,TheDufteE@ FWofeffiM I- BUIIETIN NUMMER 1 1996

Ordföranden har ordet: Kära Ellingtonvänner!

Just som lag skall börja skriva denna artikel nås jag av ett telefonsamtal från Willie Cook som säger att har avlidit. Mycket sorgligt, det är bara att be- klaga sorgen inom Ellingtonfamiljen och de av oss som alltid har beundrat det som har skett inom Ellingtonfa- miljen. Nu är det bara Ruth Ellington, syster till Duke, som är kvar av den äldre generationen. Mercer är nu begravd i Köpenhamn där han hade sitt hem och sin danska fru Lena. Vi träffades en gång i Väs- om Ellington för oss men hans besök i Stockholm gäller terås den 3 december 1977 med Mercer och hans orkes- egentligen Charlie Mingus och Berwaldhallen den 28 ter. Vad som nu händer med Orchestra mars med Radiojazzgruppen. är ovisst eftersom det inte finns någon given ledare för För övrigt såg vi i Solna centrum's bibliotek en foto- orkestern enligt Willie Cook. Senast vi såg och lyssnade utställning kring Duke Ellington av Christer Landegren. till Mercer Ellington och hans orkester var på Skepps- Det var samma utställning som visades i Musikmuseet holmen sommaren 1994. Alexandre Rado kände Mercer 1994. Vi hoppas att f lera bibliotek vill ställa ut. som en vän och hans tecknar för oss sin minnesbild av Vi inom styrelsen hoppas att våra svenska medlem- Mercer. mar finner det OK med vissa artiklar på engelska språ- Under iuni 1996 blir det Toronto som har årets El- ket. Eftersom vi böriar få ett flertal utländska medlem- lingtonkonferens. Vi hoppas att flera av oss kan åka dit mar måste vi ju se till att de får något utbyte av sin med- och vi kommer att presentera närmare detaljer under lemsavgift. Vår senast tillkomna medlem är hemmahö- vårt föreningsmöte den 25 mars. De som önskar veta rande i Argentina! mera angående researrangemang kan kontakta vår sekre- Väl mött till nästa möte och jag hoppas att flera öns- terare. Tänk på att vissa priser som regel går upp en viss kar resa till Toronto. Det är spännande att höra och lära tid före konferensen. känna andra Ellingtonexperter från USA och Canada, som Vårt möte den 25 mars får besök från Montreal av man har läst och hört talas om i alla år. Lös ut fallskär- Andrew Homzy och det tror jag blir kul för alla som inte men och anmäl Dig! tidigare haft nöjet att träffa honom. Han är orkesterle- dare, musikprofessor, arrangör mm och stor Ellington- We love you madlyl beundrare och därmed given på alla konferenser som föredragshållare. Andrew kommer att presentera något Göran WaIIön

The Duke Ellington Society of Sweden ISSN 1400-8831 c/o Göran Wall€n, ordförande Bo Haufman, sekreterare Redaktionsgrupp: Skogstorpsvägen 39, I9I 39 Sollentuna. Storgatan 57, 115 23 Stockholm. Alf Lav€r, Olle Lindholm, Bo Haufman Telefon arbete: 08-470 54 40 Telefon arbete: 08-614 45 35 Postgiro I1 63 75 - 7 bostad: 08-96 52 34 bostad: 08-663 74 95 Bankgiro 5815-5383 DUKE E,LLINGTON SOCIETY' S HISTORIA

Vår svenska förening - The Duke Ellington Society of Sweden - ärbaratvå år gammal. Men det finns faktiskt dom som äryngre. The Duke Ellington Society of UK - DESUK - är den yngsta medlemmen i den världsomfattande familien av Duke Ellington-föreningar. Men hur böriade det ? Här fölier ett försök att teckna en historik över föreningarnas utveckling.

Ar 1958 startade en grupp Ellington-entusiaster i Los Ang- eningarna i New York, Washington, Chicago och Toron- eles under ledning av Bill Ross den första föreningen. to som fortfarande existerade och var aktiva. Förening- Dom döpte den till Duke EllingtonJazz Society - Holly- en i Los Angeles hade alltså avsomnat och de föreningar wood Chapter No. 1. som levde vidare agerade oberoende av varandra. Någon Detta med "chapter" har sin särskilda betydelse. En- moderförening fanns inte längre vilket är situationen ligt ordboken betyder det ungefär "filial till förening". ännu denna dag. Med andra ord så tog DEJS i Los Angeles på sig rollen Men siälvklart fanns intresset för organiserad Elling- som någon slags hur.'udförening och de avläggare som ton-beundran slumrande. Benny Aslund startade i bör- bildades i USA och Canada blev underföreningar. DEJS jan på 70-talet DEMS, en världsomfattande förening som kom att kalla sig för den "internationella Ellington-för- agerar på korrespondensbasis. 1983 började det hända eningen" med den mening amerikaner lägger i ordet saker i och med att i Washington avhölls den första s.k. internationell. D.v.s. det som täcker USA och Canada är Duke Ellington Study Conference, som skulle komma internationellt. att utvecklas till de årliga Ellington-konferenserna. Med Bill Ross verkade enträget, i nära samarbete med Pa- dessa konferenser böriade det akademiska intresset för tricia Willard, för att bilda underföreningar runt om i Duke Ellington's liv och musik återväckas och fören- USA och Canada och i ett gammalt newslettär från mal ingar började bildas på nytt. 1986 återbildades fören- 1959 kan man notera att lokala chapters bildats i 6 stä- ingen i Los Angeles under ledning av Bill Hill och vi har der i USA och Canada och varje chapter hade tilldelats sedan sett föreningar bildas i Detroit, Ottawa, Pittsburgh, sitt eget nummer. Flera i dag existerande föreningar an- Köpenhamn, London och i Stockholm. vänder ännu dessa nummer som t.ex. föreningen i To- Det gäller nu för oss alla som är medlemmar i dessa ronto som är nummer 40 och Washington som har num- föreningar att gemensamt se till att intresset för Duke mer 90. Vidare kan man notera att Vancouver hade till- Ellington's liv och musik hålls levande och förs vidare delats nummer 10 Chicago nummer 50 och att New York till yngre generationer. Du kan hlälpa till och sprida in- hade nummer 100. Nu skall man inte förledas att tro att tresset. det fanns minst hundra föreningar runt om i USA och Canada. Så var inte fallet. Som synes var föreningarna Bo Haufman tilldelade nummer om jämna tiotal och troligen var tan- ken att de lokala föreningarna skulle kunna bilda regio- nala föreningar eller stadsdelsföreningar som då skulle tilldelas ett påföljande nummer. Som grund för tilldel- ningen av nummer låg det amerikanska postnummer- systemet. Redan i början av 1959 började moderföreningen i BENNY Los Angeles ge ut ett newsletter som distribuerades till alla lokala föreningar. I föreningens styrelse återfann man bl.a. sådana namn som , John Sanders och . Duke Ellington själv visade stort intresse ASLUND för dessa föreningar och han besökte dom ofta när till- Benny has been ill and hospitalized for a few weeks fälle gavs. but since middle of February he is back home and Som framgått av det hittills sagda så var det Bill Ross recovering. This is the reason why the DEMS mem- som var drivkraften bakom föreningar och newsletter. bers have received no bulletin for a while. However, Beklagligtvis gick han bort i mitten på 60-talet och nå- Benny tells us that the bulletin is half ready and as gon som ville åtaga sig att axla hans mantel stod inte att soon as he is fully fit for fight again he will resume finna. Föreningsverksamheten började vittra sönder och the iob and complete the pending issue. publiceringen av newsletter upphörde så småningom. All Ellingtonfans do wish Benny a quick recovery I Denna erodering blev ännu mer uttalad i och med Duke's bortgång 1974 och vid denna tidpunkt var det bara för- Rapport från klubbmöte den zzianuari L996. Mötet ägde rum i Saldnhusets Aula och cirka 8o-talet besökare infann sig. För tillfället hade inbiudits en kvintett bestående av herrar Bosse Broberg, Johnny Högman, Gösta Rundqvist, Bengt Hansson och Martin Löfgren att underhålla oss med litet kammariazzi Ellingtons anda.

