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Download Booklet 120811bk Duke11 4/5/06 4:35 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends series … 8.120766 8.120767 8.120810 8.120821 8.120824 8.120825 These titles are not for retail sale in the USA 120811bk Duke11 4/5/06 4:34 PM Page 2 DUKE ELLINGTON Orchestra Personnel Vol.11 Tracks 1 & 3–6: Duke Ellington, piano; Cat Tracks 9–14: Duke Ellington, piano; Cat Time’s A-Wastin’ Original Recordings 1945–1946 Anderson, Shelton Hemphill, Taft Jordan, Anderson, Shelton Hemphill, Frances Williams, trumpets; Rex Stewart, cornet; Ray Nance, Taft Jordan, trumpets; Rex Stewart, cornet; Ray Jazz historians generally think of Duke Ellington’s the lifestyle of the barrelhouse and stride pianists trumpet, violin, vocals; Tricky Sam Nanton, Nance, trumpet, violin, vocals; Tricky Sam orchestra of 1940-42 as being his finest. During who he saw performing locally. Soon he was Claude Jones, Lawrence Brown, trombones; Nanton, Claude Jones, Wilbur DeParis, Lawrence that period, Ellington and his close associate learning how to play stride piano by slowing Jimmy Hamilton, clarinet, tenor sax; Johnny Brown, trombones; Jimmy Hamilton, clarinet, Billy Strayhorn wrote gem after gem that down James P. Johnson piano rolls to half-speed. Hodges, Otto Hardwick, alto sax; Al Sears, tenor tenor sax; Johnny Hodges, Otto Hardwick, alto perfectly framed the many unique members of It was not long before he was leading his own sax; Harry Carney, baritone & alto sax, clarinet; sax; Al Sears, tenor sax; Harry Carney, baritone the Ellington big band. However, as this band in Washington DC, despite the fact that he Fred Guy, guitar; Junior Raglin, bass; Sonny & alto sax, clarinet; Fred Guy, guitar; Oscar collection shows, 1940-42 was only one of the only knew a few songs. Greer, drums Pettiford, bass; Sonny Greer, drums band’s peak periods, for it was on the same high After a short period in New York in 1922, Track 2: Duke Ellington, piano; Cat Anderson, Tracks 15–20: Duke Ellington, piano; Cat level during 1945-46, even as the swing era was playing with clarinettist Wilbur Sweatman’s band, Shelton Hemphill, Taft Jordan, trumpets; Rex Anderson, Shelton Hemphill, Frances Williams, coming to an end. Ellington returned the following year as pianist Stewart, cornet; Ray Nance, trumpet, violin, Taft Jordan, trumpets; Rex Stewart, cornet; Ray By mid-1945 when this set begins, Edward with banjoist Elmer Snowden’s Washingtonians. vocals; Tricky Sam Nanton, Claude Jones, Nance, trumpet, violin, vocals; Claude Jones, Kennedy Ellington was universally considered a By 1924 he was the leader and, although most of Lawrence Brown, trombones; Jimmy Hamilton, Wilbur DeParis, Lawrence Brown, trombones; musical genius. Dozens of his songs were the Duke Ellington’s Orchestra’s first recordings clarinet, tenor sax; Johnny Hodges, Otto Jimmy Hamilton, clarinet, tenor sax; Johnny standards not only in jazz but in the pop music only hint at what was to come, by 1926 their Hardwick, alto sax; Al Sears, tenor sax; Harry Hodges, Otto Hardwick, alto sax; Al Sears, tenor world. His arrangements made their own rules ‘jungle sound’ was coming together, featuring Carney, baritone & alto sax, clarinet; Fred Guy, sax; Harry Carney, baritone & alto sax, clarinet; and featured unusual-sounding ensembles that tonal distortions from trumpeter Bubber Miley guitar; Oscar Pettiford, bass; Sonny Greer, Fred Guy, guitar; Oscar Pettiford, bass; Sonny on occasion had trombones voiced higher than and trombonist Tricky Sam Nanton. After he drums Greer, drums trumpets and baritonist Harry Carney playing the began recording prolifically in 1927 and his high note among the saxophonists. Somehow orchestra became the house band at the Cotton Ellington and Strayhorn were able to mix Club, Duke Ellington was on his way to together both virtuosos and primitive players to becoming world famous. create a unified group sound, but Duke had Having led his band for more than a decade already been consistently performing musical before the Swing era, Duke Ellington was very miracles for the past twenty years. much in his own musical world, not bothered at Born 29 April 1899 in Washington DC, Duke all by the competition from the many newer Ellington was always encouraged by his parents groups that were formed in the 1930s. And to express himself through his artistic skills. when most of the swing bands began struggling After a brief period of flirting with the idea of and in many cases breaking up during 1945-46, becoming an artist, Ellington was attracted to Ellington sauntered on, able to keep going due to 2 8.120811 