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A Great Triple Anniversary with RCA Victor I» 5, 1952 Chicago, November 5, 1952 ELLINGTON SPECIAL DOWN BEAT 13 iumc ncwi “middle period” Duke. Five favor­ the earth around the roots of jazz, 1 io read By Lizzie Miles Tributes To By Gordon Jenkins ites? Impossible to assess. But five oh so gracefully taken his share I like good music and Duke El­ of my faves— and planted it in richer, more lington writes and plays good Drop Me Off In Harlem fertile soil so that more people in ORKS Much lo my regret. I’ve all walks of life may take it to The Duke never had the opportunity to music. Back in the 20’s, Fats Wal­ I Got It Bad And That Ain't Good Things 4in't II hat They Used To them and say they feel jazz. The r «battrai (Jumped From Page 5) be very close to the Duke: uot ler wax always in demand to play «hoirs piano for the singers. Fats played Be (Hodges) blossoms now bloom in every demo­ play lietter because all those indi­ in a p< monal way, that is. Musi­ cratic country «’here the folk can cally, I’ve always felt sympa­ for me. He was fine hut he would Come Sunday (Black, Brown & vidualists knew they were creating Beige) have their choices. IM thetic waves between Ellington’s rather play for gin at a house something by working together. Cat I) alIt (Coronets) Main Stem (Victor) WRviei So with Duke you have the feel­ type of arrangements and m, party. At that time, Duke was just own. There’s a certain kind of getting started. He played some, Jam With Sam (Columbia) ing that when a man comes into Kissing Bug (Victor) th« band, he feels like a new man ■adneos in Duke’s compositions but most of us thought his ideas were ‘too modern.’ He wanted to By George Hoefer Liberian Suite (Columbia) with the New York Yankees. That’s that is said by some tn be char­ Duke Ellington’s music has sus­ TIES what Ellington has done—he’s built acteristic of my stuff. play things that people wouldn’t Don’t Get 1 round Much Anymore get to know until years later. He tained a potent effect on me from (Victor) ea. an achievement that would make One in particular, and old record called Rude Interlude, is still doing that. People catch thi first time I heard the band in • thMlac* anvone proud to be associated with 1927 to the last time recently. Be­ >rt * Folk* it? has a feel to It that is depress­ up with one thing he is doing and otl ing in a very pleasant sort of he is already gone on to something tween Animal Crackers on Gennett By Jack Tracy way. I could retire if I had new. He is some man. in 1926 to The Hawk Talks last year his records have had an un­ I didn’t see Duke at the Cotton accsptsa By Charles Emge a dollar for each play I’ve given Mood Indigo Club 25 years ago, I didn’t ac­ that side, und I am forced to Ring Dem Bells ending originality, power, and u company litm to Europe, and I was Th«» only standard bj which a admit that I’ve brazenly used Take The “ 4" Train beautiful thing called “the El­ about 1200 miles away whe • he 30, N Y. creative musician should be meas­ lington snund.” His development some of those chord» to my Sophisticated Lady through the years hax been a pro­ made his first appearance at Car­ ured is the extent of his influence- own adv untag«*. It Don't Mean 1 1 king negie Hall. In fact, the greatest ORD I gressing thing with the changes on, and his contributions to, th« Ellington ha- luM n a valuable emotional impact I ever received ISV" over-all structure of the music of contributor lo our music for causing no pain. Hive J from an Ellington band happened which his is a part. I am one of many years, and in the current By Leonard Feather The Sergeant W as Shy (Colum- ca iioto and bia ) less than two years ago. K‘B on tbit those who believes that Ellington’s market of tuneless junk, a new It would be easier to choose one’s It was a one nighter in Chicago d bo ng tipa ill Too Sium (Victor) period of greatness has passed, as Ellington melody would stand just after he had lost Hodges, ord, 11.25; five favorite Ellington years than In 1 MelloUme (Victor) all things pass. But the important out like a laughing pallbearer. Brown, Greer, et al, and people five favorite records out of hun­ Black & Tan Fantasy (Okeh) elements in his music remain as a Rude Interlude (Victor) were seriously wondering what L dreds that have, in their respective Reminiscing In Tempo Pint 2. permanent part of the music of Dallas Doings (Victor) ways, equal claims to inclusion. The (Brunswick) would happen with Ellington now. yesterday, today, and tomorrow. Sophisticated Lady (Colum­ five years