Instockholm, Sweden

Total Page:16

File Type:pdf, Size:1020Kb

Instockholm, Sweden Ella Fitzgerald with Duke Ellington 1966 inStockholm, Sweden Av Bosse Scherman & Göran Walldn sion of Duke's Place is aurally different from the one on Pablo 2308-242 ( Ireb. B). For Azure, there are no other versions from Feb. 7 or 8 1966 available for comparisons. Rolf Dahlgren rcported in C)rkesterJournalen 3/1966 that this title was performed during the concert he re"'iewed, but it is not clear whether it was the 1't or -l'he 2"d concert. above version is rather tentative and sounds like an unprepared encore. 2"d concert February 7, at Konserthuset, Stockholm, Sweden, 1't set and 2"d set. Duke lillington and his Orchestra: Cat Anderson, Cootie Williams, Herbie Jones, Mercer Eliington (tp), Lawrence Brown, Chuck Connors, Buster Cooper (tb), Jim- my Hamilton (cl,ts), Russell Procope (as,cl), Johnny Hodges (as), Paul Gonsalvcs (ts), Harry Carney (bars,cl,bcl), l)uke E,llington (p), John Lamb (b), Sam Wooyard (dr). Imagine My Frustration 2"d concert, 1't set (Norman Granz introduces Duke Ellington) Take The "A" Train (theme) Medley: Black and Tan Fantasy Creole Love Call The Moochc Soul Call West Indian Pancake El viti ( Norman Granz introduces Ella Fitzgerald ) Ella Fitzgerald (vc1), acc. by Duke Ellington and His Orchestra: Same except Jimmy Jones (p), Joe Comfort (b), Gus Johnson (dr) replaces Dukc, John and Sam. Satin Doll Wives and Lovers Ella Fitzgerald and Duke Ellington and his Orchestra visited Stock- Something to Live For holm February 7- 8, 1966. The program included two concerts Let's Do It Feb. 7, at Konserthuset. The 1" concert at 19.00 and the 2"d con- Ella Fitzgerald (vcl) acc. by Cat Anderson (tp), Jimmy Jones (p), cert at 21.30. The next day, Feb. 8, started in the daytime with a Joe Comfort (b), rehearsal at Cirkus. Some of the recordings from the rehearsal Gus Johnson (dr). have been used in radio programs. In the evening, the band with Lover Man Ella played a concert in two sets at Cirkus. This concert was partly Ella Fitzgerald (vcl) acc. by Duke Ellington and His Orchestra : As telecast by Sveriges Radio och Television (Swedish Broadcastin5J before with Jones, Comfort and Johnson in the rhythm section. and Television Corporation). Everything listed here has been au- Sweet Georgia Brown rally checked by us, and we have seen a video tape of the Z'rd set of the Cirkus concert. We have also compared the audio and video Nofe: According to O1e J. Nielsen, the above version of El Viti was tapes of the concerts with the issues on LP, CD and cassette. issued on the CD lazz Hour JHR73504 (as The Matador), but that version is aurally diffcrent. l't concert, February 7, Konserthuset, Stockholm, 1't set and 2"d set. 2"d concert, 2"d set Information about this concert is unavailable to us. However, a Duke Ellington and His Orchestra: As for the 2"d concert 1't Set. tape from the collection of Benny Åslund contains the following The Opener three titles from Konserthuset, Feb. 7, which were not used in the La Plus Belle Africaine Swedish Radio broadcast and which could very well