that she relocated to California , Betty and Betty and Duke. where she worked with Charles Brown and made some recordings with various achieved on that long-remembered night in local bands during 1945 including Benny After Ellington’s exit from the Blue Note, Carnegie Hall. Carter and Gerald Wilson. there is no trace of her for the next two When it came to recording the suite After these recordings it is difficult to months. commercially for RCA Victor, which trace her further career. She married but On March 21, 1952, Duke Ellington was done on December 11, 1944, Betty the marriage didn’t work out. It seems and his Orchestra launched a tour across had left the orchestra and The Blues was like she was on a long trip to nowhere, the US and now Betty is back with them, therefore entrusted to Joya Sherrill. The until one night in Sacramento, Elling- and she will stay with the band until Ja- Carnegie Hall Concert was recorded but ton called her from San Francisco and nuary 9, 1953. During this period Betty not released on the market until 40 years asked her to rejoin him for a couple of can be heard from several concerts, dan- later. concerts. The reunion lasted for about a ce dates and radio broadcasts. Many of year. On December 21, 1951, Ellington them have been issued on various boot- Leaving and rejoining Duke commenced a three week engagement at leg labels such as Skata 502, Stardust 201, In the mid 1940s new ideas within Blue Note in Chicago and Betty was with Jazz Up 2036 and Up-To-Date 2004. jazz began to appear. They were later him, but just for the duration, it appears. to be named Be-Bop. Betty had a feeling Take The “A” Train for these new ideas and regularly visited During her second turn with the Minton’s Playhouse where the moder- Duke Ellington Orchestra she is taking nists used to meet and try out their new part in only one commercial recording ideas. She often sat in with them but in session and that is when her most fa- the end it was who be- mous recording, Take The “A” Train, was came the Be-Bop queen. Betty left the recorded on June 30, 1952, for Columbia Ellington band in March 1944 to join and released on their and his Orchestra. It is pos- LP. In the sleeve notes George Avakian sible that she found the music practiced says: Duke’s new setting of Take The “A” by the Ellington Orchestra a bit too con- Train is not the well-remembered original, servative and lacking modernism. Earl but one that blends elements of that classic Hines had recently started a new band with new ideas in an ever-interesting re- that adopted the new ideas and a lot of creation. The vocal, by Betty Roché, serves modernists were employed by him. Pro- as a reminder that the bop influence has been bably she found such environment more more than passing, too. challenging and decided to leave Elling- When the record was re-released in ton. She made a few recordings with Earl CD-format the inset had some additions Hines, but didn’t remain with the band by Patricia Willard saying: Betty Roché in- for more than a year. jects her delightfully offbeat personality, se-

6 rious musicality and sense of humor into ly- rics she claimed were her own. Certainly, the scatting is. Her words resemble but depart from Strayhorn’s, published in his copyrigh- ted 1941 sheet music. More fun, actually. Eddie Lambert in his A Listener’s Guide had the following comments about Betty Roché: On the evidence of her recordings with Ellington, Roché was a good singer with unusually secure pitching, who sometimes spoiled her work with an exag- gerated manner of phrasing. She had two spells with the band. The first came during the first AFM ban; at the time, some jour- nalists insisted that the Ellington disco- graphy was much the poorer for the absence of examples of her art. This assertion is not wholly borne out by the subsequent issue of transcriptions and air shots on which she sings, but this may be due to the poor ma- terial she was given most of the time. Her interpretation of The Blues in the premiere performance of Black, Brown and Beige is of Betty Roché at The Hurricane Restaurant. Photo by Gordon Parks. a quality not to be discerned on her other re- cords. Her second spell with the band was for In 1956 Bethlehem also issued an the pianist Jimmy Neely and the some fifteen months in the early fifties. The extensive album of George Gershwin’s is released as Lightly and Politely and con- few recordings she made then are excellent, Porgy And Bess. Betty is singing a beau- tains a number of standards including although their virtues are those of standard tiful version of Summertime. Duke Elling- Ellington’s Rocks In My Bed, Just Squeeze jazz vocals rather than interpretations of ton and his Orchestra are also supposed Me and I Got It Bad. Ellington’s music. to take part in this album but it is diffi- According to the sleeve notes of cult to tell where they appear. It is pos- Lightly and Politely, written by Joe Gold- sible that the band was included in the berg, she once again performed in Car- Bethlehem Orchestra conducted by Russ negie Hall: Quite recently, something oc- Garcia. The discographies give no clear curred which might well be the cause of a advice in this matter. final, and much delayed, breakthrough for After these recordings we find no tra- Betty. Indirectly, Ellington was again re- ces of Betty Roché, but it is believed that sponsible. The occasion was an Ellington she was working in California. However, Alumni Concert in Carnegie Hall on May in 1960 she is back east and happens to 7, 1961. Everyone in the group, with the meet her old acquaintance from Atlantic exception of pianist , had been City, Bill Jennings. Jennings had a rela- with Ellington, and Betty was the featured tion with Prestige Records and introdu- vocalist. Inspired by the reunion with seve- ced Betty to them. This eventually results ral old friends, for whom she has unbounded in two issued by Prestige. They admiration, Betty had one of her greatest af- are both recorded at Rudy van Gelder’s ternoons. She sang seven songs, one of them Career after Ellington studio in Englewood Cliffs, NJ. On the Take The “A” Train, and was definitely the Betty´s future career remained er- first album titled Singin’ & Swingin’ she hit of the concert. ratic and difficult to follow at least for is accompanied by Bill Jennings plus a Not much more is to be found in the this writer. However, in April 1956 she competent group consisting of Jimmy literature about Betty Roché. Although records an album for Bethlehem Records Forrest, Brother Jack McDuff, Wendell she worked sporadically in clubs, she se- where she is accompanied by amongst Marshall and Roy Haynes. The repertoi- emed to be half-hearted about her career, others Conte Candoli and Eddie Costa. re consists of recognized standards but and eventually slipped into obscurity a The album is properly named “Take the no Ellington compositions. few years later. She passed away on Fe- “A” Train” and she sings this melody A year later she is back in the same bruary 16, 1999. plus a few other standards including studio to record again for Prestige. She Betty may be forgotten today, but she some Ellington compositions. is accompanied by a quartet headed by ought to be unforgettable.

7

The discography of Betty Roché outside of the Ellington organization

Al Cooper’s Savoy Sultans ts., John Taylor bars., Rufus Webster Whitey Mitchell b., Davey Williams dr. Pat Jenkins, Sam Massenberg tp., Al p., Herman Mitchell g., Charlie Dray- Cooper, Rudy Williams, George Kelly ton b., dr., Betty Roché New York, April, 1956. reeds, Cyril Haynes p., Paul Chapman voc. Take The “A” Train g., Grachan Moncur b., Alex Mitchell September In The Rain dr., Betty Roché voc. Los Angeles, March 26, 1945. In A Mellotone Trouble Trouble Black Jack Time After Time New York, December 29, 1941. 3003 (LP) Something To Live For 70113-A At’s In There Decca 8615 Summertime Just Got The Message Gerald Wilson & Orchestra Route 66 Jack McVea/Bailey Incorporated Gerald Wilson, Emmett Berry, Hobart All Too Soon Dotson, Fred Trainer, Snooky Young You Don’t Love Me No Cappy Oliver tp., cl., More Jack McVea ts., Ram Ramirez p., Frank tp., , Bob Sanchez, Melba Liston, Isaac Livingstone, Alton All My Life Clarke b., Robert Tarrant dr., Betty Go Away Blues Roché voc. Moore tb., Floyd Turnham as, Vernon Slater, Olif West, James Henderson Can’t Help Lovin’ Dat Man ts., Charles Waller bars., Jimmy Bunn San Francisco, uncertain date 1944. All issued on Bethlehem 20-30142 (CD) RM502 Rainy Day Blues Rhythm p., Bill Edwards g., Ed Hale b., Henry 502/509 Green dr., Betty Roché voc.