I’d chnose would be 1929, But they had no reason for disap­ To a creative musician, that is the bia) 1938, 1940, 1951 and, if I may be pointment — it was a revitalized, AA only goal worth striving for. El- Take 1 he " 4" Train (Victor) so bold, 1953. But a strong pre­ By Joe Delaney powerful, rocking band that night, lington has achieved it. Solitude (Victor) USIC dilection for the third of these As he has with everyone else, one which just wouldn’t quit. The Rockin' hi Rhythm (Victor) years prompts four-fifths of the Ellington has exerted quite an in­ crew had that undefinable added Th»' Moochr (Victor) following list. fluence upon my thinking both in class to it that we can find only in 1 Got It Had (Victor) By Buddy Morrow Ellington orchestras and the New Ill Too Soon (Victor) and out of the music business. Like Creole Lote Call (Victor) Ellington, the man who has made York Yankees. They have both MUSIC The Flaming Sword (Victor) many, I can trace a parallel course Jack The Bear (Victor) music for so many years, has been oveiwhelminglj dominant in Izena II arm Talley (Victor) between the Duke’s development throughout this time made major and the moulding of my own musi­ their fields for the last 25 years. contributions without end, and was Ko-Ko (Victor) Cotton Tail (Victor) By Hal Webman Someone (Victor) cal taste. I don’t feel that Elling­ gasine perhaps one of the first men to ton has yet been accorded his prop­ Jack The Bea» (Victor > I material. Take The “A” Train (Victor) If it is at all possible to pass recognize the full potential of the er place in American music, and I >diea. Band Main Stem (Victor) Dialoguea, over the endless hours of pleasure jazz idiom in lasting quality. Speak­ By Mike Nevard trust it shall occur within his life­ agi. Joke». ing for myself, J remembei when Pitter Panther Patter (Victor) that Duke Ellington’s music has As a youngster, I went through time. No one has contributed more Add SI given me, I would do so only to every new Ellington record was a back iatues all the usual phases. Louis, Benny, than this man, and extremely few rhapsodize on the man'1« contribu­ lesson in taste, progress, inven­ Hampton, Duke. Duke was the one as much. By Andre Kostelanetz 983 tion toward creating an under­ tiveness and just wonderful music. that stuck. There was always so , Ill. standing for his race by doing best Certainly the man has earned a much quality in his music—the Duke Ellington is one of the what he knows best—and 1 >>at is place in my mind as a leader who music he wrote and arranged, and By Henry F. Whiston truly inspired American musicians. ETHOD being a musician and a gentleman. will be long remembered, respected, the music of his band. His earliest (Producer, Canadian Broadcasting His music is of importance, not or Swing, Black and Tan Fantasy (Victor) and always a storehouse for the compositions, played today, still Corp., Montreal; Canadian corre­ only to the United States, but also Baks, key­ newest and best in modern music. spondent for Down Beat.) to every other country in the world dealer or Tootin' Through The Roof (Co-' have form und melodic interest. lunibia ) II arm Talley (Victor) Structurally, his arrangements To say Duke is jazz is ridicu­ I am honored to be one of the bulletin ■111 Too Soon (Victor) Take The "A" Train (Victor) have always been complete. Only lous; to say he has done more for many who are congratulating Duke Liberia»» Suite (Columbia) Mood Indigo (Victor) the harmonies and some of the the music as a whole than has any Ellington on his 25th anniversary The Hawk Talks ((Columbia) phrasing supply those chronological other figure past or present is of outstanding musical contribu­ »thod I Don't Know What Kind Of a I if orma Bluet Lie Got (Victor) tzure (Columbia) , clues. On records, I prefer the closer to the truth. He has dug up tions. ERS SAS! )EMS! »dure l : e A Great Triple Anniversary With RCA Victor I». N. Y. G •ument»— YEARS FOR THE PHONOGRAPH WHICH ACHIEVED breaks IT'S GREATNESS THROUGH RCA VICTOR YEARS FOR VICTOR RECORDS WHICH ACHIEVED it. a r IT'S GREATNESS THROUGH RCA VICTOR RS ITX I O R YEARS F0R THE FABULOUS DUKE ELLINGTON who achieved 113 | AJ GREATNESS ON THESE IMMORTAL RCA VICTOR RECORDS! ^UKEELLINGTO^ALBUMSO^C^VICTOMECORDsJ • THIS IS DUKE ELLINGTON DUKE ELLINGTON PLAYS THE BLUES DUKE ELLINGTON S GREATEST DO NOTHIN' TILL YOU HEAR FROM ME ROYAL GARDEN BLUES IT DON'T MEAN A THING JACK THE BEAR FRANKIE AND JOHNNIE CARAVAN PRETTY WOMAN BOJANGLES I LET A SONG GO OUT OF MY HEART BEALE ST.
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