be from the Veldt Amor Azure (Sd) CA-8 (cassette) 1't concert, 2"d set. Magenta Haze Ella Fitzgerald (vcl) acc. by Duke Ellington and his Orchestra : Cat Things Ain't What Thel' Used To Be Anderson, Cootie Williams, Herbie Jones, Mercer Ellington (tp), EIla Fitzgerald (vcl), acc. by Cat Anderson (tp), Jimmy Hamilton Lawrence Brown, Chuck Connors, Buster Cooper (tb), Jimmy Ha- (cl ) -1, Jimmy Jones (p), Joe Comfort (b), Gus Johnson (dr). milton (cl,ts), Russell Procope (as,cl), Johnny Hodges (as), Paul 56 Danco Samba ( Jazz Samba ) Gonsalves (ts), Harry Carney (bars, cl, bcl), Duke Ellington (p), I'mJust a Lucky So and So, -1 Joe Comfort (b), Gus Johnson (dr). Someone To Watch Over Me Imagine My Frustration Cootie Williams, Herbie Jones, Mercer Ellington ( tp ) added. JimmyJones (p) added Mack the Knife Duke's Place Jimmy Jones omitted Ella Fitzgerald (vcl ), acc. b1' Duke Ellington and His Orchestra : as Azure before, except that the rhythm section now consists of Duke El- lington and Jimmy Jones (p), Joe Comfort (b) and Gus Johnson Nofe: The above version of Imagine My Frustration is aurally dif- (dr). JimmyJones omitted -2 ferent from the one in the broadcast of the 2nd concert (Feb. 7 ) Cotton Tail Azure (Sd) CA-8 (cassette) and also from the one on Pablo 23O8-Z4Z (Feb. 8). The above ver- Imagine My Frustration -2 llchearsal at Cirkus, Stockholm, February 8, 1966 Ella Fitzgerald (vcl) acc. by Cat Anderson (tp), Jimmy Jones (p), Duke Ellington (p), John Lamb (b), Joe Comfort (b) l.ooking Glass, take 1 Gus Johnson (dr). Looking Glass, take 2 So Danco Samba ( Jazz Samba ) Pablo 2308-242 Serenade To Sweden, take 1 How High the Moon Queen's Guard, take 1 Azure (Sd) CA-5 lcassette) Serenade To Sweden, take 2 Ella Fitzgcrald (vcl) acc. by Duke Ellington and His Orchestra Queen's Guard, take 2 As before, except Duke Ellirrgton and his Orchestra: Regular personnel as above, Duke Ellington (p) replaces JimmyJones. with Lllington, Lamb and Woodyard in the rhvthm section. Imagrne My Frustration Pablo 2308-212 Take Thc "4" Train (theme) jimm;rJones(p)added DE gives instructions to the ltlevision staff. Duke's Place Pablo 2.108-242 West Indian Pancake Kinda Dukish & Rockin' In Rhythm Nofe: The last title from this telecast, Serenade to Sweden, is from I-a Plus Belle Africaine (a few bars onll') the rehearsals at the Cirkus earlier the same dav. ÄIote: Incider-rtal passages b1' Jimmy Hamilton (cl) and Johnnv 2"d set Hodges in one of the takes of Serenade To Sweden. A Swedish Duke Ellington and His Orchestra the same as above. Radio program, broadcast the day before the Cirkus concert was Take The "A" Train ( theme ) telecast, includes one take of each title from the rehearsal. Accor- Black and Tan Fantasv ding to the producer, Lars Egler, the rehcarsal continued an hour Soul Call Azurc CA-15 (cassette ) latcr with Ella Fitzgerald, but we haven' t heard anlr recordrng of it Wings and Things and have no details. Jam With Sam Swedish Radio and Television telecast, Cirkus, Stockholm, Ella Fitzgerald (vcl), acc. b1' Duke Ellirrgton and His Orchestra: Sweden, Fcbruary 8, 196b. Samc