Russell Procope Duke Ellington´S Loyal Alto Saxophonist

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BULLETIN NR 3, SEPTEMBER 2017, ÅRGÅNG 25

Russell Procope Duke Ellington´s loyal alto saxophonist

I detta nummer / In this issue:

2 Ledare m.m. 3 Skivrecensioner 4 Russell Procope 8 Amerikanskt gästspel 9 Is MIMM correct? 10 Belle of the Nineties 12 Frankie and Johnny 14 Tenoristerna mellan Webster och Gonsalves 17 Sonny Greer´s drumkit 18 John Williams about Duke´s musicians 20 Kallelse

Foto: William Gottlieb 3-2017 Inför hösten 2017. Så har ännu en Any More. Det visade sig att det var Sven sommar passe- Olof Sandberg till Sam Samsons orkester rat utan någon från 1944, och det hade man inte kunnat längre period ana, inte jag i alla fall. Alla melodier var med ihållande hämtade från Gerts fina 78-varvssamling varmt badväder. med oklanderligt ljud. Han vägrar att Känns det igen? kalla dem för ”stenkakor”. Men skall man Efter pausen framträdde Ulf Johans- stanna i Sverige son Werre på den fina flygeln som finns i är man beredd aulan. Ulf är en enastående pianist, som på dessa åter- ensam har förmågan att hålla stor show. kommande låg- Han berättade om och spelade melodier tryck med var- av James P. Johnson och Fats Waller samt annan dag av regnskurar. Men det finns andra kända jazzpianister och beskrev ju annat att syssla med än att bada, som hur de skilde sig från varandras stilarter. t.ex. att åter lyssna på musik av Duke El- Den 2 oktober är det dags för höstens lington och hans magnifika orkester från första medlemsmöte. Då kommer den i de åren då jag för min del började köpa musikerkretsar kände Ivan Sundberg, LP-skivor för 60 år sedan. Då var det in- belnsgatan 3 i Stockholm blev en lyckad ägare till Adlib, som bjuder på ”Pytt i spelningar från amerikanska Columbia tillställning. Två enastående estradörer Panna à la Duke efter behag”. som gällde, men som i Sverige gavs ut förgyllde aftonen för oss alla som var Efter pausen kommer de internationellt på Philips. Jag började skivinköpen med där, nämligen Gert Palmcrantz och Ulf välkända musikerna Klas Lindquist, alt- Ellington at Newport. Men den var dyr Johansson Werre. Gert, som jag betraktar sax/klarinett och Erik Söderlind på gi- och kostade 27 kronor. Tänk vad det som en ljudtekniker av högsta interna- tarr att framträda. Det bådar gott för en skulle motsvara omräknat i dagens pen- tionella klass och som ni väl alla känner spännande afton med välkänd musik. ningvärde. Dessa LP:s kan man numera till, inledde med att spela melodier av El- Vi ses den 2 oktober. finna på secondhand försäljningar för 10 lington, men framförda av svenska mu- eller 15 kronor styck. siker. Publiken fick exempelvis försöka Vårsäsongens sista medlemsmöte den gissa vem som sjöng ”Så många om och 27 april i Franska Skolans aula på Dö- men” baserad på Don’t Get Around Much Leif Jönsson, ordförande i DESS

lar av honom själv och andra förfat- velopment of key themes, with chapters tare. Medförfattare är Phil Ford, Carl surveying his work and his reception Woideck, Catherine Tackley, Bill Dob- in America and abroad. By both expan- bins, Walter van de Leur, David Schiff, ding and reconsidering the contexts in Gabriel Solis och John Wriggle. Boken which Ellington, his orchestra, and his ”Duke Ellington Studies” är utgiven music are discussed, Duke Ellington av Cambridge University Press i deras Studies reflects a wealth of new -direc serie Cambridge Composer Studies. tions that have emerged in jazz studies, Boken presenteras av Cambridge på including focuses on music in media, följande sätt: class hierarchy discourse, globalization, ”Duke Ellington is widely conside- cross-cultural reception, and the role of red the jazz tradition’s most celebrated marketing, as well as manuscript score composer. This engaging yet scholarly studies and performance studies.” volume explores his long career and Boken är på 308 sidor och säljs I hard- his rich cultural legacy from a broad back version till ett pris av 97:50 Euro, Ny bok range of in-depth perspectives, from som undertecknad finner alltför högt Man kan inte undgå att förvånas över the musical and historical to the poli- för att göra en investering i objektet. att det ständigt produceras nya böcker tical and international. World-renow- Troligen kommer den senare ut i paper- om Duke Ellington. 2009 publicerade ned scholars and musicians examine back version till ett förmånligare pris. John Howland boken ”Ellington Up- Ellington’s influence on jazz music, its town”, som recenserades i Bulletin criticism, and its historiography. The 3/2009. Nu år 2017 har han kommit chronological structure of the volume med en ny bok med en samling artik- allows a clear understanding of the de- Bo Haufman