Johnny var gruppens "språkrör" och annon- serade "ln A Melloto- ne" som en uppvärm- ning och som han ut- tryckte det "referens- ram". Samtliga i kvin- tetten fick värma upp sig med solon. Sedan fortsatte man med Duke's vackra "lsfa- han" som man tilläg- nade den nyligen bort- gångne Gerry Mulli- gan. Johnny hade tagit fram sin barytonsax och det blev en vacker och stämningsf ull hyllning till Mulligan. Så tyckte man att det var dags för litet genu- in blues och då hade man plockat fram ett "Våra Ellington-tolkare". Foto AIf Lav€r nummer som påstods vara så vanligt före- kommande att dom aldrig spelat det på många, många med skall vara så "akustiskt" som möjligt. Gert hade år. Det rörde sig om "C Jam Blues". Gösta fick sedan medtagit sin mycket avancerade 78-varvspelare och de- demonstrera sin fingerkänslighet i en stämningsfylld monstrerade dess kapacitet genom att spela upp Duke's tolkning av "A Flower Is A Lovesome Thing" kombine- "Birmingham Breakdown" från 1927 och "Breakfast rat med Ellingtons sofistikerade fruntimmer, d.v.s. "Sop- Dance" från 1930 samt "lsle Of Capri" från 1954 en av histicated Lady". Sedan tyckte Johnny att det var dags Duke's sista 78:or. Gert har mycket att lära oss om ljud- för en "up tempo" låt och vad kunde då vara lämpligare återgivning och vi lär få höra mer av honom på ett fram- än "", därJohnny's litet traditionella tenor tida möte. ställdes mot Bosse's mera moderna trumpet. Martin vi- Efter en kort bensträckare var det dags för vår tradi- sade också sina anlag med trumpinnarna. Så tänkte man tionella "filmtime". Denna gång var det en film med avsluta det hela med Strayhorn's vackra "Upper Man- Ellingtonbandet från 1969. Vi kunde njuta av hattan Medical Group" men det fick dom ju inte. Slälv- Cootie's solo i "A Train" , Lawrence Brown, Harry Car- klart måste man avsluta konserten med en annan Stray- ney och Russel Procope i "" och hela ban- horn-låt - "Take The A Train" där Bosse gjorde ett gott det i den vackra "La Plus Belle Africaine". Johnny Hod- "plungerwork". Det var en mycket uppskattad konsert ges framträdde i sina features som "Things Ain't" och ochJohnny passade avslutningsvis på att upplysa oss om Carney demonstrerade sin in- och utandningsteknik i att kvintetten nyligen gjort en CD på märke Sittel som "". Wild Bill Davis medverkade i sin släpps i dagarna. Efter vad vi kan bedöma så är den abso- specialare "April In Paris". I bandet kunde vi se några lut köpvärd. tillfälliga ersättare som Äke Persson och Nelson Willi- Efter en kaffe/öl/vinpaus tog en av våra medlemmar ams men tyvärr inte som solister. fram- - Gert Palmcrantz - över underhållningen. Gert kan det trädde inte som solist. Han tycktes stundtals sova gott. här med liud på skiva - både gamla skivor och nya - och I allt en lyckad kväll för oss Ellington-lovers. har en bestämd uppfattning om hur det egentligen skall låta. Gert menar att det konserverade ljudet skall så myck- et som möiligt efterlikna det naturliga ljudet och där- Bo Haufman ACHATWITH ROLFEruCSON -ONEOFOUR T995 ELLTNGTON AAAITD WINNE,RS