except for Jimmv Jones (p) and Gus Johnson (dr) rcplaces Duke Ellington and His Orchestra: lluke and Sam. Joe Cornfort (b) is added (he rcplaces Lamb in the Cat Anderson, Cootie Williams, Herbie Jones, Mercer lillington, middle of the number) (tp), Lawrence Brown, Chuck Connors, Buster Cooper (tb), Jim- Satin Doll PabIo 2308-242 my Hamilton (cl, ts), Russell Procope (as, cl), Jol-rnny Hodges (as), John Lamb omitted. Paul Gonsalves (ts), Harrl' Carney (bars,cl,bcl), Duke Ellington Something to Live For Pabl.o 2308-242 (p), John Lamb(b), Sam Woodyard (dr). Let's Do It Pablo 23O8-242 1" set Ella Fitzgerald (r,cl) acc. by Cat Anderson (tp), Jimmy Joncs (p), Take The "A" Train Joe Comfort (b) West Indian Pancake Gus Johnson (dr). Kinda Dukish & Rockin' In Rhythm Lover Man Pablo 2308-242 La Plus Belle Africaine Azure CA 2 (cassette) Cootie Williams, Herbie Jones, Mcrce r Ellington (tp) added The Opener Azure CA-2 (cassette) Mack the Knife Ella Fitzgerald (vcl), acc. by Duke Ellington and His Orchestra: Ella Fitzgerald (vcl) acc. by Duke Ellington and His Orchestra: Same except Jimmy Jones (p), Joe Comfort (b), GuS Johnson (dr) As before, except that the rhythm scction consists of Duke Elling- replace Duke, John and Sam. ton (p), JimmyJones (p), Joe Comfort (b), Gus Johnson (dr). Wives and Lovers Pablo 23OB-242 Cotton Tail Pablo 2308-242 Sweet Gcorgia Brown All titles on Pablo 2308-242 also on Pablo PACD230B-242-2. (Au)D- 4027 2, (J)J333 -20006-CD,VDJ -28028, Pablo/Carrere (F) 98. 819 (all CD's ). Note l; Benny Åslund lists a med- ley of V.l.P.'s Boogie/Jam With Sam for the ahove concert, but onlyJam With Sam is announced by Duke Ellington and performed. ÄIote 2: In Jazz Records Vol. 6 OIe J. Nielsen lists a telecast of 11 tit les from unidentified concerts, Stockholm, Feb. 7-8 1966 (most certainly from the Cirkus concert Feb. B). The program was telecast by French Television in 1984 un- der the title "Ella and Duke In Spain". Ella Fitzgerald v,ith Ray Brown, bass artd Oscar Petersotl pilt1o. sic. The chapters follow in a chronological sequence covering identi- DESS comments.' The question about the versions of "Serenade To fiable stages in output and considering Duke's works in their musi- Sweden", "The Queen's Guard", "Looking Glass" is unclear to us. cal context. We have heard excerpts from the rehearsal of February 8, 1966 only on a tape from a radio broadcast, which includes only one take of Duke Ellington Story On Records (DESOR), written by Luciano each title. Our listing of alternative versions for three titles was taken Massagli and Gior.anni M. Volont€ from Oie Niels€n's discography, which should be amended accor- This two-volume edition of DESOR reportedly will be more comple- ding to your notes above. te than any published discography. DESOR will be introduced in April Slef There is no Kinda Dukish before "Rockin'In Rhythm". at Ellington '99 in Washington. DESS commentsj You are dght, we didn't made a wrong remark. We don't believe that the telecast from Sweden only includes recor- Ken VeiI from England will present two new books about Duke dings from Stockholm.