2 Nya skivor

I enlighet med vad som aviserades i vår här lite sämre, men naturligtvis ändå tressant melodi, inte alltför ofta spelad. förra Bulletin, så har nu Storyvilles acceptabel för samlare av Ellingtons Flera av Ellingtons (och Strayhorns) nya CD med titeln ”Duke Ellington – musik. Några nummer sticker ut, som bästa pianokompositioner finns med, An Intimate Piano Session” blivit till- t. ex. C-Jam Blues med solon av Taft andra exempel är New World A-Comin’ gänglig på skivmarknaden. Dessutom Jordan, Al Sears och Wilbur De Paris, och Melancholia, och från Rotterdam finns nu volym 23 i DETS-serien att Rugged Romeo med Taft Jordan, Jack The finns The Lake med, vilken senare kom köpa i butiker och på nätet. Bear med Oscar Pettiford, en intressant att ingå i balettsviten The River. version av Swamp Fire med Al Sears, samt W.C. Handy Medley bestående av Det fullständiga innehållet D.E.T.S.Vol. 23 Memphis Blues, Beale Street Blues och St på denna skiva är: (Storyville 903 9022) Louis Blues med sång av Marion Cox. The Anticipation, Le Sucrier Velours, Lotus Blossom, A Blue Mural From Two Perspectives, I’m Afraid, I Didn’t Know Duke Ellington About You, Loco Madi, Lotus Blossom, New World A-Comin’, Le Sucrier Velours, – An Intimate Melancholia, Single Petal Of A Rose, The Blues Ain’t, Come Sunday, My Mother Piano Session My Father And Love, A Blue Mural From (Storyville 101844) Two Perspectives (alt.), Black Swan, Satin Doll, The Lake, Just Squeeze Me.

Anders Asplund

Det finns nu inte så mycket material kvar av den ursprungliga DETS-serien Whetsel att ge ut på CD. Återstående material räcker kanske till ytterligare tre or Whetsol If there ever remain any doubts about dubbel-CD om inga överraskningar the spelling of the name, here are pictu- sker. Volym 23 tar oss med till Mea- res showing Whetsel’s own signature. dowbrook, Culver City i Kalifornien Thanks to Steven Lasker for supplying den 24 augusti 1946, Lincoln Theatre i the pictures. Los Angeles den 31 augusti 1946 samt Musiken från denna skiva är hämtad Radio City i NYC den 5 oktober 1946. från Ellingtons s.k. ”stockpile”, som Dessutom ingår tidigare outgivet bo- numera förvaltas av Danmarks Radio. nusmaterial från Hurricane Restaurant Inget av materialet på denna skiva har i New York den 26 augusti 1943. getts ut kommersiellt tidigare, men Frånsett bonusmaterialet är ljudkva- vissa av numren finns på Danmarks litén på skivorna mycket god, vilket Radios eller på DEMS’ Azure-kassetter. gör det möjligt att avnjuta orkestern Merparten av de tjugo numren på ski- och dess solister under bra förhållan- van är inspelad den 25 augusti 1972 i den. Andra halvan av 1946 räknas väl Mediasounds studio i New York. Den kanske inte som Ellingtons främsta består av pianomusik av Duke själv, i period, men solister som Al Sears, Taft några fall som ackompanjemang till Jordan, Cat Anderson och Oscar Petti- Anita Moore och Tony Watkins. De fyra ford, för att nu nämna några, kommer sista numren på skivan kommer från väl till sin rätt på dessa inspelningar en konsert i Rotterdam den 7 novem- och visar oss att denna upplaga av El- ber 1969 där även Wild Bill Davis, Vic- lingtonbandet är väl så bra som från tor Gaskin och Rufus Jones deltar. Från perioderna närmast före och efter. det första inspelningstillfället finns Från Hurricane Restaurant hör vi två versioner av Le Sucrier Velours, Lo- What Am I Here For?, Baby, Please Stop tus Blossom och A Blue Mural From Two And Think About Me, Rocks In My Bed Perspectives i var sin lång resp. kort och Clementine. Tyvärr är ljudkvalietén version. Den senare är en ganska in-

3 Russell Procope DukeEllington’s loyal alto saxophonist. Russell Procope had a long career in jazz and most of it he spent with Duke Ellington and his Orchestra. He was one of Ellington’s most reliable sidemen. He was a member of the band whom Ellington could always rely on. In that sense he was in the same category as Harry Carney. The discipline in the Ellington band was not always the best, but Procope, like Carney, was always on time for concerts and rehearsals. There were never any scandals around Russell Procope. Misuse of drugs and alcohol was never in his mind. He was a professional in the true meaning of the word. Raised in Harlem influenced him quite a lot. He also spent a was the fact that he got an offer from short time in Chicago for an engagement Fletcher Henderson to join his well- Russell Procope was born in New York with McKinney’s Cotton Pickers, at that reputed orchestra. It has been said that on August 11, 1908. He grew up in a time headed by his good friend Don it was a business arrangement between part of Harlem called San Juan Hill, Redman. In August 1928 Procope joined the two orchestra leaders. Chick Webb which at that time was a very perilous Benny Carter’s Orchestra. Edward let Russell Procope and Benny Morton part of Harlem. Mob criminality was Berger writes in his bio-discography go to Henderson and in exchange he got a reality of the daily life in the area. of Benny Carter (Benny Carter – A Life Benny Carter and Jimmy Harrison. But Procope showed an early interest in American Music – Scarecrow Press) in music and started early to learn that Procope was handling his position With Fletcher Henderson to play the violin. However, he later as both soloist and section leader so When reading Walter C. Allen’s very concentrated on the clarinet and later on well that Carter found himself forced to detailed bio-discography about Fletcher also on the alto saxophone. In interviews develop himself as a trumpet player. In Henderson (Hendersonia –The Music of he has explained that his first clarinet 1929 Procope got a job with Chick Webb’s Fletcher Henderson and his Musicians happened to be an Albert-type clarinet popular band playing regularly at the – Published by Walter C. Allen) one which he would continue to play. He has Savoy Ballroom. Unfortunately there finds very little information about explained that he had a certain feeling for exists no recording with neither Benny Russell Procope’s contribution to the the Albert-type, and meant that if Barney Carter nor Chick Webb from this time. orchestra. For obvious reasons Allen Bigard had played the Boehm-clarinet he Webb didn’t start to record until March deals primarily with Henderson himself would have sounded quite differently. In 1931 and by that time Procope had left and his most well-known sidemen and the area where he grew up other future the band. The reason for his departure apparently he didn’t consider Procope to jazz stars also lived, like Benny Carter be one of them. Procope’s name is only and Don Redman, with both of whom he mentioned when it comes to naming would later collaborate. the members of the band at different Procope grew up in a musical family. His times. However, Allen carefully notifies mother was a good pianist and his father who is playing solos on all recordings. played the violin and, as mentioned, Fletcher Henderson and his orchestra Russell learned the violin with a view of were very active in the recording studios becoming a classical violinist. However, and Procope took part in most of them once he happened to hear Louis during his stay with the band. Already Armstrong with the Fletcher Henderson on his first recording date on March 19, band and he got hooked on jazz. His 1931, Procope can be heard on Sugar Foot professional career started already in Stomp and Clarinet Marmelade. On most his late teens. In 1928 he made his first recordings with Henderson Procope can recording with Clarence Williams’ be heard playing the clarinet, but on Orchestra and shortly thereafter with Radio Rhythm from July 17, 1931, he can be Jelly-Roll Morton. He spent some time heard in a 32 bar solo on alto saxophone in Jelly-Roll Morton’s band and there he and also on Blue Rhythm from August made contact with Omeor Simeon who the same year. In Fletcher Henderson’s