Los Angeles, May 21, 1945. Betty Roché Earl Hines Sextet GW-128-3 Just Give Me A Man Accompanied by ts., Exelcior Brother Jack McDuff org., Bill Jen- Ray Nance tp, vln., as., GW128/126 nings g., b., Roy Flip Phillips ts., Earl Hines p., Al Casey Haynes dr. g., b., Sidney Catlett dr., Betty Roché voc. Dave Matthews and his V-Disc Englewood Cliffs, June 3, 1960. Night Owls & Jammers 2284 When I Fall In Love New York, April 26, 1944. tp., Lou McGarity tb., Ray 2285 September Song R1006 Blues On My Weary Mind 2286 A Foggy Day Apollo 358 de Geer as., Dave Mtthews ts., Bob Dawes bars., Marty Napoleon p., Hy 2287 Day By Day R1007 I Love My Lovin’ Lover 2288 Come Rain Or Come Shine Apollo 356 White g., Al Hall b., Jimmy Crawford dr., Betty Roché voc. 2289 Blue Moon R1008 Trouble Trouble Apollo 357 2290 Where Or When R1009 Design For Jivin’ Apollo 357 2291 Until The Real Thing Comes R1010 I’ll Get By Apollo 358 New York, September, 1945. VP1579 Trouble Trouble V-Disc 595-A Along Body And Soul Unissued 2292 Billie’s Bounce Earl Hines and his Orchestra All issued on Prestige PRLP7187 , Billy Douglas, Fats Palmer, Tony Papa and his Orchestra Arthur Walker tp., , Dick- ie Harris, Cliff Smalls, Pappy Smith tb., John Carroll, Vern Cressler, John Betty Roché Hunt, Alan Kiger, tp., Juan Scoops Carey cl. as., Lloyd Smith as., Accompanied by Jimmy Neely p., Wardell Gray, Kermit Scott ts., John Tizol v-tb., Buddy Baker, David Baker, , tb., Wally Richardson g., Michel Mulia b., Williams bars., Bill Thompson vib., Earl Rudy Lawless dr. Hines p., René Hall g., Gene Thomas cl., Gene Hull, Russell b., David Booth dr., Betty Roché voc. Procope as., , Jerry Co- ker ts., Ray Papai bars., Marty Rose p., Englewood Cliffs, January 24, 1961. 2833 Just Squeeze Me Hollywood, October, 1944. Rock Crandall b., Tony Papa dr., Betty Roché voc. 2834 For All We Know Go Away Blues Jubilee 105 2835 Rocks In My Bed Chicago, December, 1952. 2836 Maybe You’ll Be There 2837 I Had The Craziest Dream and his Orchestra Love You Madly Unissued Mercer recording 2838 Polka Dots And Moonbeams Irv Lewis, Fred Trainer, Gerald Wilson, 2839 Jim Emmett Berry, Paul Cohen tp., Henry 2840 Why Shouldn’t I Coker, Alton Moore, George Wash- 2841 I Got It Bad Betty Roché ington, Louis Taylor tb., 2842 Someone To Watch Over Me cl., Benny Carter, Jewell Grant, Porter Accompanied by Conte Candoli tp., Kilbert as., Bump Meyers, Harold Clark Eddie Costa vib., Donn Trenner p., All issued on Prestige PRLP7198

8 Rocks In My Bed By Mike Zirpolo

By late May 1941, the Ellington band had one composition from Jump For Joy that is returned to Los Angeles after a spring- wholly a creation of Strayhorn, the har- time tour of Pacific coast dance halls, a monically adventurous Flame Indigo, was swing through the South and Midwest, so far advanced from what was going on and a short rest stop in Manhattan earlier in jazz arranging then, that Ellington set in May. It appears that in early February, it aside, and never recorded. Ellington and Strayhorn attended a Hol- The standard I Got It Bad, which was lywood party at the home of MGM gag composed by Ellington, perhaps with writer Sid Kuller, and were invited to some assistance from Strayhorn, was ar- another similar party the next week with ranged by Billy for Jump For Joy, and that anyone from the Ellington band who was edited by Strayhorn chose to come. Several Ellington side- for Ellington’s Victor recording (June men, including Harry Carney and Sonny 25, 1941) of this song, which featured an Greer, accompanied Ellington and Stray- Ivie Anderson vocal. For the evocative horn to that party. As was usually the recording of Rocks In My Bed (Septem- case when Duke attended a party, even- Mayan Theatre. ber 29, 1941), Ellington arranged the tually he was coaxed to the piano, after band part of the recording, Strayhorn which the party went into high-gear. Strayhorn’s contribution the vocal part. But as usual, Strayhorn Among those present were actors John As dozens of surviving manuscripts did not simply set a background for the Garfield, Lana Turner, Mickey Rooney, illustrate, Strayhorn was deeply invol- Ivie Anderson vocal chorus. Strayhorn lyricist , and screen- ved in Jump For Joy, though it is vir- breaks away from the I-IV-V blues chan- writer W.R. Burnett. As the music played tually impossible to ascertain to what ges, replacing them with a liquid string and the liquor flowed, everyone’s spirits extent his contributions were originals, of dominants that are connected with soared higher and higher until it was de- , or collaborative works chromatic passing chords. As a result cided that Ellington, Kuller and Webster with Ellington since the latter’s hand is of the substitute chords, he has to adapt would collaborate on a satirical revue to on a number of scores as well. In addi- the melody significantly, consequently be called Jump For Joy, with Garfield and tion to his and Ellington’s compositions, nothing of the original passage remains, Burnett as financial backers. Ellington, Strayhorn arranged the majority of con- apart from the lyrics. Strayhorn’s role in typical fashion, had utterly failed to tributions by other composers and lyri- has changed from arranger to co-com- consider how or when the music for this cists involved with the production – Hal poser. show would be composed before making Borne, Paul Webster, Otis René, Mickey this rather large commitment. It is clear Rooney, and Sidney Miller. My conclu- The Show that he could not take time off to create sion from this and from the well docu- The show ran for less than three the music for this show. His band had mented history of subsequent similar months, closing on September 27, 1941, engagements from coast to coast booked large-scale Ellington projects is that the after just 101 performances, but its signi- from late February until late May. It se- eventual collaborative technique used by ficances as a social statement, a ground- ems that the only time Ellington dedi- Ellington involving Strayhorn on special breaking theatrical production, and as a cated to this project was while his band projects was first developed as Jump For statement of Ellington’s artistry, consci- was playing at the Trianon Ballroom in Joy lurched uncertainly toward its ope- ence, and future direction was inestima- Southgate, California (May 29 – June ning. Undoubtedly, Ellington composed ble. Although generally not regarded as 18), and then for the remaining weeks of a large number of songs for Jump For Joy one of Ellington’s major works, Jump For June and into early July. Jump For Joy was – eleven are listed in The Playgoer, the Joy nonetheless was the direct antecedent scheduled to open at the Mayan Theater official publication of the Mayan Theater in both spirit and technique, to his Black, in Los Angeles on July 10, 1941. It also for the show. There were more than fifty Brown and Beige, widely considered to be appears that while Ellington toured with sketches and musical numbers written among his most important. his band during this interval, Billy Stray- for the review, eventually thirty were As I have noted in my blog pre- horn remained in Los Angeles to act as used during the show’s run. Some were viously, Duke Ellington was a master Duke’s liaison with the show’s writers deleted along the way, replaced by oth- of the blues, and was a (eventually there were many more than ers. But Strayhorn’s musical fingerprints master of vocal arrangement. From his Kuller and Webster), and performers. are nevertheless all over the music. The earliest days as Ellington’s collaborator,