Rolf Ericson and his German wife Evelyn have since a few years returned to Sweden and they are now living at Handen in the outskirts of Stockholm after several years in USA and Germany. We got together one evening in January and Rolf talked enced Rolf. He brought Rolf with him to listen to Louis about himself and what has happened over the last few Armstrong when he visited Stockholm in 1933 and this years. For the last 47 years Rolf has actually only lived made Rolf decide to become a trumpet player. He then permanently in Sweden for about 5 years. It was a rather met with Arne Domndrus and the violinist Hasse Kahn trivial matter that made the Ericsons to move back home. It was due to the fact that Evelyn, after having done a TV-job in Germany, got into the wrong line at the US Immigration control. She happened to que up together with US citizens and was caught by the customs people who inquired her for three hours. The sad result was that Evelyn was tem- porarily expelled from the US. For almost a year Evelyn lived in Germany while Rolf tried to keep on playing in Los Angeles and shuttle between Germany and California. Needless to say, this became a somewhat expensive way of living so the Ericsons decided to move to. Sweden. Rolf regrets this necessary develop- ment especially as gig opportunities were picking up in the LA and Beverly Hills area and his little group was about to become an almost big band. Unfortunately Rolf was for- ced to give all this up. In LA Rolf had Leonard Feather as his Foto OIIe Lindholm neighbour a few blocks away. Feather and Rolf had in mind to write Rolf's musical biography. Feather in the South Katarina Public School. He played with Karl felt that Rolf had played with both small combos and Gerhard at the Folkan with Bosse Sporrong on the drums big bands over so many years that he really had somet- and in 1938 Rolf and Arne joined Owe Kjells amateur hing to tell. You just have to study the list of all the band. After a while they were joined by Simon Brehm as bands and personalities with whom Rolf has played and well as Hans and Gösta Theselius. This band once won a you will easily understand the reason for Feather's opi- critics poll as best band. The band grew to a big band nion: Paul Anka, , Count Basie, Les Brown, but round about 1943 the core of the musicians left for Benny Carter, Jimmy Dorsey, Tommy Dorsey, Lulle Ell- the Lulle Ellboi band. This was a more modern soun- boj, Duke Ellington, , Stan Getz, Dex- ding band that mostly played the Vinterpalatset. ter Gordon, , , Elvin Jones, ln 1946 Don Redman payed a visit to Sweden and QuincyJones, , , Charlie Mingus, this made Rolf decide to go to USA to try out his luck Art Mooney, , Perez Prado, Charlie Spivak, over there. He left in November of 1,947. After some gigs , Dick Stabile, Charlie Ventura and the with Stan Hasselgard and he wound up World's GreatestJazz Band. An impressive list. with Charlie Barnet and that made him known as a first Unfortunately Leonard Feather's house was totally class trumpeter. Rolf recalls: "Charlie Barnet had a fan- wrecked by the earthquake three years ago at the same time tastic band. I was in a trumpet section alongside Doc as his health started to deteriorate and as we know he pas- Severinsen, Maynard Ferguson and an incredible lead sed away on 22 September, 7994. Also Rolf's home was de- player, . Charlie was the easiest guy to work stroyed by the earthquake but most of the furniture was for. One night we played a battle of the bands in Balboa, saved and is now with him in Handen. To enlighten us a against Woody Herman and Stan Kenton. We came in bit of Feather' s opinion about Rolf Ericson we quote below raggedy, filthy from a long road trip. Woody and Stan an article written by Feather - "A Polished Set". had musicians who were all neat. sunburned. with their Rolf 's musical path started at a very early age - 12 years. cameras and their girlfriends. We were tired and hungry, His uncle was the trumpet player Ragge Läth who influ- but when we started to play, man, we wasted everybodyl We blew both those bands right into the ocean". hdrawn on next payday. It was tough but that was the In 1950 Rolf decided to return to Sweden for a while way it was. and took up playing with Arne Domn€rus at the Nalen. During the 70's and 80's gigs in USA and Sweden When Charlie Parker visited Sweden, Rolf hade the opp- became scarce but the more of them in Germany. Rolf ortunity to play with him for the week his visit lasted. used to play a lot with Paul Kuhn's orchestra. ln 1982 Rolf returned to USA but in 1956 he brought a group Rolf met Evelyn while making a tour in Germany. Eve- of young modernists over to Sweden for a tour around lyn was then working in a vocal group. the country. In the group were a.o. Rolf also tells me that while he played with the Harry and Cecil Payne. James band he used to play James's solos when James was After returning again to USA, Rolf had long stints not on stage. But after som time he was replaced by an- with both Stan Kenton and Woody Herman but his stay other trumpeter for these solos. Rolf believes that James with Duke Ellington's orchestra was something extra and found him playing too good. In the Stan Kenton band Rolf special. Everybody wanted to play in the Duke Ellington used to play solos in more or less every second tune. band. Rolf points out the fantastic musicianship and fee- When asked how he got the lobs with all the big bands ling that existed in the band despite some personal anta- and whether it was difficult with change of styles Rolf gonism amongst some of the band members. On one says that this was never a problem. To play with Buddy occasion the band played with only 8 men before the Rich was OK but a little bit oldfashioned according to rest ofthe band got together but it still sounded as a 15- Rolf 's taste. When on one occasion Stan Kenton disban- men band, even better than the band ded Rolf found a place in Woody Herman's band already that played before them, says Rolf. Rolf stayed with Duke the following night but admits thats how it was in the from May 1963 until April 1964 but was then occasio- 50's and it is not the same today. From those days Rolf nally in and out of the band up to 1973. still remembers Snooky Young as a fantastic lead trum- While in the Ellington band beca- peter. me Rolf 's best friend although it took some time. It was As of today there are not many playing opportuni- difficult in the beginning says Rolf. "Of all the bands I ties available for Rolf but he is hopeful that with the worked with, Duke Ellington's made the most durable advent of the spring the promotors will start to plan for impression. I was the first European musician to beco- the summer and then think of him. Rolf is very pleased me a regular memeber of the band. I was mystified at with the recently released CD with music by Ellington first. Duke had this huge library, with lust fragments of and Strayhorn. The CD, produced by Sittel, was recor- pape4 I couldn't find any music, and I had to ask the ded in 1995 together with the tenorist Lennart Åberg. other trumpeters. I'd say to , "What note We hope that Rolf and Evelyn feel at home in Han- should I play here ?" and he'd say "I don't know - play den and that we will have the opportunity to listen to anything". And I was cought in the middle of this frici- the trumpet of Rolf many times in the future to come. ton between Cootie Williams and . If Cat Thanks Rolf and Evelyn for a very nice evening and for told me, "Play a B Flat here", Cootie would say, "Don't the pleasure of viewing the many pictures on your walls. listen to him, it's an E Flat." Duke would just laugh and say "Don't worry, Rolf, you'll get it". Finally I wrote out Göran Wallön my own parts and after a couple of weeks I had the who- le thing down. Count Basie's book, contrary to PS. Those of you who may want to know more about Ellington's, everything was written out and easy to read." Rolf Ericson are referred to two good articles in the Or- In Duke's band Hodges, Carney, Cootie and Lawren- kesterlournalen. One is written in April 1990 by our ce Brown were better paid than the others. They were member Göran Olsson. The other is written inMay 1994 paid by the day whereas the others were paid according by our members Martin Westin and Lars Westin. to the occasion. The reason why Rolf eventually quitted the band was due to the small money. The rule was; no Please refer to page 12 for article in gig - no money. Salary advances were definitely wit- The Los Angeles Times.