4 orchestra there were numerous capable and Perdido, and he plays enthusiastically second saxophone player, or third saxophone soloists, and it is apparent that Procope in a Benny Carter-influenced way. player. We have things where anybody might dwelt in the shadow of them. It is be playing the lead. Sometimes you have probably correct to say that his position Joining Duke Ellington clarinet on top. Johnny Hodges plays quite a in the band was primarily as a section Russell Procope returned to John bit of lead, and there are some arrangements leader rather than a soloist. Kirby for a while until Duke Ellington where he plays lead in the first half and I But Fletcher Henderson had his suddenly called on him on April 19, do in the second half. This is just one of the problems. At this time he was managed 1946. At the time, Ellington had a things that give variety. The people sitting by Irving Mills (and so was Jimmie problem with Otto Hardwick who had there listening can’t put their finger on it, Lunceford) but he considered he got a habit of occasionally wandering off don’t realize what’s going on, but they hear inferior service from Mills. Duke and nobody knew where to find him. the difference. Ellington and Cab Calloway got the Ellington required Procope to substitute Russell Procope never appeared as a prime engagements at the cost of other him. For how long no one knew, Procope jazz improviser and surely it was not in bands under Mills’ management. the least. He sat in for one night but that capacity that Ellington hired him. Both Henderson and Lunceford were was asked by Ellington to play also the He had plenty of good improvisers in disappointed and decided to leave following day which turned into a week his band. Ellington had a special number the Mills organization. Lunceford and a month and eventually lasted for a in his book where he used to present got involved with Harold Oxley and total of 28 years. a number of soloists, Jam With Sam, Henderson with Moe Gale. USA was in Duke Ellington’s great alto sax star which he kept on his repertoire from the middle of a deep depression which was Johnny Hodges and it goes without 1951 until 1968 and it was presented on affected especially black bands and their saying that Russell Procope wound up in most of his concerts during these years. possibilities to find good engagements. his shadow. He fully realized this and it Procope was given a chorus, a well pre- By the end of 1934 Henderson was forced seems obvious that he never searched the constructed solo which he always played to disband and most of his sidemen, limelight as a soloist. Just like his time in the same way, note by note, on every including Russell Procope, were for a with Fletcher Henderson his position in performance. Hearing the same solo short time employed by Benny Carter. Ellington’s orchestra was more that of on every performance one cannot help a section leader. However, Ellington’s getting a bit disappointed that he never With John Kirby arrangements called for different section tried to vary his solo in any way. But However, the stint with Benny Carter leaders and in an interview Procope possibly Ellington wanted it this way. was of short duration and Russell described the situation as follows: We However, in interviews Procope has Procope was then employed by Tiny don’t have a first saxophone player, or stated that he always altered his solos Bradshaw up to February 1935. Then he took up a position in Teddy Hill’s orchestra lasting until May 1937. Mood Indigo During the rest of 1937 and into 1938 - Lawrence Brown, Procope played with Willie Bryant’s Harry Carney och orchestra, but as from October 1938 we Russell Procope find Procope in John Kirby’s sextet as a replacement for Pete Brown. It was a popular little band with a special sound created by a muted trumpet, alto saxophone and a clarinet. The band had a long stay at the Onyx Club in New York and made many recordings. John Kirby and his band cut its place in jazz history and it is now Russell Procope made his name known to a wider audience. But USA got involved in World War II. Procope was drafted and served as a musician in a military band until 1945. Right after his release from the army Procope was invited by Duke Ellington as a guest soloist at a radio broadcast from Radio City on October 20, 1945. The concert has been published on Storyville D.E.T.S. vol. 14 and we can hear Ellington welcoming Procope back to civilian life. Procope is allowed to demonstrate his Photo: Göran Claréus talents in two numbers, Honeysuckle Rose