9 Strayhorn was given assignments by remained fresh. Her voice was strong words I got rocks in my bed, sung by Ivie Duke to fashion provocative, colorful and robust, yet she could and did use after a brief Ellington piano solo, her backgrounds for Ellington’s singers. In it with great delicacy, as she does here. singing is highlighted by a drumming this piece, where Ellington arranged the The lyric for Rocks In My Bed, which was masterstroke (two sly thuds by Sonny first instrumental half and Strayhorn the written by Ellington, is highly ironic, as Greer on his tom-tom) to subtly suggest second vocal half, their collaboration re- was the entirety of the material in the re- what is missing in her love life. sulted in a perfect whole. vue Jump For Joy, in which it was sung by Ivie Anderson left the Ellington band Alto wizard Johnny blues singer Joe Turner. Among the most in August of 1942 to get off the road and Hodges sets forth the melody live in her Los Angeles home. at the very top of the perfor- She opened a restaurant (Ivie’s mance (there is no introduc- Chicken Shack), which she ope- tion). His playing here is quin- Rocks In My Bed rated for a while, and continued tessential: a huge, rich ringing Lyrics by Duke Ellington singing, though she did not sound coupled with flawless tour. She suffered from chronic technique, and lots of soul. El- My heart is heavy as lead asthma, which led to her death lington supports Hodges with Because the blues has done spread in 1949 at age 44. a thick sonic cushion provided Rocks in my bed Billy Strayhorn’s composi- by his three trombones, plus tion Flame Indigo was not recor- Harry Carney’s baritone sax- Of all the people I see ded at all until October of 1998, ophone. Barney Bigard, one of Why do they pick on poor me when it was recorded by the New Orleans’s most famous And put rocks in my bed Dutch Jazz Orchestra as a part clarinetists, follows with some of its heroic work in recording full-toned, cascading notes. Lis- All night long I weep many previously unrecorded ten to how Ellington, the mas- So how can I sleep and often unknown Strayhorn ter arranger, contrasts Bigard’s With rocks in my bed compositions/arrangements woody clarinet sonority with (Challenge Records CRH the rumbling low sound of There’s only two kinds of people 70091). Based on this recording, Harry Carney’s baritone sax- I can’t understand Strayhorn envisioned Flame In- ophone, both on its own and There’s only two kinds of people digo as a showcase for the alto leading various instrumental I can’t understand saxophone of Johnny Hodges, groups. Ellington very often That’s a deceitful woman and the tenor of . deployed Carney’s massive And a hard faced man Rocks In My Bed was sung sound in many creative ways in the show by blues singer in the ensemble writing he did She took my man away Joe Turner, who made the first for his band. Indeed, the sound And ain’t goin’ bring him back recording of it on September of Carney’s baritone saxophone She took my man away 8, 1941, with the Freddie Slack was one of the most identifiable And ain’t goin’ bring him back Trio. Among the most memo- in the Ellington ensemble. She’s lower than a snake down in a wagon track rable lines in the lyric sung on the Ellington recording by Ivie Anderson Under-loved, over-fed Ivie Anderson: “… underloved, Ivie Anderson was one of My man’s gone, so instead overfed, my man’s gone, so I ins- the best and most versatile vo- I got rocks in my bed tead got rocks in my bed.” Even calists of the swing era. The re- Under-loved, over-fed more suggestive are these lines nowned jazz critic Nat Hentoff My man’s gone, so instead from another song from Jump said this about her: “… easily the I got rocks in my bed For Joy, the delightful Choco- most sensitive and musical female late Shake recorded on June 25, vocalist Ellington ever had …. 1941, by Ellington: “It was under She sang with a simplicity …. so an African sun, that Stanley met artless that she is … remarkably neglected memorable lines in the lyric sung on this old Livingstone, While the gals shook their in … writings about jazz … She sang with recording by Ivie Anderson: “… underlo- fruit, He blew on his flute, Ziggin’ the sag a supple warmth and caressing beat that ved, overfed, my man’s gone, so instead I got en route.” made her one of the unforgettable voices in rocks in my bed.” jazz … direct, completely unpretentious and The shifting and colorful instrumen- Mike Zirpolo is running a website “Swing ungimmicked.” Like everyone else in the tal backgrounds fashioned by Strayhorn & Beyond” with lots of interesting studies of Ellington band in 1941, she had her own against which Ivie sings are indeed pro- music by various orchestras from the Swing sound, and a very personal style that has vocative. In the first repetition of the Era. Go to: www.swingandbeyond.com

10 Den 26:e Ellingtonkonferensen

När de regelbundna Ellingtonkonfe- Georgetown University – discussion sessions will last 40 minutes renserna började arrangeras i början av Washington, DC. (with 20 minutes for questions). 1980-talet var det de lokala Ellington- Presentation proposals are now be- föreningarna runt om i världen som ar- MAPPING DUKE ELLINGTON’S ing accepted. Please submit proposals rangerade dem. Så var förhållandet ända WORLD (max. 300 words), and a short biography in på 2000-talet. Under dessa år hade vi (max. 100 words) as a Word document or nöjet att få träffa många av Ellingtons The theme for this year’s conference PDF file via email (subjeft line “Ellington ännu levande medarbetare och andra is Mapping Duke Ellington’s World. This Proposal”) to Prof. Anna Celenza, anna. personligheter, som haft en nära relation theme is broadly conceived and can in- [email protected] no later than till Duke Ellington, Billy Strayhorn och clude presentations/performances on 15 August 2019. Selected participants andra musiker runt Ellington. I dag är a range of topics, including Ellington’s will be notified by 15 October 2019. situationen något annorlunda. De exis- travels/tours, Ellington’s collaborators, ttt terande Ellingtonföreningarna har inte Ellington’s collections/archives around längre vare sig ekonomiska eller perso- the world, transcription as a form of I nuläget vet vi att som s.k. Keynote nella resurser för att arrangera en kon- musical landscapes in Ellington’s works, speakers har annonserats Prof. Thomas ferens. Andra instanser måste ställa upp mapping the Ellington imagination, El- Brothers (författare till boken Help!, som och det är numera olika universitet som lington and film, Ellington iconography, anmäldes i förra Bulletinen), Dr. John genomför konferenserna på ett typiskt and the reception history of Ellington’s Hasse och Prof. Tammy Kernodle. Vida- akademiskt sätt. Detta har också satt sin works/performances. Please note that re har vi förstått att Carl Woideck kom- prägel på konferensernas innehåll. Vi får adhering to this theme is not mandatory, mer att fördjupa sig i Ellingtons Ad Lib i mindre utsträckning njuta av kåserier and that in an effort to be as inclusive as On Nippon och Steven Lasker kommer av de som en gång kände Ellington och possible, papers on all topics related to att berätta om de nya fynd han gjort av människorna runt honom och i stället Ellington studies will be considered. okänt Ellingtonmaterial från 1946. Det lyssna på mera djupgående akademiska This five-day multidisciplinary con- skulle inte förvåna oss om David Palm- analyser av något av Ellingtons verk. På ference will bring together leading re- quist dessutom kommer att laborera på gott eller ont låter jag vara osagt. Nästa searchers and performers across the arts ämnet ”Ellington’s travels/tours” illus- konferens kommer att gå av stapeln i and humanities. The event will feature trerat av hans TDWAW. mars nästa år och arrangeras av George- academic papers, panels, roundtables, Konferensavgiften är $100:- vid anmä- town University i Washington. Man har and cultural walks/visits, as well as an lan före den 15 december. Därefter 150:-. nyligen gått ut med ett s.k. ”Call for pa- exciting program of performances by Som hotell rekommenderar man Geor- pers”, vilket citeras nedan: local Washington DC performers. Paper getown University Hotel & Conference presentations will last 20 minutes (with Center, där man erbjuder ett dubbelrum 26th International Duke Ellington 10 minutes for questions). Performance för $189:- per natt. Ytterligare detaljer Study Group Conference presentations should adhere to a 30-mi- finns på https://www.ellington2020.org. March 11-15, 2020 nute or 50-minute length. Roundtable Bo Haufman