Recommended publications
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
    [Show full text]
  • Ellington-Lambert-Richards) 3
    1. The Stevedore’s Serenade (Edelstein-Gordon-Ellington) 2. La Dee Doody Doo (Ellington-Lambert-Richards) 3. A Blues Serenade (Parish-Signorelli-Grande-Lytell) 4. Love In Swingtime (Lambert-Richards-Mills) 5. Please Forgive Me (Ellington-Gordon-Mills) 6. Lambeth Walk (Furber-Gay) 7. Prelude To A Kiss (Mills-Gordon-Ellington) 8. Hip Chic (Ellington) 9. Buffet Flat (Ellington) 10. Prelude To A Kiss (Mills-Gordon-Ellington) 11. There’s Something About An Old Love (Mills-Fien-Hudson) 12. The Jeep Is Jumpin’ (Ellington-Hodges) 13. Krum Elbow Blues (Ellington-Hodges) 14. Twits And Twerps (Ellington-Stewart) 15. Mighty Like The Blues (Feather) 16. Jazz Potpourri (Ellington) 17. T. T. On Toast lEllington-Mills) 18. Battle Of Swing (Ellington) 19. Portrait Of The Lion (Ellington) 20. (I Want) Something To Live For (Ellington-Strayhorn) 21. Solid Old Man (Ellington) 22. Cotton Club Stomp (Carney-Hodges-Ellington) 23. Doin’The Voom Voom (Miley-Ellington) 24. Way Low (Ellington) 25. Serenade To Sweden (Ellington) 26. In A Mizz (Johnson-Barnet) 27. I’m Checkin’ Out, Goo’m Bye (Ellington) 28. A Lonely Co-Ed (Ellington) 29. You Can Count On Me (Maxwell-Myrow) 30. Bouncing Buoyancy (Ellington) 31. The Sergeant Was Shy (Ellington) 32. Grievin’ (Strayhorn-Ellington) 33. Little Posey (Ellington) 34. I Never Felt This Way Before (Ellington) 35. Grievin’ (Strayhorn-Ellington) 36. Tootin Through The Roof (Ellington) 37. Weely (A Portrait Of Billy Strayhorn) (Ellington) 38. Killin’ Myself (Ellington) 39. Your Love Has Faded (Ellington) 40. Country Gal (Ellington) 41. Solitude (Ellington-De Lange-Mills) 42. Stormy Weather (Arlen-Köhler) 43.
    [Show full text]
  • Morgenstern, Dan. [Record Review: Thad Jones & Mel Lewis: Live at the Village Vanguard] Down Beat 35:8 (April 18, 1968)
    Records are reviewed by Don DeMicheal, Gilbert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPartland, Dan Mor 11e nslar Bill Quinn, Harvey Pekar, William Russo, Harvey Siders, Pete Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by !lie Wr't n, I ers Ratings are : * * * * * excellent, * * * * very good, * * * good, * * fair, * poor . ' When two catalog numbers are listed, the first is mono, and the second is stereo . times (especially on Yellow Days) · his Thad Jones-Mel Lewis •- •- -. ... touch is uncannily close to the master 's. LIVE AT THE Vl.LLAGB VANGUA.ll." Solid S1A1e SS l80l6: L/lflc Pi:<lo ll; ,1 "/l'v..,. BIG BANDS Two ringers were brought in to beef up l'reodom; Barba l'eo/i11'; Do11'1 Git Sn1ty• tltl•, /0111 Tree; Samba Co11 Gde/m. ' "' 1I. Duke Ellington the trumpet section, currently the ban.d's weakest link. Everybody was on best be­ Personnel: Jone1, flu·cgelhoro; Snooky y 0 SOUL CALL-Verve V/V6·870l: La Pim Bell• Jimmy No1tingb3m, Marvin Stamm, Rkfiard ~•• Af.-i&11l11r;IVett litdia11 Pa11caltt; Soul C111/;Slti11 Jiavior, it seems-the band sounds tight Iiams, Bill Berry. trumpets; Bob Brool<o, II, Du/I; Jan, Will, Sm11. and together at all times. The superb ·re­ Garnett Bl'owo, Tom Mclmo,h, Cliff fi~a~yer, Personnel: Cnt Anderson, Herbie Jones, Cootie irombones; Jerome Richnrdson, Jerry Dad !>tr, \Villla 'ms. M,rccer I!llingron. uumpors; Buster cord ing brings out the foll flavor of the Joe Parcell, '.Eddie Daniels, -Pepper Adams r~t• lloiaod Hannn piano; Sam Herm an, • IM • Cooper, Lawrence Brown, Chuck Connors , rrom• magnificent Ellington sound; the reeds, in 1 bonci.: Russell Procope.