5 somewhat but for an inexperienced ear they are difficult to hear. After Johnny Hodges’ sudden death in 1970, Procope was featured more on alto sax, and he developed his way of playing. However, it was primarily as a New Orleans influenced clarinetist Ellington was making use of him. In an interview Russell Procope has explained that his long stay in Duke Ellington’s orchestra was based on two facts. Primarily he had always been fascinated by Ellington’s music and secondly it was the financial security the engagement offered him. He explained it with the following words: Why did I stay for 28 years? Well, hell, I joined him because I loved the music. It was the greatest. Besides which, it was security. Sure, security. What else are we here for? In when he was featured on alto sax it was on Procope-clarinet played in the lower a profession to do what you like doing and standards from the American song book. register of the instrument which would getting paid for it. Isn’t that what everybody In 1956 Duke Ellington recorded for become significant for his way of playing. wants? Duke Ellington paid his sidemen Bethlehem Records and an LP was This type of his playing can also be heard individually and the pay varied between released entitled “Ellington Presents”. in Swamp Goo which was a composition them. Procope was far from the highest Russell Procope was featured on Indian Ellington had on his repertoire during paid. According to a salary list from Summer, a well-known standard. He the second half of the 1960s. Procope’s 1963 Procope was paid $350 a week plays close to the melody and makes no clarinet can also be heard in Blues To Be while Johnny Hodges earned $660. In deviations from it. It seems like he has There, first presented at the Newport addition, Cat Anderson, Cootie Williams, Willie Smith in his mind who recorded Festival in 1956. Lawrence Brown, Harry Carney, Paul the number for Mercer Records in 1951. At his concerts Duke Ellington often Gonsalves and Jimmy Hamilton were all For the famous concert at the Newport presented a triplet of Black And Tan better paid than Russell Procope. Festival in 1956 Ellington had composed Fantasy/Creole Love Call/The Mooche and his Festival Suite and Russell Procope here Procope’s southern style clarinet fits Procope can be heard in Festival Junction. In his in very well. the altosaxophonist Shakesperean Suite, Such Sweet Thunder, Russell Procope’s feature number on It was not too often that Russell Procope Procope can be heard in Lady Mac. None the clarinet was 4:30 Blues. The number could be heard as an alto sax soloist in of these performances are in any way was composed in 1969 and is a simple the Ellington orchestra. The reason was remarkable. However, at the Monterey obvious, Johnny Hodges sat in the band. Festival in 1960 Procope is playing an When Hodges suddenly left in 1951 inspired version of On the Sunny Side of Willie Smith came in as his substitute. It the Street and for once he is playing with was not until May 19, 1955, that Procope a bit of enthusiasm. was given a chance to express himself as an alto soloist. At that time Duke Procope the clarinettist As explained above it can be said that Ellington was contracted to Capitol Russell Procope was not much of interest Records and on his last recording date as an alto sax soloist, but he is all the for Capitol they recorded Lady Be Good more interesting as a clarinet soloist. and Procope plays an inspired solo. Ellington had a superb clarinetist in On this occasion Procope also plays his his orchestra in Jimmy Hamilton, who clarinet in Discontended Blues and Once played in the Benny Goodman idiom, In A Blue Mood. Duke Ellington was but Ellington was much in favor of the never satisfied with his contract with New Orleans type of clarinet. Despite the Capitol and these recordings were never fact that Procope did not emanate from issued by them. Collectors only got to New Orleans he could, with his Albert- hear the numbers when Mosaic released clarinet, create the woody tone Ellington Ellington’s Complete Capitol recordings. loved so much. Hamilton and Procope Duke Ellington never composed a special were contrasts. Already in 1958 Duke alto feature for Russell Procope like he Ellington composed a suite he named did for many of his other star soloists. Toot Suite. The third movement is called Consequently, on those few occasions Red Carpet and here we can hear a typical

6 blues theme which Procope plays in the Kyle, John Simmons and Denzil Best. chalumeau register of his Albert-clarinet. In early 1956 the Ellington orchestra When Ellington announced Procope and spent time in Chicago. On this occasion the number he used the words; he doesn’t Russell Procope put together a band say whether it’s 4:30 a.m. or p.m. It just with local musicians and produced an could be he’s complaining about the price. LP for the label DOT (DLP3010) under The melody was never commercially the title The Persuasive Sax of Russ Procope. recorded but can preferably be heard and Unfortunately the writer has not had a seen on a DVD (Quantum Leap 0252) possibility to listen to this recording. from Tivoli, Copenhagen, on November When trying to make a conclusion of 2, 1969. Russell Procope’s career one is forced Procope is using the same technique in together with English musicians. On to admit that he does not belong to the the beautiful Almighty God from Ellington’s this tour they also worked with Chris big names in jazz. This is partly proved Second Sacred Concert. He played it Barber and his orchestra. Back in USA, by Ellington himself because when he together with Alice Babs and the number he made a recording in 1978 under had to put together a smaller outfit of was performed at a concert in the Gustav Butch Miles’ name. his band Procope was never included. Vasa Church in Stockholm on November Together with Cootie Williams Procope It is rather his long engagement in Duke 6, 1969, and may be watched on DVD. made a tour of Europe in 1978 and they Ellington’s orchestra that has given Russell Procope can be heard as a appeared at the Stockholm jazz club him a name in the history books. He clarinetist on several more recordings Fasching on February 22. Bo Scherman’s was no hot musician but a thoroughly but for reason of space they will not report from the event may be read capable musician from a technical point be commented on here. It is evident separately. of view and any orchestra leader could that Ellington made use of Procope the Later in 1978 Russell Procope formed a fully rely on him. He was a mainstay in clarinetist far more than Procope the quintet with a repertoire heavily loaded the Ellington band. We remember him altosaxophonist. As a saxophonist he with Ellington music. They played primarily for his beautiful clarinet sound was overshadowed by Johnny Hodges. frequently at the West End Jazz Club which Duke Ellington knew how to best But his clarinet sound was his own and on Broadway and 113th Street where utilize. a contrast to that of Jimmy Hamilton and Procope made his last performance with In 1962 Stanley Dance made an Ellington knew how to make best use of the group ten days before his death extensive interview with Russell Procope the two characters. But already during his time with which he published in his “The World But Procope experimented with other Ellington Russell Procope made a few of Duke Ellington” (Charles Scribner’s wind instruments. There exists a few recordings under his own name. By Sons, NYK) recordings where he plays different the end of 1946 Russell Procope Big Six Russell Procope passed away in his kinds of flutes. At a concert in Newport recorded for Hot Record Society. Four home in New York on January 21, 1981. on July 4, 1959, Ellington played his exit numbers were recorded and they were Bo Haufman number Jones and Russell Procope plays released on HRS 1034 and 1035. Sidemen a chorus on an instrument Ellington calls were Harold Baker, John Hardee, Billy “whispering whistle”. When Ellington recorded The Nutcracker Suite Russell Procope starts the Arabesque Cookie with a few bars on an instrument described as a “bamboo whistle”. According to CBS’ sleeve notes Procope practiced over a month for these few bars. Career after Ellington When Duke Ellington passed away in 1974 his son Mercer Ellington took over the leadership of the orchestra, but the relation between Procope and Mercer was not the best and Procope decided immediately to leave the band. He could not work under Mercer’s leadership. But he did not leave the music business. He started to play regularly in a trio led by the pianist Brooks Kerr together with Members of the Sonny Greer. Sometimes Ray Nance also Willie Bryant Orchestra 1937: appeared with them. In 1976 he toured Roy Eldridge, Russel Procope, Europe together with Wild Bill Davis Chu Berry and Dicky Wells. and a recording was made in England