Members may now order the following material from DESS: SEK USD Duke Ellington pin 40:- 6;- Ellington '94 Bag 4O;* 6;- 12 Transcriptions from Ellington'94 100:- 15:- "Black Beautv" CD 110:- 16'.- Postage 10:- 4;-

Remit selected amount to our postal- or bankaccount with a notation of which material you require and we will mail it to you. EAST ST. LOUIS TRUDDELUTT

Det måste väl betraktas som hädiskt att kalla "East St.Louis Toodle-Oo" för "Tiuddelutt" men vad menas egentligen med "Toodle-Oo" och hur kom kompositionen till ? Här fölier ett försök till ett studium.

Duke Ellington tillsammans med Bubber Miley skrev Enligt Stanley Dance uppgav Duke; "The title meant "East St.Louis Toodle-Oo" 1926 och dom tog copyright for me the broken walk of a man who had worked all day på den 1927 . Det var det numret som verkligen etablera- in the sun and was leaving the field at sunset. I had never de Ellington som en orkesterledare med en ny och säre- been in East St.Louis then, but I thought the locale soun- gen stil. Man måste dock komma ihåg att Miley hade ded right." stor del i kompositionens tillkomst och även i karaktä- Mercer Ellington ger i sin bok "Duke Ellington In ren av Ellingtons musikaliska stil från slutet av ZO-talet Person" en finstämd beskrivning av Duke's sätt att kom- och långt in på 30-talet för att inte säga under hela El- ponera melodier som "East St.Louis Toodle-Oo"; "He lingtons karriär. Så vitt man vet lar det Miley som kom- sought a sensuality in the way his music was expressed; ponerade temat medan det var Duke som skapade ar- there was always an emotion attached to the sound. Or I rangemanget och hela inramningen. Tillsammans med might say that he was always very conscious of the need "Black And Tan Fantasy" var det "East St.Louis Toodle- to make the listener feel experiences with the sound, al- Oo" som verkligen framhöll Ellingtons särart och Miley most as though he were creating apparitions with the hade ju sin hand med i tillkomsten också av "Black And music." Tan Fantasy". Båda numren blev väl mottagna av publi- ken och följaktligen också av grammofonbolagen. Som MAN KAN HA MÅNGA HYPOTESER VARFÖR vi kan se av diskografierna så spelade Duke in "East NUMRET FICK DET NAMN DET HAR. St.Louis Toodle-Oo" för diverse bolag under fuen 1927 I "East St.Louis Toodle-Oo" var den första av Duke's kom- 28. Tack vare det goda mottagandet fick numret bli ban- positioner som var förläggare för och man dets signaturmelodi och fick så förbli fram till c:a l94O kan då våga anta att han säkert hade något med namn- men fanns sedan kvar i repertoaren under Duke's hela valet att göra. Det är troligt att Duke hade för avsikt att karriär. Numret sägs ha varit 's favoritkom- rätt och slätt kalla melodin för enbart "Toodle-Oo" eller position under "the early days" främst tack vare att det "Todalo". "Todalo" var också en speciell dansstil eller så tydligt identifierade bandet; "People heard it and said, danssteg från Z0-talet och det är inte helt omöjligt att 'Here they comel". Duke haft det i tankarna när han namngav melodin. I litteraturen finns åtskilliga beskrivningar hur num- Ordet "Toodle-Oo" är också ett ännu i dag förekom- ret kom till. En beskrivning säger att Bubber Miley un- mande slanguttryck som närmast kan översättas med der en tågresa med bandet mellan New York och Boston " adjö" , "ajöken" eller "hejsvejs". Så om man vill kanske råkade se en neonskylt med orden "Lewando Cleaners", betydelsen av melodititeln kan sägas vara "Ajöken till vilket han tydligen fann något lustigt och började sjunga East St. Louis". Men som framgår av det ovan relaterade orden; "Oh, Lee-wan-do, Oh, Lee-wan-do", vilket sedan så har ju Duke aldrig lagt någon sådan betydelse i be- tydligen utvecklades till melodin i fråga. skrivningen av kompositionen. I "Music Is My Mistress" säger Duke Ellington att Enligt texthäftet till den förträffliga CD-boxen "Ear- Bubber Miley alltid hade en story kring sin musik. I fal- ly Ellington" (MCA GRP 36402), som är författat av Ste- let "East St.Louis Toodle-Oo" låter den: "This is an old ven Lasker, så var det en herre vid namn Jack Kapp, då- man, tired from working in the field since sunup, co- varande chef förVocalion's s.k. "race department", som ming up the road in the sunset on his way home to din- döpte melodin (liksom även "Birmingham Breakdown") ner. He's tired but strong, and humming in time with med den förhoppningen att namnvalet skulle gynna för- his broken gait - or vice versa." säljningen på de lokala marknaderna. Detta till trcts att I en intervju för en brittisk tidning säger Duke enligt Duke och hans band dittills aldrig besökt någondera plat- John E. Hasse's "Beyond Category"; "Those old negroes serna. St.Louis ligger i staten Missouri vid Mississippi's who work in the fields for year upon yeat and are tired västra strand. East St.Louis är en förstad som ligger på at the end of their day's labour, may be seen walking den östra stranden i staten Illinois. home at night with a broken, limping step locally known En melodi som "St.Louis Blues" hade haft stor för- as the "Toddle-O", with the accent on the last syllable. I säljningsframgång och kanske ville också Mr. Kapp på was able to get a new rhythm from this, and what better något sätt låna litet av den glansen genom att på ett lik- title could I find than the original." "Toddle-O" blev ju nande sätt namna Duke's komposition. Att kalla den senare på skivorna "Toodle-Oo". Duke själv uttalade "St.Louis Toodle-Oo" låg kanske för nära "St. Louis "Toodle-Oo" ungefär som "Todalo" och lär ha sagt att Blues" men "East St. Louis Toodle-Oo" både associerade det var så uttrycket skulle skrivas men att det blev fel- till den kändare melodin och flirtade dessutom med uppfattat eller felstavat på de första skivutgåvorna. marknaden i området. Vid vilka tillfällen har Duke Ellington med orkester spelat itt "East St. Louis Toodle -Oo"?