    [Show full text]
  • Duke Ellington-Bubber Miley) 2:54 Duke Ellington and His Kentucky Club Orchestra
    MUNI 20070315 DUKE ELLINGTON C D 1 1. East St.Louis Toodle-Oo (Duke Ellington-Bubber Miley) 2:54 Duke Ellington and his Kentucky Club Orchestra. NY, November 29, 1926. 2. Creole Love Call (Duke Ellington-Rudy Jackson-Bubber Miley) 3:14 Duke Ellington and his Orchestra. NY, October 26, 1927. 3. Harlem River Quiver [Brown Berries] (Jimmy McHugh-Dorothy Fields-Danni Healy) Duke Ellington and his Orchestra. NY, December 19, 1927. 2:48 4. Tiger Rag [Part 1] (Nick LaRocca) 2:52 5. Tiger Rag [Part 2] 2:54 The Jungle Band. NY, January 8, 1929. 6. A Nite at the Cotton Club 8:21 Cotton Club Stomp (Duke Ellington-Johnny Hodges-Harry Carney) Misty Mornin’ (Duke Ellington-Arthur Whetsol) Goin’ to Town (D.Ellington-B.Miley) Interlude Freeze and Melt (Jimmy McHugh-Dorothy Fields) Duke Ellington and his Cotton Club Orchestra. NY, April 12, 1929. 7. Dreamy Blues [Mood Indigo ] (Albany Bigard-Duke Ellington-Irving Mills) 2:54 The Jungle Band. NY, October 17, 1930. 8. Creole Rhapsody (Duke Ellington) 8:29 Duke Ellington and his Orchestra. Camden, New Jersey, June 11, 1931. 9. It Don’t Mean a Thing [If It Ain’t Got That Swing] (D.Ellington-I.Mills) 3:12 Duke Ellington and his Famous Orchestra. NY, February 2, 1932. 10. Ellington Medley I 7:45 Mood Indigo (Barney Bigard-Duke Ellington-Irving Mills) Hot and Bothered (Duke Ellington) Creole Love Call (Duke Ellington) Duke Ellington and his Orchestra. NY, February 3, 1932. 11. Sophisticated Lady (Duke Ellington-Irving Mills-Mitchell Parish) 3:44 Duke Ellington and his Orchestra.
    [Show full text]
  • The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
    THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St.
    [Show full text]
  • ELLINGTON '2000 - by Roger Boyes
    TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world.
    [Show full text]
  • The Descending Diminished 7Ths in the Brass in the Intro
    VCFA TALK ON ELLINGTON COMPOSITION TECHNIQUES FEB.2017 A.JAFFE 1.) Clarinet Lament [1936] (New Orleans references) https://www.youtube.com/watch?v=FS92-mCewJ4 (3:14) Compositional Techniques: ABC ‘dialectical’ Sonata/Allegro type of form; where C = elements of A + B combined; Diminution (the way in which the “Basin St. Blues” chord progression is presented in shorter rhythmic values each time it appears); play chord progression Quoting with a purpose (aka ‘signifying’ – see also Henry Louis Gates) 2.) Lightnin’ [1932] (‘Chorus’ form); reliance on distinctively individual voices (like “Tricky Sam” Nanton on trombone) – importance of the compositional uses of such voices who were acquired by Duke by accretion were an important element of his ‘sonic signature’ – the opposite of classical music where sonic conformity in sound is more the rule in choosing players for ensembles. https://www.youtube.com/watch?v=3XlcWbmQYmA (3:07) Techniques: It’s all about the minor third (see also discussion of “Tone Parallel to Harlem”) Motivic Development (in this case the minor 3rd; both harmonically and melodically pervasive) The descending diminished 7ths in the Brass in the Intro: The ascending minor third motif of the theme: The extended (“b9”) background harmony in the Saxophones, reiterating the diminished 7th chord from the introduction: Harmonic AND melodic implications of the motif Early use of the octatonic scale (implied at the modulation -- @ 2:29): Delay of resolution to the tonic chord until ms. 31 of 32 bar form (prefigures Monk, “Ask Me Now”, among others, but decades earlier). 3.) KoKo [1940]; A tour de force of motivic development, in this case rhythmic; speculated to be related to Beethoven’s 5th (Rattenbury, p.