8.120811 7 120811bk Duke11 4/5/06 4:34 PM Page 6 16. St Louis Blues 2:57 19. My Honey’s Lovin’ Arms 3:10 the royalties from his hit songs and his fame. (inspired by Romeo and Juliet) is romantic, (W. C. Handy) (Herman Ruby–Joseph Meyer) His band in mid-1945 had no less than ten Strange Feeling is a feeling of unease and Marian Cox, vocal Ray Nance, vocal distinctive soloists (trumpeters and cornetists emotional violence, the playful Dancers In Love RCA Victor 20-2327, mx D6-VB-2129-1 RCA Victor 20-3135, mx D6-VB-2126-1 Cat Anderson, Taft Jordan, Rex Stewart and Ray (the best-known of these sections and a song Recorded 3 September 1946, Hollywood Recorded 3 September 1946, Hollywood Nance, trombonists Tricky Sam Nanton and that had a life beyond the suite) is naïve joy and 17. Beale Street Blues 2:52 20. Swamp Fire 2:51 Lawrence Brown, clarinettist Jimmy Hamilton, Coloratura is sophisticated. Featured along the (W. C. Handy) (Harold Mooney) altoist Johnny Hodges, tenorman Al Sears and way are Cat Anderson (contributing particularly RCA Victor 20-2326, mx D6-VB-2117-1 RCA Victor 20-1992, mx D6-VB-2130-1 baritonist Harry Carney), not counting the assertive solos on trumpet), Lawrence Brown, Recorded 9 August 1946, Hollywood Recorded 3 September 1946, Hollywood pianist. Ellington, bassist Junior Raglin and, on Strange 18. Royal Garden Blues 3:06 This set begins with the greatest hit of Mercer Feeling, singer Al Hibbler. (Clarence & Spencer Williams) Ellington, Duke’s son. Things Ain’t What They The next two selections are particularly RCA Victor 20-2324, mx D6-VB-2131-1 Used To Be, which in 1945 was briefly known as unusual. Billy Strayhorn, who was in Ellington’s Recorded 3 September 1946, Hollywood Time’s A-Wastin’, is a definitive medium-tempo shadow during most of his career, rarely blues that for decades would be a showcase for recorded. However on Tonk and Drawing Room Duke Ellington & His Famous Orchestra, except tracks 7 & 8 Johnny Hodges, a masterful blues player. The Blues, Ellington and Strayhorn are heard on a Transfers & Production: David Lennick • Digital Restoration: Graham Newton solo trumpeter is Taft Jordan and trombonist pair of piano duets, sharing the same piano. Original monochrome photo of Duke Ellington from Michael Ochs Archives / Redferns Lawrence Brown really digs into his two choruses. Tonk has Strayhorn playing in the upper register I’m Just A Lucky So And So was a hit for while Ellington strides on the lower notes. Ellington and singer Al Hibbler and this is the Tightly arranged yet spontaneous in spots, the original version. Hibbler, who is heard at his music is quite advanced, a cross between modern The first ten Duke Ellington volumes in Naxos Jazz Legends’ best, is greatly assisted by Hodges, Brown and classical music, James P. Johnson and Gershwin. ongoing series, all digitally re-mastered and fully documented: the brilliant bop bassist Oscar Pettiford. Drawing Room Blues is more relaxed although it Vol.1 ‘Cotton Club Stomp’ 1927-1931 Duke Ellington was a pioneer in expanding is impossible to figure out which pianist is Vol.2 ‘It Don’t Mean A Thing’ 1930-1934 beyond the three-minute limitations of 78s and playing which part; apparently they changed Vol.3 ‘Reminiscing In Tempo’ 1932-35 writing extended works. While his first ‘double- places a couple of times during the performance. Vol.4 ‘Echoes Of Harlem’ 1936-1938 sided’ record was a 1929 version of “Tiger Rag”, The next six selections feature Duke Ellington Vol.5 ‘Braggin’ In Brass’ 1938 he later stretched out with such compositions as compositions performed by his orchestra during Vol.6 ‘Tootin’ Through The Roof’ 1939-1940 “Creole Rhapsody”, “Reminiscing In Tempo” 9–10 July 1946. The band had temporarily Vol.7 ‘Cotton Tail’ 1940 and the marathon “Black, Brown & Beige”. At expanded to nineteen pieces with six trumpeters Vol.8 ‘Jump For Joy’ 1941-1942 his December 1944 Carnegie Hall concert, and four trombonists including Tricky Sam 1 Vol.9 ‘Black Brown And Beige’ 1943-1945 Ellington debuted his four-part 11 /2 minute Nanton who was heard on his final sessions Vol.10 ‘Air Conditioned Jungle’ 1945 Perfume Suite. Each movement was written to before his death. Rockabye River has fine bass musically depict how a certain type of perfume work by Oscar Pettiford and Johnny Hodges in would affect women. Balcony Serenade the lead much of the way with Cat Anderson 6 8.120811 8.120811 3 120811bk Duke11 4/5/06 4:34 PM Page 4 contributing some growling trumpet. The Hamilton), St Louis Blues and Beale Street Blues 1. Time’s A-Wastin’ (Things Ain’t What 9.
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