7 Amerikanskt gästspel I Orkester Journalens aprilnummer 1978 kan vi läsa följande recension av DESS-medlemmen Bo Scherman från Russell Procopes och Cootie Williams framträdande på Fasching den 22 februari 1978: Det nya jazzåret har hittills varit och kommer att bli ovanligt händelserikt här i landet. Först i den långa raden amerikanska gästspel i Stockholmstrakten var två Ellington-veteraner, trumpetaren Cootie Williams och klarinettisten/altsaxofonis- ten Russell Procope, som turnerade i Danmark och Sverige med framträdanden på Fasching den 22 februari inför en glädjande stor publik och på Norrlands Nation i Uppsala kvällen efter. Av dessa båda musiker är Procope den minst kände. Då han kom till Ellington 1946 hade han redan stor erfarenhet från bl a Fletcher Henderson, Teddy Hill och John Kirby. Han stannade hos Duke fram till dennes död 1974 och förekom oftast som klarinettist i den roll som Barney Bigard tidigare haft. Sedan dess har han varit aktiv som frilansmusiker i New York, där jag hörde honom senast i januari i år.

dande dessutom är långt ifrån lika iögonen- fallande som Cooties har han svårare att bli ”upptäckt” av den breda publiken. Trots de stora olikheterna i läggning och tempera- ment kompletterar Cootie och Russell Pro- cope varandra perfekt. En av mina vänner drog paralleller med de stora komikerpa- ren, och det ligger mycket i den liknelsen. Repertoaren bestod som väntat mest av Ellingtonkompositioner. Efter Ellingtons död har många försökt hålla hans tradi- tioner vid liv, men ingen har förstått hans musik och kunnat få fram de rätta klangfär- gerna bättre än dessa trotjänare från hans orkester. Cootie och Procope spelade un- ker swingen i hans musik. Det märks hur der hela turnén med den utmärkta dansk- Cootie Williams mycket han gillar att spela ut hela sitt regis- svenska rytmsektionen Pelle Thomsen (pia- Cootie Williams behöver knappast presen- ter som showman och stå i rampljuset en hel no), Rolli Pellegrini (bas) och C-O Strandh teras. Under sina två långa perioder med kväll. Hos Ellington lanserades Cootie mest (trummor). Ellington 1929-40 och 1962-74 var han en av i growl-solon med koppsordin. Nu fick vi orkesterns mest lanserade och viktiga mu- också höra mycket av hans fina öppna ton, I samma nummer av Orkester Journalen siker. Cootie blir, liksom Russsell Procope, som fortfarande har en enorm volym. kåserar Bo Scherman också om sitt senaste 70 i år och har de senaste åren haft problem besök på olika jazzklubbar i New York och med sin hälsa. Då jag senast hörde honom Russell Procope vi kan bl a läsa följande: i Stockholm sist med Mercer Ellington -75 Russell Procope är en mera stillsam, inåt- Larson’s på tredje avenyn brukar ha små- och i Nizza -76 var han en mycket trött man, vänd musiker, men har lika mycket värme som sällan kunde presentera något som låg och inlevelse i sitt spel som Cootie Wil- grupper under ledning av den unge El- i närheten av hans tidigare förmåga. Många liams. Han har en suverän teknik och en lington-protegén Brooks Kerr. Jag var där av oss hade inte väntat oss så mycket av utsökt vacker och personlig ton på båda in- en söndagsmatiné, då hans band bestod Cootie nu, och därför var det en stor positiv strumenten. Klarinettspelet är fortfarande av Russell Procope och Al Hall. överraskning att se och höra honom spela starkt påverkat av Barney Bigard, men den I den här lilla baren spelar musikerna helt bättre och mer inspirerat än på många år. här kvällen spelade han mest altsax med utan mikrofoner eller annan elektronisk Cootie Williams är en expressiv musiker den lättflytande, luftiga swing som man med våldsamt utspel och dynamik. Han kan höra på de gamla John Kirby-skivorna. förstärkning, och det var skönt att höra de ackompanjerar varje ton med stora kropps- Hans musik kräver stor koncentration av fina tonkvaliteterna hos Procope och Hall rörelser och dans, som ytterligare förstär- lyssnaren, och eftersom hans scenuppträ- komma fram på ett naturligt sätt.