    [Show full text]
  • The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
    University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Suggested Wedding Music
    Suggested Wedding Music Bach-Gounod, Ave Maria Dekoven, O Promise Me Pachelbel, Canon in D Borodin, Polovetsian Dances Wagner, Bridal Chorus (Stranger in Paradise) Mendelssohn, Wedding March Grieg, Wedding Day at Troldhaugen Mouret, Rondeau Schubert, Ave Maria ~~~~~~~~~~~~~~~~~~~~~~~ Franck, Panis Angelicus Handel, Hornpipe “Water Music” Handel, La Rejouissance “Royal Jewish Repertoire Fireworks” Hava Nagila Massenet, Meditation from Thais Hatikvah Gluck, Minuet from “Orpheus” Raisins and Almonds Purcell, Trumpet Tune Mazel Tov! Clarke, Trumpet Voluntary Ceremony Schubert, Ave Maria Y’did Nefesh Mozart, Rondeau Jerusalem of Gold Bach, Jesu, Joy of Man’s Desiring Chorshat Ha’ekaliptus Bach, Air on the G String Hitragut Handel, Aria from Xerxes Erev Shel Shoshanim Vivaldi, Largo, from the Erev Ba Four Season Hana’ava Babanot English Folk Melody, Greensleeves K’var Achare Chatzot Molloy, Love’s Old Sweet Song Al Kol Ele Bond, I Love You Truly El Ginat Egoz Schubert, Serenade Dodi Li Gluck, Melody Dodi Li II Ivanovici, Waves of the Danube MacDowell, To a Wild Rose Bride and Groom Entrance Chopin, Etude No. 3 Od Yishama De Koven, Oh, Promise Me Od Yishama II Traditional, Believe Me, If All Those Yasis Alayich Endearing Young Charms Ose Shalom Bach, Sheep May Safely Graze Vay’hi Bishurn Melech Mozart, Alleluia Asher Bara Handel, Entrance, Queen of Sheba Y’varch’cha Liszt, Liebestraum Kozatske Grieg, I Love Thee (Ich Liebe Dich) and others…… Liszt, Liebestraum Tschaikowsky, Love Theme from Romeo and Juliet Barnby, O Perfect Love 1 Suggested Music for Weddin g Preludes and other Events Mozart Early Quartets Vocalise, Rachmaninoff Mozart, 3 Divertimenti Danse Des Mirlitons, Tschaikowsky Mozart, Sonate in D Bacarolle, Offenbach Beethoven Op.
    [Show full text]
  • Newsletternewsletter March 2015
    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
    [Show full text]
  • Flying Dutchman Label Discography
    Flying Dutchman Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Flying Dutchman Label Discography Flying Dutchman was a jazz label created 1969 by the renowned producer/arranger Bob Thiele. It produced a fascinating mix of forward thinking music; the label combined the sounds of jazz, soul, experimentation, and black politics. Although the label put out some standard jazz albums, their most incredible records were those of unique musicians such as Leon Thomas, Lonnie Liston Smith, Gil Scott-Heron and Angela Davis. Initially the label was distributed by Atco Division of Atlantic, but later was switched to Bob Shad’s Mainstream label for two years. By 1974 the distribution was switched to RCA which distributed the label to 1984. The Flying Dutchman catalog was acquired by Legacy Recordings in 1993 from Bob Shad's daughter Tamara when she sold the assets of Mainstream Records, which had distributed Flying Dutchman until it closed in 1978. The Flying Dutchman label had several subsidiaries the specialized in different musical styles. The Amsterdam label concentrated on popular music including the recordings of Thiele’s wife Teresa Brewer. The Reggae label was established to release the reggae music from Jamaica. The Bluestime label was established to release blues recordings. Starting in 1974, Flying Dutchman albums were released in the RCA numbering system and were distributed by RCA. This numbering system was also used for albums on the Signature which was reactivated in 1974; Thiele also established the Bob Thiele Music label. For other albums on the Flying Dutchman, Signature, Bob Thiele Music label releases see the discography of the Bob Thiele labels.
    [Show full text]