Minneskonsert i Gustaf Vasa Kyrka Nya Den 6 november 1969 uppträdde Duke roll samt Gustaf Vasa Kammarkör medlemmar Ellington och hans orkester, förstärkt ledd av Lars Fredén. Kyrkan var i det med , i Gustaf Vasa Kyrkan närmast fylld, vilket delvis kan ha sin DESS hälsar följande nya i Stockholm och framförde The Second förklaring i att inträdet var gratis. Or- medlemmar välkomna i vår Sacred Concert. Konserten blev en stor kester och kör framförde valda delar ur illustra förening: succé och den finns utgiven i olika Ellingtons Sacred Concerts på ett allde- former, bl.a. som DVD. Den 12 juni i les utmärkt sätt. Akustiken i kyrkan är Bengt Ahling, Stockholm år, nästan 50 år senare, arrangerade förnämlig, men instrumentalsolisterna Thomas Cunniffe, Denver, CD., USA Svenska Kyrkan en sommarkvällskon- spelade utan mikrofon och deras insat- sert till åminnelse av Ellingtons kon- ser dränktes av den kraftfulla kören. DESS behöver fler medlemmar. sert. Medverkande var Immanuel Big Men alla åhörare torde ändå har varit Inspirera Dina vänner och Band under ledning av Lina Lövstrand mer än nöjda med förställningen. och med Frida Matsdotter i Alice Babs Bo Haufman bekanta att också vara med!

11 Duke Ellington på besök i Storvik den 23 april 1939

Många DESS-medlemmar kanske är osäkra på var man kan hitta Storvik på världskartan eftersom orten i dag kan tyckas obetydlig. Under 1800-talets se- nare hälft, då man byggde stambanorna i Sverige, hade man kommit fram till att två viktiga järnvägslinjer skulle korsa varandra här, vilket ledde till att det lilla samhället blev en viktig knutpunkt med en stor järnvägsstation, hotell, restaur- ang m.m. Orten fick så småningom sta- tus av köping, men ingår efter kommun- sammanslagningen 1971 i Sandvikens kommun. Tågen fortsätter att passera här, men stationen är inte längre i ur- sprungligt skick. Duke Ellington och hans orkester gjorde i april 1939 en månadslång turné i Europa och Skandinavien och besökte bl.a. Frankrike, Holland och Belgien, men huvuddelen av turnén tillbringade man i den, lär ha berott på att man i Gävle just Några tidningsrecensioner avbildas Sverige med några avstickare till Norge då hade svårt att erbjuda en konsertlokal här och som synes utdelas en och annan och Danmark. Färden gick med järnväg med tillräcklig publikkapacitet. Park- pekpinne. Jag har tidigare pratat med från Holland via Hamburg till Skan- hallen i Storvik kunde dock ta emot 1500 några personer som bevistade konser- dinavien. Det sägs att musikerna blev besökare eller fler. ten, men nu 80 år senare finns knappast besvikna för att inte kunna få några rik- Den 23 april var det vårvinter med några kvar av de unga entusiaster som tiga hamburgare då staden passerades. lite nysnö i Storvik och enligt uppgift fanns bland åhörarna. Den första konserten hölls i Malmö den (kanske en skröna?) transporterades Jag har lyckats lokalisera ett par bil- Duke Ellington de få hundratalet met- der från själva konserten, där man på den rarna på sparkstötting mellan järnvägs- ena ser Parkhallens välvda tak och på den stationen och Parkhallen av en person andra Duke, som välkomnas av delar av som kallades Skol-Pelle, men dennes publiken. Det rör sig om tämligen unika son kan i dag varken bekräfta eller de- foton, som ställts till mitt förfogande av mentera påståendet. Tänk om det funnits Lars Westin, vilket jag tackar för. ett fotografi som bevis! Enligt en annan Tyvärr så finns inte så mycket bevarat källa så skall en del av musikerna också i musikväg från denna turné. Det enda ha forslats på sparkstöttingar till den lo- som hittats är tre låtar och en intervju kala restaurangen Granliden, som fortfa- av Manne Berggren från Sveriges Radio rande existerar. samt en kort stumfilm från Amsterdam. 1 april och den sista i Varberg den 1 maj Parkhallen finns kvar och används Sveriges Radios inspelningar återfinns 1939. Totalt hölls 19 konserter i Sverige för bl.a. innebandy, men det är tveksamt bl.a. på den CD som gavs ut i samband på 16 orter. Den 22 april hade orkestern hur länge den får finnas kvar. Man lycka- med Ellingtonkonferensen i Stockholm kommit till Eskilstuna, där man hade en des i alla fall vid Ellingtons besök inhysa 1994 samt på en eller annan LP-utgåva konsert på kvällen, och nästa morgon c:a 1800 åskådare, vilket torde ha varit i (Bl.a. MAX 1001). satte man sig på tåget till Storvik, för en paritet med ortens totala folkmängd på Artikeln, med ytterligare illustra- konsert där kl 14:30 på eftermiddagen. den tiden. Enligt vad tidningarna skrev tioner, finns publicerad på DESS webb- Därefter skulle man ta tåget till Uppsala får man betrakta evenemanget som plats: https://ellington.se/2018/04/23/ för ytterligare en konsert på kvällen sam- mycket lyckat. Säkerligen var det många duke-ellington-i-storvik-den-23-april- ma dag. Att Storvik valdes for konserten, entusiaster, som tog tåget till Storvik 1939/#more-9399. trots sin litenhet och primitiva förhållan- både från när och fjärran. Anders Asplund