8 records included a 1959 album with Coo- tie (Around Midnight – Jaro 5001). Read more about these singers at http:// Is MIMM tdwaw.ellingtonweb.ca/WiniJohnson. html and http://www.uncamarvy.com/ correct? WiniBrown/winibrown.html Ever since Duke Ellington published So what was the reason behind the his autobiography Music Is My mixup? The publishers of MIMM wanted to put the book on the market as Mistress we have taken his words for early as possible and Ellington had pro- the absolute truth. However, recent blems in meeting their deadline. In or- research has proved that there are der to speed things up he engaged Stan- reasons to correct some information. ley Dance to complete the book as we understand it from Patricia Willard who In our DESS Bulletin 4/2011 we pre- used to work for Ellington from 1949 sented a number of vocalists under the until his passing in 1974. Most certainly heading “Ellington’s lesser known fema- Ellington had written his chapter about le vocalists”. Among these was Wini Wini Johnson, but for some unknown Brown and the information about her reason Stanley Dance changed the name was very much based on what Ellington job, but returned to the stage. Winnie’s to Wini Brown believing he made a cor- had to say about her in his MIMM. El- name changed to Wini shortly after she rect change of name. lington devoted a short chapter to her in joined Ellington in February 1944, weeks According to Willard, Stanley Dance his autobiography. However, informa- before his second Hurricane Restaurant often changed the names of people, es- tion elsewhere indicated that she also ap- residency. She would stay until the end pecially their surnames. He insisted on peared under the name of Wini Johnson of September and married Dr. Middleton calling Barrie Lee Hall “Barry” and To- and when our Bulletin was published we Lambright II in 1945 or 1946, settling in ney Watkins “Tony”. Despite their com- were of the firm opinion that Wini Brown Cleveland. Her career appears to have plaints he refused to make a correction. and Wini Johnson were one and the same ended, although she was on the cover In our Bulletin 4/2016 we complained person. This opinion was supported by of Jet Magazine in 1952. Wini did not that Ellington spelled Arthur Whetsol the MIMM-index, compiled by Jorgen record with Ellington, but New DESOR when he should know the correct spel- Mathiasen, where he states: ”Brown, shows her singing The Wonder of You (You ling to be Whetsel. No doubt Ellington Wini (vo). (Should probably be Wini Left Me Everything But You) in a recor- had originally spelt it correctly but Dan- Johnson)”. Furthermore on page 474 in ded June 6, 1944, broadcast, the day she ce followed the common pattern and cor- MIMM Ellington lists the names of the was to marry Canada Lee (this wedding rected it erroneously to Whetsol. In the vocalists he has worked with over the didn’t happen). Timner’s Ellingtonia case of Louie Bellson his Christian name years. Even Lena Junoff is mentioned, fifth edition has her singing with Marie is throughout spelled “Louis” in MIMM. but he is not mentioning the name Wini Ellington in a May 28 broadcast as well, Johnson, which we took for an evidence but this was some months before Marie From Patricia Willard we also un- of her correct name to be Wini Brown, is thought to have joined Ellington. derstand that Duke Ellington never saw under which name she was treated un- Wini Brown’s career began after Wini the final manuscript of his autobiograp- der a separate chapter. We took the name Johnson’s ended. Miss Brown had a ca- hy before it was sent to the printers. Had Wini Brown for being Wini Johnson’s reer as vocalist with several bands inclu- he done so he would most certainly have stage name. ding Lionel Hampton, whom she joined made a few corrections. in 1946 at age 18. She was never engaged DESS member David Palmquist’s re- Bo Haufman by Ellington but sang in Cootie Williams’ cent research shows that Wini Brown assisted by David Palmquist was not the Wini Johnson who sang orchestra from 1955 until 1959. Her many with Duke Ellington. Miss Brown was 10 years younger than Johnson and their A word photographs are quite different. Nya medlemmar from our sponsor Wini Johnnson was known as Winnie DESS hälsar följande nya until she joined Ellington in 1944. She medlemmar välkomna i vår was a 15-year-old dancer at the Cotton illustra förening: WRAPSONS Club when Ellington played there in 1933 Leif Borgert, Orsa and she and her brothers were a dance Wraps, Bengt Holm, Åkersberga team in his Apollo stage show. Winnie Lars Mide, Karlstad sallader och appeared often in The Pittsburgh Cou- Lennart Nyholm, Upplands Väsby rier, the New York Age and other news- catering papers from 1933 to 1944 and she played DESS behöver fler medlemmar. Jättegott-Jättesnabbt in several Broadway shows. She and Inspirera Dina vänner och Stepin Fetchit had a son, but after their bekanta att också vara med! www.wrapsons.com marriage ended, she trained for an office