Här följer en lista med tillfällen av Om man vill kan man indela inspelningarna mera signifikativ karaktär: i tre perioder:

29171. -26 -Vocalion - Från begynnelsen fram till l94O dä melodin 17 12 -27 - Brunswick (Utgåvor saknas) lanserades och användes som signatur. I4l3 -27 - Brunswick - 7956 och Bethlehem inspelningen 2213 -27 - Columbia "Historically Speaking" f9l12 - 27 -Victor - 1964 och framåt efter Cootie Williams 19 l1 -28 - Okeh ("Harlem Twist") återinträde i bandet då han ofta lanserades i 13 -28 - Cameo/Path6 en avkortad version. 314 -39 - Velvet Tone 17 -3O - RKO (Check and Double Check) För den läsare som vill ha en musikalisk analys av "East - 912 -30 - Victor St. Louis Toodle-Oo" hänvisas till Mark Tucker s bok "El- 2215 -38 - Live Cotton Club lington - The Early Years". 2617 -39 - Live Ritz-Carlton, Boston 911 -4O - Live Southland Cafe, Boston 712 -56 - Bethlehem Bo Haufman l4ll -64 - Live Basin Street East, NYK 17 18 -64 - Live Basin Street East, NYK 219 -64 - Live Toronto (Trio) 30/1 -65 - Live Paris 817 -72 - Live Carnegie Hall

Wife" och "Jumpin Punkins". Han bidrog även vid Duke's komponerande av "Three Black Kings". SADNEWS Musikalen "Sophisticated Ladies" på Broadway där Mercer fungerade som musikalisk ledare blev en stor MERCER ELLINGTON framgång för honom och orkestern. Han ledde även vid flera tillfällen framförandet av Duke's opera "Que- avled i början av februari på Gentofte Hospital i Kö- enie Pie". penhamn där han var bosatt sedan många år tillbaka. Mercer efterlämnar sin danska fru Lena och fyra Enligt hans son Paul drabbades han av tre påföljande barn; Mercedes, Edward, Gaye och Paul. hjärtattacker i kom- bination med lung- inflammation. Han GERRY MULLIGAN blev 76 är. 1,974 tog han över ledningen avled den 20 ianuari 1996.Vi känner alla till hans karri- av sin fars orkester är och betydelse för den moderna iazzen. Här skall en- men hade dessförin- dast nämnas hans beröringspunkter med Duke Elling- nan arbetat som för- ton. Deras vägar korsades många gånger. Vid flera till- säljare, disc jockey fällen har deras respektive band engagerats för framträ- och som skivbolag- danden vid samma konserter. Vid några tillfällen har sansvarig. Han hade Mulligan dessutom framträtt tillsammans med Elling- dessutom lett egna ton. Ett sådant tillfälle var Newport Festivalen 1958 då band. Bl.a. gjorde Mulligan tillsammans med Harry Carney framförde en Carmen McRae sin Ellington/Strayhorn-komposition betitlad "Prima Bara skivdebut med Dubla". Hela konserten kom nyligen ut på CD. I novem- Mercer's band. Vid ber 1962 uppträdde Mulligan som gästsolist med Elling- ett tillfälle ledde tons orkester vid en konsert i Los Angeles. Vid tillfället Mercer ett storband medverkade också som gästartister och Rex som var engagerat på Stewart. Enligt Down Beat var det en "memorable eve- Birdland. Under fle- ning". Slutligen kan nämnas Duke's 7O-årsdag som fira- ra år satt han dessut- des i Vita Huset med president Nixon som värd. Mulli- om i Duke's trumpetsektion samtidigt som han fung- gan ingick i ett All Star Band som hyllade Duke. erade som 'band manager'. Låt oss minnas Gerry Mulligan för det han åstad- Mercer's namn finns registrerat som kompositör kommit, och inte som vissa namnkunniga skribenter till flera av Duke's slagnummer. Kändast är "Things framhålleq för det han inte gjort. Ain't What They Used To Be" men värda att nämnas är också "Blue Serge", "Moon Mist", "John Hardy's Bo Haufman NYASKIVOR Flödet fortsätter. Vi kan rapportera om föliande utgåvor: DUKE ELLINGTON. MEADOWBROOK TO spelningarna är från 1952 och det är till största delen MANHAITAN. helt underbar musik. Det är ju speciellt intressant att få Black Label ta del av Duke och bandet när man är utanför inspel- BLCD-8029. ningsstudion och spelar litet mera relaxed, något som Man kan bara gissa var- kan vara både på gott och ont. Här finns många fina för denna CD fått den nummer men för oss är det speciellt roligt att få höra titel den har. Enligt de Willie Cook framsläppt i frihet i "W.C." (vilka dubbel- diskografiska uppgif- meningar Duke hade när han döpte detta nummer kan terna. som tvcks vara vi bara gissa) och "Tenderly". Den senare är en höjdare. ganska riktigä, så är allt material liveupptag- DUKE ELLINGTON. CORNELL UNI\,|ERSITY CONCERT. ningar från framträ- Musicmasters danden i Californien cD 65114-2. och i Washington. Ma- Den 10 december 1948 terialet är inte nytt för var Duke Ellington och Ellington-samlaren. hans orkester engagera- Det har tidigare funnits utgivet på LP Stardust 201 men de för en konsert vid den har inte funnits i marknaden på mycket länge. In- Cornell University, It- haca. Det var ingen danstillställning utan en ren konsert och det har satt sin prägel på reoortoiren. Detta ma- zzCENTSTOMP teiial har till största de- len funnits utgivet ti- En gång gällande digare på LP; World Re- i tiden var det cord Club T-160 och T-195 och på Desor Disc 448-1. Den- brevportot i USA 3 cent och Duke na CD medtager endast delar av denna konsert så frågan är om Musicmasters tänker ge ut resterande material se- Ellington komponerade L943 en nare. melodi som han gav namnet ELLINGTON & STRAYHORN bV ERICSON & ÅBERG "3 Cent Stomp". Inflationen har sittel sITCD 9223. sedan dess haft sin verkan och 1986 Skivan är troligen bäst beskriven genom att vi hade portot höits till22 cent. citerar följande ur text- häf tet: " Jazzfestivalen Den29 april 1986, d.v.s. på 87:e årsdagen av Duke's fö- Ellington '94 "Serena- delsedag, utgav US Postoffice ett jubileumsfrimärke fö- de to Sweden" blev reställande Duke vid pianot med r,alören 22 cent. Unge- upprinnelsen till den- fär samtidigt kom det ut en skiva betitlad "Digital Duke" na inspelning. Under med Mercer Ellington spelande diverse egna och några festivalen spelade Len- av Duke' s nummer. En komp osition *ar " 22 Cent Stomp ". nart Aberg, som var För några år sedan började dessutom amerikanska musikaliskt ansvarig för festivalen, och Rolf postverket att i PR-syfte trycka upp nämnda frimärke i Ericson tillsammans form av rockmärke. Du Ellington-kon- ett som bevistat några nummer och då ferenserna har säkert sett kom id€n till denna CD. En samling ballader och blue- deltagare gå omkring ser av Ellington & Strayhorn framförda av Ericson & med detta märke på rock- Aberg. En ovanligt "lättdöpt" produktion." De melodier uppslaget. DESS har nu som presenteras är; The Intimacy of the Blues, Senti- från USA införskaffat ett mental Lady, Prelude to a Kiss, Paris Blues, The Starcros- antal av dessa märken sed Lovers, Serenade to Sweden, Just Squeeze Me, Chel- vilka vi hoppas att alla sea Bridge, Portrait of a Silk-Thread, Daydream, Fleuret- våra medlemmar skall te Africaine och Lotus Blossom. Utöver nämnda herrar finna anledning att in- medverkar också Bobo Stenson, Dan Berglund och Egil Johansen. handla för en summa av SEK 40:-. Ett dylikt mär- Bo Haufman ke kan iu tjäna som ett medlemsbevis i vår för- ening. Sätt in summan på vårt postgiro så skickar vi märket.