12 The Savory Collection

Som tidigare meddelats i Bulleti- nen, disponerar The National Jazz Museum in Harlem denna unika samling av hittills okända radio- upptagningar från 1930/40-talet. DESS-medlemmen Remco Plas har besökt museet, lyssnat på materialet och rapporterar följande:

After the New York Conference I went to the Jazz Museum in Harlem and spent the afternoon listening to the Sa- vory Collection. There is not that much Ellington in the collection, just enough to fill one CD. From the notes I made:

Honeysuckle Rose (with Django Rein- hardt) 3:28 Improvisation (Django solo) 3:02 Martin Block broadcast: Saredo? (I can’t read my handwriting), Hodge Podge, Jeep’s Blues 12:42 Martin Block broadcast: Tiger Rag, On The Sunny Side Of The Street, The Jeep Is Jumpin’ 15:18 Tooting Through The Roof CBS Young Man With A Band 4:54 Exactly Like You (with Bob Crosby) 5:06 Down Town Uproar into closing theme Diminuendo in Blue 4:41 China Boy, My Old Flame 5:07 Scattin’ At The Kit Kat 1:53 Rendez-Vous With Rhythm, Sextetta, Hodge Podge, Jeep’s Blues 12:14 Happy-Go-Lucky-Local, Improvisation, Honeysuckle Rose (From Carnegie Hall) 14:33 (Last two with Django and same as the first two)

There is enough mate- rial to fill a whole box.

Vi tackar Remco för dessa intres- santa uppgifter. Loren Schoenberg har presenterat delar av detta ma- terial på nätet, se http://jazzmu- seuminharlem.org/events/savory- session-2/. En del finns även på iTunes och delar har getts ut i en box av Mosaic. Bo Haufman Duke Ellington välkomnas av några åskådare.

13 Mood Indigo

Denna komposition torde vara en av melodistämman medan klarinetten mo- När Duke Ellington under 1960-talets Duke Ellingtons mest spelade. Den in- dulerade i diskanten och trombonen han- konserter framförde numret bestod trion gick i hans repertoar från 1930 ända fram terade basgångarna. Så är det som regel som regel av , Lawrence till 1974. Barney Bigard står angiven som än i dag. Ellington tog sig emellertid fri- Brown och Harry Carney. Carney alltid medkompositör och han lär ha hört te- heten att i sitt arrangemang vända på det med sin basklarinett. mat från sin tid i New Orleans. Med El- konventionella sättet att hantera instru- Under slutet av 1960-talet hade Duke lingtons arrangemang utvecklades num- menten. I stället för att låta klarinetten Ellington återkommande engagemang ret till ett av orkesterns mest populära. ligga i diskanten låter han den få hantera på Rainbow Grill i New York med en Initialt gick det under namnet Dreamy basgångarna samtidigt som trombonen reducerad orkester och då spelades all- Blues innan det fick det mera fantasifulla får ligga strax under trumpeten. Ett lyck- namnet Mood Indigo. at koncept som Ellington skulle komma Barney Bigard har uppgivit att han att använda sig av vid flera tillfällen i hörde temat när han studerade för sin framtiden. lärare Lorenzo Tio, Jr. i New Orleans. Al Efter Arthur Whetsels bortgång tog Rose, en auktoritet på New Orleans-jazz, Wallace Jones över hans roll i trion och har emellertid uppgivit att han hörde sedermera . När Joe melodin i sin helhet spelad av A.J. Pri- Nanton avled togs hans position först ons orkester innan Ellington gjorde den över av Wilbur De Paris, men senare av känd. När kompositionen förlades stod , samtidigt som Nelson Wil- Duke Ellington tillsammans med Irving liams ersatte Shelton Hemphill. Mills angivna som kompositörer. Det var först efter ett antal juridiska turer, som Nya grepp även Barney Bigard blev erkänd som 1950 tog Duke Ellington ett nytt grepp medkompositör. Han fick vänta ända om melodin. För att tydligare accentuera till 1958 innan han fick det erkännandet. klarinettens basgångar bytte han ut den Mills bidrag kan möjligen ha bestått av mot Harry Carneys basklarinett, som texten till melodin, men det tog åtskilliga kompletterades av två tromboner spela- år innan Ellington gjorde en vokalinspel- de av Tyree Glenn och Quentin Jackson. ning av numret. Senare skulle Tyree Glenn komma att tid Mood Indigo med trion Johnny Hod- ersättas av Britt Woodman. Det existerar ges, Lawrence Brown och Harry Carney. faktiskt en ännu outgiven inspelning från Vid dessa återkommande engagemang 1953 där trion består av Russell Procope ingick som regel aldrig någon genuin och Jimmy Hamilton på klarinett tillsam- klarinettist i den oktett, som Ellington av mans med Harry Carneys basklarinett. utrymmesskäl var tvungen att begränsa Under resten av 1950-talet skulle numret sig till. alltid komma att framföras av två trom- Vid inspelningarna på 1970-talet be- boner plus basklarinett. stod trion som regel av Russell Procope Ett nytt grepp tar Ellington tillsam- på klarinett, på tenor och mans med Lawrence Brown i Mood Indi- som vanligt Harry Carney med sin bas- go ingående i Columbia-LPn ”Unknown klarinett. Session” där Brown på ett magnifikt sätt Vid flera tillfällen har olika instru- Under 44 års tid genomgick numret framför melodin, och trion bestående av mentalister i Ellingtons orkester gjort vissa förändringar tack vare Ellingtons Johnny Hodges, Ray Nance och Harry vackra tolkningar av Mood Indigo. Utö- sinne för variationer, men också på grund Carney backar upp honom. ver Lawrence Brown, som nämnts tidi- av personella förändringar i orkestern En av de i särklass vackraste inspel- gare, har Willie Cook, Tyree Glenn och under årens lopp. Det är speciellt intres- ningarna av Mood Indigo är inspelningen Harold Baker gjort fina tolkningar av sant att studera hur den temapresente- med i Impuls-LPn temat. Även Russell Procope och Ha- rande trion förändrades under dessa år. ”Duke Ellington meets Coleman Haw- rold Ashby har fått uttrycka sig och na- Initialt bestod trion av på kins”. Hawkins behandlar melodin på ett turligtvis har Duke Ellington själv vid trumpet, Joe Nanton trombon och Bar- helt underbart sätt medan trion även här åtskilliga tillfällen gett sin version av ney Bigard på klarinett. Enligt etablerade utgörs av Hodges, Nance och Carney. melodin. konventioner spelade alltid trumpeten Bo Haufman