9 Duke Ellington’s Orchestra in Mae West’s 1934 Film Belle of the Nineties By Fred Glueckstein Mae West, the American Angeles on February 19, actress, singer, playwri- 1934. The next day, they be- ter, screenwriter, comedi- gan rehearsals for Murder At an, and sex symbol, wro- The Vanities and Belle of the te the script and starred Nineties. in her fourth film Belle of On Monday, February 26, the Nineties. 1934, the Ellington Orchest- The 1934 film was based ra was at Paramount Sound on West’s original story It Stage No. 1 for a soundtrack Ain’t No Sin, which was recording session for Belle to be the film’s title until of the Nineties. Present were censors objected at the Duke Ellington (p.); Arthur time of its release. Whetsel, Cootie Williams, In Belle of the Nineties, Freddy Jenkins (tp.); Joe Mae West plays the role Nanton, Lawrence Brown of Ruby Carter, who is (tb.); Juan Tizol (vtb.); the featured singer in a Johnny Hodges (cl., ss., as.); New Orleans setting cal- Barney Bigard (cl., ts.); Otto led The Sensation Club. Hardwick (as., bs.); Harry In the film, West fends off Carney (cl., as, bars.); Fred the unwarranted atten- Guy (g.); Wellman Braud tions of steady admirers, (b.) and Sonny Greer (dr). and reserves her affection Two takes of Ebony Rhapsody for a boxer named Tiger were recorded. Kid. The Duke Ellington On Tuesday, March 13, Orchestra accompanies 1934, a soundtrack rehearsal her as she sings several by Mae West and the Duke Arthur Johnston and Ellington Orchestra took Sam Coslow songs: My place. Mae West sang When Old Flame; Troubled Waters; When A St. for our New Orleans setting.” A St. Louis Woman Comes To Town. Subse- Louis Woman Comes To Town, and Hesita- The studio offered a compromise. If quently, soundtrack rehearsals with the tion Blues. In addition, she also sings the West insisted on using black musicians Ellington Orchestra and West occurred W.C. Handy classic Memphis Blues. in the film, they would hire black ex- on March 14, 15, 16 and 17. It should be May West was a loyal fan of Duke El- tras and have them sit with instruments noted that during these rehearsals and lington. It is believed that she met Duke and “fake” the music, which the studio recordings Otto Hardwick was not av- in the 1920s through Owney “the Killer” orchestra would prerecord. West would ailable. He had a bad habit of suddenly Madden, a leading underworld figure in not consider it. “I told them … you can’t wandering off and nobody knew where Manhattan, who was the owner, or one take white people and have them play to find him. During his absence he was of the syndicate owners, of the Cotton black music,” said West. After not bud- replaced by Marshall Royal for about th- Club. In 1934, for her new movie, West in- ging on her demand, Emanuel Cohen, ree weeks. sisted that Paramount Pictures hire Duke the studio head, intervened and Elling- Filming Belle Ellington and his band to accompany her ton was signed. of the Nineties in the musical numbers; however, Para- Travelling to California On Monday, March 26, 1934, Mae West mount wavered. The studio argued that On Saturday, February 17, 1934, Duke and the Duke Ellington Orchestra appea- they had their own orchestra under cont- Ellington and his Orchestra boarded a red again on Paramount Sound Stage No. ract that played for all their films. -Mo special train from Washington. D.C. for 1 for the recording and filming of Belle of reover, Paramount management argued Los Angeles to appear in two Paramount the Nineties. The film was written by Mae that Ellington would cost too much. West films: Mae West’s Belle of the Nineties and West, directed by Leo McCarey, and pro- reminded them that Ellington was a re- Earl Carroll’s Murder At The Vanities. El- duced by Williams LeBaron. As Mae West cording star, and he would be “just right lington and the Orchestra arrived in Los planned, the Ellington Orchestra accom- 10 panied her as she performed the vocals. Duke Ellington and his band were away the Nineties, Ellington received one of his Sonny Greer remembered the filming: from the production of the film until cherished possessions, an autographed “That Mae was something else,” he recal- May 7 and 8, 1934, when they were back photo of Mae West signed to the “Duke”. led in Duke Ellington and His World by in the Paramount Studio to record Trou- Mae West in Belle of the Nineties is very A.H. Lawrence. “Every morning she’d bled Waters with Mae West and My Old humorous, and Ellington’s music is ex- come on the set and say ‘Good morning Flame, the latter recording without Mae tremely entertaining. The 1934 film is Duke, good morning boys,’ and we’d say West. Otto Hardwick was now, back in definitely worth watching and can be ‘Good morning Miss West,’ then she’d the band. On May 9, 1934, the band went viewed at http://www.dailymotion. look over at Carney and say ‘Good mor- into a RCA-Victor studio to record Trou- com/video/x21wcg5_belle-of-the-nine- ning Harry.’ He look straight ahead and bled Waters and My Old Flame now, with ties-1934_shortfilms. Extracts may also say ‘Good morning Miss West.’ When Ivie Anderson as the vocalist. be watched on YouTube. we finished the picture she had a party for us at her house, and gave us a tour. Paramount Pictures Other Commitments Damned if there wasn’t a mirror on the release of Belle of the When Duke Ellington and the band was not engaged with the filming of Belle of ceiling of her bedroom! She saw me loo- Nineties king at it and said, ‘Sonny, sometimes a the Nineties they had other commitments. Belle of the Nineties was in production girl wants a view of the performance.’ I The filming of Murder at the Vanities took from March 19 until June 1934. It was like to cracked up. That Mae, she was so- place very much simultaneously with Bel- premiered at the Paramount Theatre in mething else!” said Greer. le of the Nineties. The band also performed New York on September 21, 1934. On Mae West vocals were, of course, only at locations like The Paramount Theatre September 22 Andre Sennwald revie- a part of her talent. She was a comedian in Los Angeles and Sebastian’s Cotton wed Belle of the Nineties in The New York known for her wit as in Belle of the Nine- Club in Culver City. They also played for Times. Sennwald wrote in part: “Its in- ties with Ace Lamont, the owner of the a week at the Orpheum Theatre in San comparable star has been bolstered by a Sensation Club: Francisco and played one-nighters before smart and funny script, an excellent phy- they were back in Paramount’s Studio for Ace Lamont: You and I could go a sical production and a generally buoyant finalizing their work on Belle of the Nine- long way together. With your beauty comic spirit. There are gags for every ties on May 7, 1934. and my business ability, we could make taste and most of them are outrageously What is not commonly known is that a fortune. You know why I brought you funny according to almost any standard Duke Ellington and his orchestra appea- down here, don’t you? of humor … Roger Pryor as the Tiger Kid, red in a third film during their stay in John Miljan as the contemptible Ace, and Ruby Carter: I had a rough idea. California. On March 21, 1934, they can- Katherine DeMille as the jealous mistress Ace Lamont: You’re the kind of wo- not be seen but heard in the Paramount- of the Ace all contribute excellently to man I dreamed about, always desired. film Many Happy Returns together with the comedy, while Duke Ellington’s boys I’m wild about you. the harmonica virtuoso Larry Adler. A provide the sulphurous musical back- short version of Sophisticated Lady is play- Ruby Carter: Some of the wildest ground for Miss West’s songs.” Belle of ed which have later been released on LP men make the best pets. the Nineties budget was $800.000 (estima- Up-To-Date 2009. Duke Ellington and the ted), and it had a U.S. gross of $2.000.000. Ace Lamont: Ruby, I must have you, band got this assignment quite by chance, your golden hair, your fascinating eyes, Working with Mae West was a wonder- and for which they received neither credit your alluring smile. And lovely arms …. ful experience for Duke Ellington. Later, nor billing. They are not appearing in the Ruby Carter: Wait a minute. Is this a he would name her his favorite actress. film but only playing background music. proposal, or are yuh taking inventory? In remembrance of their time in Belle of Originally Guy Lombardo’s band was supposed to play but Larry Adler insisted on Duke Ellington who happened to be around. On May 11 Ellington and the band started their journey back east via stopovers at Portland, Seattle, Salt Lake City, Chica- go and Pittsburgh. By June 29, 1934, they were back in New York.