Bo Haufman \AALLACEJONES

Vem var denne obskyre trumpetare som satt i Duke Ellington's trumpetsektion under senare delen av 3o-talet och börian av 4O-talet? Dave Cavalier ger ett svar på den frågan i fölf ande artikel:

In his book Duke Ellington Barry Ulanov writes about herited from Arthur Whetsol. His beautifully played the decline in health of Arthur Whetsol, Duke's boy- obligato to the main theme can be heard on the studio hood friend in Washington and lead trumpet player in recording of February 1940 in the arrangement for an the orchestra from 1928. Eventually Whetsol's disease Ivie Anderson vocal. The non-vocal arrangement can be reduced him to spells of incoherence and he was forced heard on the recording of the December 1943 Carnegie to retire. Ulanov's view that there was no satisfactory Hall concert. This part involved playing a very deman- replacement for him until Harold Baker joined the band ding sustained high D. It seems that he came to hate to lead the section would be disputed by many. There is having to do it. Mercer Ellington says (Duke Ellington no mention of Wallace Jones in the book although it In Person) that it "haunted trumpet players to the extent was he who was recruited as Whetsol's replacement at that they never wanted to play the lead part". In The Hot the time. Bach Richard O. Boyer reports Jones worrying about his According to the New Grove Dictionary Jones filled lip, especially on cold nights. the vacant chair in late 1936, and Timner lists him in the According to Leonard Feather the trumpet solo on personnel for a recording session of 21 December 1936. "Black And Tan Fantasy" performed at the January 7943 However, Chilton's Who's Who says he joined in March Carnegie Hall Concert (Prestige 3-LP P-34003) was by 1938. This is borne out by both DESOR and Stratemann's Ray Nance. However, it is rather reminiscent of Whetsol's Duke Ellington Day By Day. Having checked contempora- version in the 7929 film short and quite different from ry reports in Metronome Stratemann is convinced that, Nance's solo on the Capitol recording ten years later. although unwell, Whetsol appeared with the band th- DESOR supports the contention that it is in fact the work roughout 1936 and 1937 (footnote on p. 135). of Wallace Jones. After an apprenticeship working with local bands in After America's entry into the war against Germany Baltimore, the city of his birth, Wallace Jones moved to and Japan the draft was a major cause of instability in New York when he was already about 30 years old. He the orchestra's personnel. Wallace Jones was one of the worked briefly in the band of his cousin Chick Webb, Duke's men who were drafted. He had been with Elling- then in 1936 with Willie Bryant. At this time he also re- ton for six years. When he returned to civilian life he corded with Putney Dandridge, taking a solo on "These worked with Benny Carter in late 1945, Snub Mosley in Foolish Things". 1946 and John Kirby in 1947 . According to DESOR he However, in common with his predecessor in the EI- was back with Ellington for a few months in early 1,947 lington orchestra, improvisation was not his real forte. but (tiring of touring and playing "Mood Indigo" ?) he He was essentially a section man. His solo voice was heard made his final exit from the ranks of Duke's men. He chiefly in the written statement of themes. His new sec- retired from full-time music to opt for the more tran- tion mates in the Ellington orchestra were Cootie Willi- quil, less demanding role of funeral director. ams and and, of course/ even an above aver- age improviser could not have expected to be assigned (Published with the permission of DESUK) much solo work in such fast company. When he did take a solo the results were not always good. Gunther Schul- Fr.v. Duke Ellington, WaIIace lones och Cootie Williams ler (in The Swing Era) describes his solo on "Chloe" as "tastelessly saccharine". Pace Barry Ulanov, Jones' excellent technical command of his instrument equipped him well to lead the section, and his clean, pure tone was ideal for theme statements on such pieces as "Dusk On The Desert" and "Serenade To Sweden". Perhaps Ellington's finest achievement in puttingJones' talents to good effect was to pair him with Bar- ney Bigard for the theme statement of the 1940 "Dusk", a perfect example of the alchemy of the "Ellington effect". His chief and enduring solo role in public performances by the orchestra was to play the trumpet part in the arr- angement of "Mood Indigo" that he in- E,D\AARDK. &FRANCISA.