14 Frank Sebastian’s Cotton Club

När namnet Cotton Club nämns, förs naturligtvis tankarna till den exklusiva nattklubb i New York, där Duke Elling- ton var engagerad från slutet av 1927 till mars 1931. Men det fanns ytterligare en Cotton Club, belägen i Los Angeles eller närmare bestämt i Culver City. Den gick under namnet Sebastian’s Cotton Club, och som namnet antyder ägdes den av en herre vid namn Frank Sebastian. Duke Ellington skulle under sin långa karriär ha flera engagemang på detta etablissemang. Frank Sebastian var en entreprenör i nöjesbranschen och startade tidigt en restaurang i förstaden Venice, som han kallade Sebastian’s Café eller stundom Café Venice. Man specialiserade sig på att servera fransk och italiensk mat, och därtill musikalisk underhållning, oftast jazz. 1926 gick han vidare och övertog en lokal i Culver City kallad Green Mill Les Hites orkester med Lawrence Brown och och i förgrunden Les Hite, Frank Sebastian plus okänd. Kvartetten främst till höger ingår inte i Les Hites orkester. Café, som han döpte om till Sebastian’s Fotot ur Juan och Rose Tizol Collection och återges här med tillstånd av Steven Lasker. Cotton Club, vars namn och inriktning var influerad av den mera kända Cotton Armstrong. Den senare gjorde ett antal som brann ner 1938. Duke Ellington var Club i New York. Precis som förebilden inspelningar i Los Angeles 1930 och ack- engagerad på Casa Mañana vid två till- engagerade Sebastian huvudsakligen ompanjerades då av ”His Sebastian New fällen, januari 1941 och mars 1945. Radio- enbart färgade orkestrar och artister, Cotton Club Orchestra”. Duke Ellington utsändningar gjordes vid båda tillfällena medan klientelet utgjordes av enbart hade ett längre engagemang på klubben och flera av dessa har getts ut på skiva. vita. Klubben kunde ta emot 1200 gäster vid årsskiftet 1936/37. Artie Shaw, Cab Men även Casa Mañana kom till vägs och hade tre dansgolv. Calloway och Tommy Dorsey m.fl. hade ände. 1945 bytte lokalen ägare och nam- också återkommande engagemang på net ändrades till Meadowbrook Gardens Sebastian’s Cotton Club. Café. Duke Ellington och hans orkester Obekräftade rykten gör gällande var engagerade där i augusti 1946. Flera att Frank Sebastian hade vissa relatio- radioutsändningar gjordes vid detta till- ner med maffian och han råkade därför fälle och många ingår i DETS-serien. El- i klammeri med polis och myndigheter. lington hade senare ett tvådagars enga- Kanske av denna anledning lade han ner gemang i oktober 1947. Även då gjordes Under årens lopp har många kän- klubben 1938. Han ägnade sig fortsätt- radioutsändningar, som finns bevarade da artister och orkestrar uppträtt på ningsvis åt restaurang- och klubbverk- men som ännu inte getts ut, med undan- Sebastian’s Cotton Club. Även vita band samhet i mindre omfattning på andra tag för H’ya Sue, som getts ut på det lilla engagerades senare. Klubben hade en platser i Kalifornien och var även enga- italienska märket Musica Jazz. tid en egen orkester som gick under gerad i hotellrörelser. Men bara några 1948 bytte lokalerna ägare ännu en det originella namnet Sebastian’s Cot- månader efter Cotton Clubs nedläggning gång och fick namnet Zucca’s Opera ton Club Orchestra, som i realiteten var återuppstod klubben, nu med namnet House. Där erbjöds all slags underhåll- Les Hite’s Orchestra, vari både Lawren- Casa Mañana. Under den nya ledningen ning utom opera. Emellertid utsattes ce Brown och Lionel Hampton ingick. påstods klubben inte visa upp samma lokalen för en svår brand 1950, som to- ’s Quality Serenaders var elegans som tidigare, men den var ett po- talförstörde byggnaden och därmed av- också en av de tidiga orkestrarna som pulärt dansställe under krigsåren. Stället slutades sagan om Sebastian’s Cotton uppträdde på klubben. var tog över mycket av den publik som tidi- Club. en återkommande artist liksom Louis gare frekventerade Palomar Ballroom, Bo Haufman

15 Al Sears – An original voice (part 2)

By Nigel Haslewood

The following article was originally also made a somewhat shaky start. Alt- as Ulanov points out, this may have published in the IAJRC Journal. Vol. hough the company allowed him to re- been because Ellington normally won. 50, No. 3 and with IAJRC’s and Nigel cord the , already referred Sears’ own success as a bandleader and Haslewood’s consent we reprint the to above, most of the rest of the material his business experience may also have second part of it in this issue. The first was ephemeral with a mixture of popu- attracted Duke to him, but that perhaps part can be found in our previous Bul- lar and novelty songs together with has- early offers of advice in this area, while letin. tily put together instrumentals. There welcome initially, may have become to is little to be heard from Sears in these be seen as unnecessary or even medd- performances. ling later on. It does seem odd that so- Leaving Duke The other side of the coin to this was meone whom Duke spoke so highly of The following year saw Sears’ de- his view of his own abilities. In later in- in the mid-1940s should become someo- parture from the Ellington Orchestra, terviews, he praised the music made by ne not considered worthy of mention ostensibly because he was fed up with modern jazz players on his instrument later on. the constant travelling the band had to while acknowledging that he lacked the Before leaving discussion of his undertake. Other factors were probably technical facility to follow their example. years with Ellington, mention should important too. Ben Webster was now sit- However, he was obviously aware that be made of the small group recordings ting alongside him in the reed section. If the growing popularity of R&B at this made by Sears during that time. Unlike one examines the evidence available, it time opened up opportunities that he the late-1930s and early-1940s, when is noticeable that a lot of the solo duties could take advantage of. His subsequent and then RCA Victor both undertaken by Sears were now given to career showed just how right he was. made efforts to commit small Ellingtoni- the returnee. In the case of arrangements Finally, it may have been the case an units to wax, there was no such orga- like Cotton Tail, this is perfectly under- that his relationship with Ellington had nized program in the mid-to-late-1940s. standable, but Webster’s new responsi- deteriorated from what had been a high However, unlike Vernon Andrade, Duke bilities even included taking over Sears’ point just after he joined the orchestra. did not restrict his musicians’ activities role in It Don’t Mean A Thing. Also, the His reluctance to become a band member in this respect. Sears took part in several reason Ellington gave for hiring Web- has already been mentioned. In an inter- sessions under the leadership of Johnny ster doesn’t make complete sense. He view with him by George Simon for Met- Hodges, most of which were made for cited the main reason as being Jimmy ronome published in 1945, he talked of his the Mercer label. As its name suggests, Hamilton’s reluctance to play tenor sax. unease of the leader’s musical methods this was partly owned by Ellington. Ho- However, study of the recordings made when he first started playing with him. wever, the tenor player gets little chance at the time reveals the clarinetist playing Used to the tight discipline of Vernon to solo on these. His appearances on far more solo spots on his second instru- Andrade’s and his own orchestras, he V-Discs with a group led alternatively ment than were given to Al Sears. All of found the partial arrangements used by by Ella Fitzgerald or Buddy Rich were this may perhaps have been his reluc- the Ellington orchestra rather confusing. similarly restricted to short solo appea- tance to press his case, arising from the Obviously, he soon got used to them and rances. This pattern is repeated on other streak of modesty already mentioned. for a time became one of the main solo- studio outings such as those under the Another reason for his departure ists. His new stature can be seen by the leadership of Ray Nance, Rex Stewart could have been his sense of where the fact that he received votes in the annual and Leonard Feather, or while accom- music scene was heading. The late-1940s critics’ polls conducted by Esquire. He panying . However, Sears were, in some ways, the least successful also received the votes of Harry Carney did get one chance to record a session of Ellington’s career, prompting him at and Ellington himself in a similar poll of under his own name during 1945. This one stage during 1948 to temporarily musicians for the same magazine in the was organized by a small independent give up his band altogether and un- new star category. label called “International”. The resul- dergo a tour of the UK on which he The leader also praised Sears’ gene- ting 78 came out as part of an album was joined only by Ray Nance and Kay ral demeanor, describing him as a “gent- also including sides by and Davis. Studio recordings were also thin leman”, and telling Barry Ulanov that he Jerry Jerome. It appears to have been is- on the ground with a second union ban was his preferred opponent in the card sued, at least partly, as a teaching aide running throughout that same year. games that occupied much of the travel- for budding tenor players with musical Ellington’s new contract with Columbia ling from one job to another. Although, notation included as part of the package.