Frank Sinatra har nyligen firat sin 8o-årsdag vilket väl knappast har undgått någon. En medlem i vår engelska systerförening, John C. Gee, har med denna händelse som utgångspunkt funnit anledning att göra vissa iämförelser mellan Frank's och Duke's karriärer. Som vi alla vet så resulterade ett samarbete dem emellan i en LP med samma titel som den omvända rubriken på denna artikel.

Now that the celebrations are over and the final cur- nuary 1940 Sinatra left the HarryJames band and joi- tain has been faced with the realisation that there ain't ned Tommy Dorsey. For over two-and-a-half years he gonna be any more records, concerts, films or TV it is travelled with the band on one-night stands all over a good time to revalue the 60-year career of Francis the States until the involvement in the Second World Albert Sinatra, especially in relation to Edward Ken- War made changes inevitable. Duke once recalled mee- nedy Ellington. For Ellingtonians, except perhaps for ting up with Sinatra for the very first time on a one- those stuck in the 1920s and 30s, there are many sur- night stand at the Sherman Hotel in Chicago. It must prises, strange coincidences, unknown facts and pa- have been a memorable encounter as Duke was then rallels in the careers of the greatest singer and the gre- at the height of his powers as a composer and a band- atest bandleader in and popular music. leader. Frank was learning his trade as a professional For example Bill Miller, who was Sinatra's pianist singer and, while working with Tommy Dorsey and and MD for over 30 years, and Billy May who wrote Buddy Rich, Bunny Berigan, Sy Oliver, Joe Bushkin et the charts for many classic Sinatra LPs, including the al, was finding out what iazz was all about. Listening legendary 1967 album Francis A. & Edward K., were to Ellington and all the other great bands of that era both members of the 1939-4O Charlie Barnet Orchest- was to play an influential part in his later career. ra which was heavily patterned on and influenced by Duke recalled in Music Is My Mistress that the next Ellington. time they met was at the State Theatre in Hartford, One of the most bizarre stories I have unearthed Connecticut, when they shared the bill. By then Sina- concerns a song in the copyright listings in Music Is tra had left Dorsey and was working as a solo artist. My Mistress on page 5L9, "Baby, You're Too Much" He had left on 10 September 1942, Ieaving a gaping with lyrics by that wellknown gossip and sometime hole in the Dorsey ranks. By a remarkable coincidence songwriter, Don George. According to George, Duke that very same month Ivie Anderson left Ellington af- wrote the song especially for Sinatra, who had sugges- ter eleven eventful years. Like Sinatra she was irrepla- ted the title, as a dedication to Mia Farrow whom he ceable and all the other girl singers tried out paled had recently married. By the time Ellington finally got into insignificance in comparison. around to completing the melody and Don George had September 1942 in fact was a time that neither of penned the embarassing lyrics, Sinatra and Mia had them would forget. It was the first month of the infa- split I mous American Federation of Musicians ban on their On a recent BBC Radio 3 series, critic Mel Hill revea- members recording for the record companies. Sinatra led that Sinatra has been the favourite singer of many had made his first sides with Dorsey on 1 February iazz musicians for decades. At various times Messrs 794O at the RCA Victor studios in New York. On 22 Hodges, Carney and Gonsalves expressed their appre- February 1940 Duke signed a new contract, also with ciation and I well remember Ben Webster telling me RCA Victor, and one month later at their Chicago stu- one night at Ronnie Scott's Club how much he loved dios made the first titles with the "Blanton-Webster Sinatra's singing. I have encountered stories that Web- Band", as it has come to be known. After the ban the ster in fact had played on a couple of Sinatra's recor- band was not to record again (commercially at least) ding sessions. He was on the Neal Hefti sessions and until Decembet 1944, by which time there had been takes a robust solo on "l'm Beginning To See The some notable personnel changes including the depar- Light". Strangely enough it was on 17 December 1,946 tures of , Ben Webster, Juan Tizol and that Hodges, Carney and Lawrence Brown recorded Wallace Jones. with Sinatra for a Metronome Poll Winners record date. Sinatra signed a solo recording deal with CBS but Webster, who had by then left Ellington, missed quite it was not until November 1944 that he was able to a blow - Coleman Hawkins was the tenor player on the record with backing musicians. In \947 Duke would date. also switch from RCA to CBS and both of them would The coincidences in their remarkable careers have continue with that label until 1952. And then another quite stunned me. On a cold, snowy night in late Ja- amazing coincidence; both admittedly at the nadir of

10 their respective careers, Sinatra and Ellington both many of Ellington's songs had banal words written signed with Johnny Mercer' s dynamic either by Irving Mills or songwriters signed to Mills' and made their first sessions in the April in Los Ange- publishing company. Sinatra did get around to ma- Ies. king some highly distinguished interpretations of 1956 was the year that saw both of them rise to the "Mood Indigo", "l Got It Bad" (lyric by Paul Francis very peak of commercial success after their years in Webster), "l'm Beginning To See The Light" (lyric by the doldrums. Both made the cover of Time magazine Don George), "l Like The Sunrise" (lyric by Duke and and both had huge successes with their albums "El- Billy), "Sultry Serenade" a.k.a. "How Could You Do A lington At Newport" and "Songs For Swinging Lov- Thing Like That To Me" (co-written with ) ers". and 's "Lush Life" which was to have When Sinatra eventually left Capitol in 1960 to been included on the classic "Only The Lonely" al- form his own Reprise record company one of the first bum but, alas, was later rejected. artists he signed to the label was Ellington who also In a recital for the New York Chapter of the Duke acted as A & R manager for some very interesting jazz Ellington Society last October the distinguished cri- sessions. However, it was not until Decembet 1967 that tic and writer Will Friedwald explored the careers of they met up together in a recording studio in Holly- Duke Ellington and Frank Sinatra and, according to wood to make - "After All These Years" as the public- the notes issued to members, played several live per- ity went - a fascinating if flawed album. formances of Ducal music which Sinatra never recor- It was unfortunate that when discussions started ded commercially. I would very much like to have about making this first and only collaboration Billy further information about the programme. Strayhorn had only recently died. Sonny Burke, Both The Singer and The Bandleader had fun times Sinatra's record producer, met Frank and Billy May to in Las Vegas and met several times. Duke recalled that talk over the songs and treatment. Bill Miller flew to in February 1961 Sinatra brought a large party of his Seattle to rehearse them with the band as it appears it friends to hear the band following a highly publicised was well know that, unlike the Basie Band which had Police Drugs Squad raid on the hotel in which Elling- already made three successful albums with Sinatra, the ton was playing which involved a few members of the Ellington musicians were not renowned for their rea- band being arrested. "After that", Duke wrote, "the ding ability. According to Billy May the sessions were good citizens forgot about the raid". difficult - one of them took place on Sinatra's 52nd Sinatra also arranged for Duke to write backgro- birthday. The trumpets were ragged and Cootie and und music for his film production "Assault On A Cat were up to their usual misbehaviour. Things did Queen" which was eventually cut drastically and re- not improve until , Sinatra's truinpeter, was scored by Frank Comstock. brought in to tighten up the section. Duke spent a lot Both of them went around the world on hugely of the time in the control room with Frank and Sonny successful tours but alas never together. Sinatra did Burke while Jimmy Jones was added to play some of work with Basie on many dates includidng at the Roy- the piano parts. I think the problem was the unfortu- al Festival Hall and the Palladium in London. nate choice of material which was fine for Sinatra but Toward the end of his life when cancer had been not so good for Ellington. It comprised three Broad- diagnosed Duke called Sinatra who knew all of the best way show tunes by Leonard Bernstein, Alan J. Lerner doctors in that field of medicine. Mercer Ellington said and Burton Lane, and Jule Styne and Stephen Sond- that his father trusted Frank very much and it was not heim. Strangely enough Victor Herbert's "lndian Sum- long before he came back to tell Duke that the best mer" (with a gorgeous Hodges solo), an obscure bal- doctors in cancer research were at the Columbia Pres- lad "Yellow Days" and "l Like The Sunrise" from Duke's byterian Medical Centre. Ellington died on 24 May Liberian Suite really did work, and Billy May's arr- 1974 at the age of 75. Sinatra has just celebrated his angements were in the sophisticated style so beloved 8Oth birthdayt and is now in official retirement. Both of Strayhorn. artists received the highest civilian award the USA can Sinatra had rarely sung or recorded any of offer, the Medal of Freedom, for their contributions Ellington's popular songs whereas Ella Fitzgerald had to American culture. Both have become legends. Their recorded the great "Songbook" series which of course music fortunately is immense and preserved forever included the album devoted to Ellington. Surprising- on record anf film. We should all be thankful that ly it turned out to be the least rewarding of that mo- they happened in our lifetime. numental set of recordings. In his classic book "The Great Innovators of American Popular Song" Alec Wil- der perceptively observed that "the only problem with (Published with the permission of DESUK) discussing Duke's songs was that very few of them are essentially 'songs' - nor were they meant to be. They were composed as instrumental pieces to which words have been added and for which simplified releases have often been substituted". Sinatra's greatness of course is as an interpreter of a lyric and unfortunately too

11 JA7-ZREVIEW. A POLISHE,D SET BY ROLF ERICSON. By Leonard Feather A quotation from The Los Angeles Times, May 24, -9O.

Rolf Ericson, one of the all-time, all-encompassing mast- Gerald Wiggins, leading the back-up trio, is an old erc of jazz trumpet, has given up his world travels and associate who, along with Wardell Gray, worked with Er- settled in Los Angeles, where he played a break-in date icson during his long ago California visits. With Andy Tuesday at the Biltmore's Grand Avenue Bar. Simpkins on bass and Paul Humphrey on drums, the lat- The Stockholm-born veteran, who has enjoyed long ter evidencing a sixth sense for every accent, Ericson was residences in Scandinavia and Germany, apologized for totally at ease. Backing singer Ruth Price during the KKJZ his accent. "l've been away so long, I've forgotten my broadcast segment, he was a paragon of discretion. English", he said, but if there was any hesitation in his Already rebooked for other Biltmore dates, among speech there was never any doubt about his mastery of them one on June 5 with Ernie Andrews, Ericson is a the universal language of iazz. sure bet to become a valuable Southland presence. From the first bars of "Sandu", a Clifford Brown line, his total control, na- The tural phrasing and genuine lntimate blues feeling were in evi- rllington'96 Ellington dence. Alternating on JUNE 19 - 23 Presented by trumpet and fluegelhorn, ParK Plaza Hotei Toronlo Chapter #40 rne employing the latter for a Torontc, Canada Duke Ellington Society lyri c al t re atme nt o f Ellington's "In A Senti- mental Mood", he used de- WÄRM GREETINGS TO ATL: JUST TO WEET YOUR APPE-ITE A PROGRESS REPORT vices associated with some of the Duke's men - an oc- REGISTRATION DESIC Opens at 3:00 pm, Juoe 19 WELCOi/flNG RECEPTION: 6:00 pm, June 19 casional squeezed tone å la DAYTIM4 PROGRAMS: 9:00am - 4:30pm, Thursday June 2O through Saturday June 23 Rex Stewart, growl solos on Preseutatioos by Geoe l:es, Claire Gordoo aad Regioa Stwart Fraser, Michael Roeder, Klaus "Catavan" and "In A Mel- Stratemetr, Martin lfrmer, Helen Oakley aod Statrley Daoce are [i!ed up witb mole to @me. lotone" in the manner of lDelegates wishiog to p.ewtrt sbould @ltact the Program C-mittee as sn as possible).

Cootie Williams, his sec- EVEND{G CONCERTS: Showcasing C:oadiau and Intemational stårs Jutre 20 through June 22. tion mate in the Ellington Wray DoMeVDave Youug Duo, Phil Nimoos Quader, Time Warp, orchestra. Keith llgha6,/Flary Allen S€ptet asd Archie Alleytre & Clmpaay Preselt ltle Intimde Ellington.

A special musical attractioq is beiog planned for the aftemma of Sunday Juoe 23.

CONFERXNCE REGISTTTTION: $250 (Cdn.) prior ro April 30 - iucludes @oceds atrd gala banquet.

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