16 new Clef label. The group then made a series of superb sides including many either written or arranged by Sears. Most heavily featured the leader’s popular ballad style or were bluesy instrumentals with Hodges again taking the major part of the solo space. As with the previous small group records made under his El- lington bandmate’s name, Sears was not prominent instrumentally. However, there were exceptions. For example, he wrote and soloed on the catchily titled, Something To Pat Your Foot To, a reference to the emphasis Sears had always placed on the rhythmic aspect of his playing. The group played a series of bookings in major clubs and dance halls during which Sears renewed his acquaintance with influential people he had first met when with Duke’s band. These two as- pects of his work came together, resul- ting in a hit record. He had noticed the reaction to an untitled blues the Hodges Orchestra played. This developed into Castle Rock, during which Sears employ- Sonny Greer, Johnny Hodges, , Lawrence Brown and Al Sears. ed his full range of effects to build up a solo of great power and energy. Now he The “All-Star Rhythm Section” used to phia with local tenor man Jimmy Oliver, was able to use his contacts, especially accompany the solo players, made up and in New York, where in August 1950 disc jockeys, to promote this new per- of Gene Schroeder, Tony Gotusso, Slim his band played Bop City opposite one formance. Having obtained a pile of test Dunham, and Johnny Blowers, might led by . Apparently, he also pressings from Granz, he successfully not seem ideal, especially for more mo- acted as a “deb” from time to time back persuaded many of them to heavily fea- dern-leaning players. However, both of with Duke. It was the decision by Johnny ture the tune on their programs. Among Sears’ efforts are worth hearing, especi- Hodges, Lawrence Brown and Sonny them was a young ex-trombonist named ally Long, Long Ago, which again shows Greer to leave Ellington in 1951 that . Sears had earned his grati- off the more thoughtful side of his play- provided Sears with his big opportu- tude by introducing him to Ellington a ing. nity. Although Hodges was the star and few years earlier and who now repaid named leader of the small group that the debt by playing, apparently over and After Duke during the 1950s was formed as a result over again, this new record. Soon after leaving the Ellington of this defection, it was the tenor player Orchestra, Sears obtained a recording that ensured its success. While with El- Becoming manager opportunity with the Decca subsidiary, lington, Sears had taken advantage of Now Sears took another important Coral, for which he made four sides for the touring schedule to befriend fans, decision for his career. Instead of buil- their new 65000 series in December 1949. promoters and, above all, disc jockeys in ding up his reputation as a player, as This was Coral’s equivalent of the Decca many of the towns and cities where the most with a hit record might have done, 48000s, discs aimed at an African-Ame- orchestra played. Now all these contacts he decided to retire from the Hodges rican audience increasingly turned on proved to be central to the new venture’s Orchestra. Instead, he concentrated on by R&B in addition to older staples like success. Already, while with Duke, he managing the group while building up jazz and gospel. All four saw issue on had played the role of band booker and an agency that could handle other acts two 78s but are certainly not a highlight now he really came into his own as the as well. On top of this, he started a mu- of Sears’ discography, as the session in- person in sole charge of the management sic publishing business, from where he cluded two dull ballad performances by of the Hodges Orchestra. was able to personally benefit from the Clarence Palmer. The first two years of success of Castle Rock, which had spaw- his new career passed with little fanfare. The Johnny Hodges Orchestra ned several lucrative cover versions He appears to have worked reasonably Firstly, he signed a contract with after lyrics had been added. This com- regularly leading a combo in Philadel- Norman Granz, who was launching his pany was named Sylvia Music after his

17 daughter and he was joined in the ven- ment had been made, after eight sides chosen by Freed to promote this new ture by , whom he had had been cut on September 21, using musical style in theatre shows and on known since his days leading his USO what was basically the Hodges group his increasingly popular radio show. Se- orchestra. without its leader. As usual, Sears does ars even made it onto film again, being He continued to handle the Hodges not hog the limelight, allowing space for featured in the teen-musical Rock, Rock, Orchestra for a while but it was not an great solos by Emmett Berry and Law- Rock in 1955. Among the tunes featured easy relationship. Sears was well aware rence Brown. There are also a few spots was Freed’s theme tune, Right Now, Right of the success that other alto players like for whose efforts were Now, written by Sears and Jesse Stone. Earl Bostic and Tab Smith were having actually mistakenly identified as being He recorded this for Coral in 1955 and with a repertoire slanted more towards by Hodges before accurate discographi- again in January 1956 for RCA, although R&B. However, his attempts to persuade cal information was available. Mention the latter was not issued until much later. Hodges to take this path fell on deaf ears. should also be made of the part played Both of these companies recorded other The veteran Ellington sideman was loath in the session by the pianist, Leroy Lo- sessions by him during this period and to alter a style which he felt had served vett, who shared the arranging and he also recorded instrumental sides for him well up to that time. This decision composing duties with the leader. Now Herald. undoubtedly led to his group having Ride The ‘D’ Train is one such attractive On these dates, Sears was able to use other jazz musicians who were also ac- tive in the new R&B field. An example is the all-star orchestra he was able to assemble in July 1956 for the RCA sub- sidiary, Groove. The two resulting sides, Here’s The Beat and Great Googa Mooga, show at least some of the excitement Se- ars was able to generate on his many in- person appearances during this period. However, his main recording activity at this time centered around providing sea- ring (pun intended) solos on discs by a large number of R&B singers and vocal groups on a wide variety of labels, inclu- ding the three mentioned above as well as Atlantic, Baton, OKeh, Savoy, and the stable of imprints owned by Joe Davis. Alan Freed. Later, he also founded a small family of only a limited success, leading him to performance with its obvious Ellington labels himself. eventually re-join Ellington in 1955. Inci- reference. Outside of playing, his publishing dentally, if Ellington and Sears did have From a strictly jazz point of view, this and promotion business tied in with his a falling out, it could have resulted from was almost his last recording session for own composing and other musical ac- his participation in Hodges’ time away nearly ten years. Sears’ career during the tivities. Although he left Freed’s band from the orchestra. Apparently Duke did 1950s, ironically his most successful peri- after about a year, he remained on good not speak to Norman Granz for several od, took place outside of the mainstream terms with him, even after his star began years because of his part in the promo- jazz scene. For that reason and for that to wane. Sears was particularly suppor- tion of the breakaway group. Meanwhi- of space, there is room for only a quick tive of Freed because of his stance on le, Sears entered the new world of R&B summary. In terms of recording activity, integration. Apparently, Freed had been with both feet. Both his booking agency Sears was very busy during the whole of the person originally slated to introduce and his music publishing business were this period both as a leader and a session a new TV program, American Bandstand, heavily involved with developing the musician. His solos were an important but lost his chance because of his insis- new popular sounds. ingredient in the success of many R&B tence on using his own orchestra, made His exit from the Hodges band did records of the time. up largely of African-American musi- not mean that he stopped playing. Bill- cians, to accompany the headliners on board announced in October 1951 that Rock ‘n’ Roll the show. What eventually appeared on screens was a watered-down “safe” ver- King Records had signed Al Sears to Most important of all, his enduring sion of what had been intended with no the company. This resulted in what, friendship with Alan Freed meant that live performances, the singers simply from a strictly jazz point of view, is the he was chosen to be one of the star lip-syncing to their own records. Sears most well-known and successful group members of the latter’s Rock And Roll continued to support the disc jockey of recordings. Actually, the announce- Orchestra, which accompanied artists

18 ney, Wally Richardson, Wendell Mars- both in the USA and later when he chose hall, and (Swing’s The Thing, to live Europe, Sears enjoyed success Prestige Swingville SV 2018, 1960.) On both as a musician and a businessman. the session, he was able to show he could Perhaps his modesty was the making of still shine as a blues player, particularly him. He never regarded himself as being at medium tempos. He was keen to re- in the forefront as an innovator and yet, pay his musical debts whom he felt had in his own way, he was. influenced him like Herschel Evans, and As Phil Schaap pointed out, Sears’ he also revealed that he still had a more “motto” might well be described as be- sensitive side to his playing, such as in ing “Rephrase the beat but don’t hurt the the out-of-tempo introduction to Out Of swing.” It was the emphasis that earned Nowhere. In the notes on the album co- him both the adulation of audiences whi- ver, he particularly singled out this as le with Ellington and his importance to something he was proud of. At the same R&B. His other main contribution can be time, he showed his usual streak of de- found in the almost unique tonal quality preciation by praising the contemporary in his playing. Undoubtedly, this is what jazz experiments of younger players, led Duke to hire him in the first place while pointing to his own relative lack of and is what made him a must-have mu- through the ensuing payola scandal, technique as preventing his own partici- sician on many later R&B dates. If one in which nothing was proved against pation. examines the work of the many other te- Freed, and his eventual prosecution for A final Swingville All-Stars record nor players who provide the solo interlu- tax evasion. allowed him a reunion with Ellington de on those records, one finds that their Sears himself was eventually hired bandmate, , as well as the sound is largely interchangeable. Not so by ABC-Paramount as a record execu- alto player Hilton Jefferson (The Swing- with “Big” Al. His work is immediately tive and became central in tempting Ray ville All-Stars SV 2010, 1960.) This, like recognizable. Charles away from by the disc under his own name, proved to persuading the former company to offer be a happy finale to his playing career, the singer a deal he could not refuse, al- revisiting old favorites like New Carnegie lowing him control of his own material Blues. and increased royalties. In the early 1960s, on the back of Conclusion what was seen as a mainstream revival, Sears temporarily returned to recording His final appearance in a recording jazz. In 1958, he had played a small part studio took place in July 1961 when he in the sessions organized by Stanley recorded a new two-part version of Cast- Dance for his own Felsted label, retur- le Rock for the Derrick label. Not long ning to playing baritone on the disc put after this, he gradually retired from both out under Budd Johnson’s leadership. his musical and business activities, only However, it was the Prestige label that appearing as a player on an occasional offered him the most opportunities. basis right up to the time of his death in Firstly, he accompanied singer Mildred March 1990 from cancer. As can be seen, Anderson on her album for Bluesville this was a gap of almost thirty years, called No More In Life. Then the inau- during which he was largely forgotten, guration of the Swingville series gave although he did agree to give interviews Painting by Ken Daley. Sears several opportunities to play a during this time, notably to the compi- type of music which he obviously still lers of the wonderful Bear Family CD Many people reading this might well loved. Although slightly out of prac- that was issued in 1990s (Seariously BCD remember Churchill’s famous put-down tice, he performs well on the three ses- 15668.) to his political rival, Clement Atlee: “A sions in which he took part. He led one Ironically, although he has been un- modest man who has much to be modest of two groups recorded by Prestige at a derrated by most writers about jazz and about.” Many will also remember the festival to spotlight mainstream musici- even ignored by the likes of Duke, it was overwhelming political defeat Churchill ans, where he shared tenor saxophone Sears who, with the possible exception suffered at the hands of Atlee in the Bri- duties with as well as being of Clark Terry, had by far the most suc- tish general election of 1945. A fitting de- responsible for the arranging. cessful career away from the Ellington scription of Al Sears might well be pro- Then he was given the chance to Orchestra. The comparison with his pre- vided by turning Churchill’s quip on its make his first and only LP as a leader, decessor, Ben Webster, is particularly re- head: “Al Sears was a modest man with fronting a quintet made up of Don Ab- vealing. While Webster scuffled for gigs much to be proud about!”

19 KALLELSE! Duke Ellington

Duke Ellington Society of Sweden hälsar sina medlemmar väl- Society komna till medlemsmöte måndagen den 16 september 2019. of Sweden, DESS

ISSN 1400-8831 Org.nr. 802017-3681

DESS c/o Leif Jönsson Anbudsvägen 15, 187 50 TÄBY 08-510 503 14, 0706-22 88 16 [email protected]

Styrelse PLATS: 19.00-20.15 – Denna kväll gästas Leif Jönsson, Bo Haufman, Anders DESS av Peter Asplund. Peter Asplund, Peter Lee, Göran Wallén, behöver ingen närmare presenta- Franska Skolans aula, Lars Björkman, Claes Brodda tion. Han är en av landets mest Döbelnsgatan 3, Stockholm. framstående trumpetare och vi ser Redaktionsgrupp Portkod för kvällen: 1609 fram emot hans framträdande. Han Entrén öppen från kl. 17.00. Bo Haufman, Thomas Harne, kompas av Claes Crona, piano, Lars Björkman, Claes Brodda, Entréavgift: 100:- i kontanter eller Hans Andersson, bas, och Johan Andreas Andersson (layout) Swish. Löfcrantz Ramsay, trummor. Hemsida Tidsangivelserna är ungefärliga. www.ellington.se PROGRAM: Facebook 17.30-18.30 – DESS-medlemmen Duke Ellington Society of Sweden Anders Lindgren kan sin Duke El- NÄSTA E-postadress lington. Han är tillika kapellmästare MEDLEMSMÖTE: [email protected] för JazzMaTazz, som vi avnjöt vid vårt föregående medlemsmöte, så Är planerat till den 25 november Bankgiro vi vet att han känner till det mesta då vi kommer vi få lyssna på Jesse 211-3207 om Ellingtons musik. Han kåserar Lindgren och hans New Orleans i kväll på ämnet Duke Ellingtons Jazz Band plus ett kåseri av Göran PayPal account 1930-tal. En fin period i Duke El- Wallén och Bo Haufman om The [email protected] lingtons karriär då många av hans Broonze Buckaroo, d.v.s. Herb Jeff- stora verk skapades. ries. Reservera dagen i era kalen- International bank account drar. IBAN: SE95 6000 0000 0002 8408 3992 18.30-19.00 – PAUS med möjlighet BIC: HANDSESS till mingel och inköp av öl/vin och baguetter. Obs! Endast kontanter el- DESS medlemsavgift ler Swish. Per kalenderår inom Norden: 300 kr Membership outside of Scandinavia: annual fee USD 40

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