We have earlier enjoyed Fred Glueckstein’s articles about films in which Duke Ellinton and his Orchestra have performed. In Bulle- tin 3/2016 we could read about Murder At The Vanities and in Bulletin 4/2016 Check- And Double Check was presented. 11 Frankie and Johnny were sweethearts Oh, what a couple in love Frankie and Johnny Frankie was loyal to Johnny I den amerikanska national- emellertid registrerad som Just as true as the stars above karaktären, så som den åter- ”public domain”. Melo- He was her man speglas i konsten, existerar en din har under årens lopp beundran för de som proteste- spelats in av mängder av But he done her wrong rar mot etablissemanget och artister. Det finns över 250 Frankie went down to the drugstore de som rör sig utanför lagens registrerade inspelningar Some ice cream she wanted to buy råmärken. Bakgrunden till av numret och bland dessa The soda jerk told her that Johnny detta har troligen till viss del finner man inspelningar av sin grund i invandringen på Johnny Cash, Lead Belly, was making love to Nellie Bly 1800-talet, då samhället inte Pete Seger, Fats Waller, Burl He was her man erbjöd något socialt säkerhets- Ives, Louis Armstrong, But he was doing her wrong nät utan det gällde för var och Benny Goodman m.fl. Elvis Now Frankie’s dad was a policeman en att klara sig bäst möjligt Presley gjorde en mycket på egen hand. Somliga gick lyckad inspelning som blev She stole his old forty four gun så långt att de tillämpade kriminella me- en s.k.”gold record”. Texten i inspelning- Than back to the drugstore she beat it toder för att skaffa sig en bättre tillvaro. arna varierar mycket men här intill åter- Just as fast as she could run Historierna om dessa är många, t.ex. ger vi den version som Louis Armstrong After her man om Billy The Kid, Jesse James, Wild Bill använde. Hickok och The Dalton Brothers. Även Duke Ellington fattade ett tycke för me- Who was doing her wrong de som bekämpade the ”outlaws” fick sin lodin och använde den i flera samman- Now Frankie peaked in on the party del av berömmelsen som sheriffen Wyatt hang. Första gången är den 29 maj 1941, She got a surprise when she saw då Ellington tillsammans med Jimmy Earp och revolvermannen Doc Holliday. That Nellie and Johnny were Hollywood producerade gärna filmer på Blanton uppträder vid en radioutsänd- ämnet som ”Butch Cassidy and Sundance ning assisterade av John Scott Trotters making love Kid”, ”Gunfight at the OK Corral”, ”High orkester i ett program kallat ”Kraft Mu- And sipping soda through a straw Noon” för att nämna några i en lång rad. sic Hall”. Det är till största delen ett solo- He was her man nummer för Ellington själv, men Blanton Även något senare tiders brottslingar fick But he was doing her wrong sina hyllningar av Hollywood som ”Bon- får också stort utrymme. nie and Clyde”, ”John Dillinger” och flera Nästa gång vi kan höra numret är den So Frankie flew into a tantrum filmer producerades om personligheter 17 september 1941, då Ellington gör en She whipped out that old forty four inom den amerikanska maffian. serie inspelningar för Standard Radio And her rootie toot boom, Berättelser av denna karaktär finner Transcriptions. Även nu är numret i stor that gal did shoot man även i den amerikanska sångskat- utsträckning en feature för Ellingtons Right through that hard wood ten. Visor av bluesliknande slag skrevs re- yviga pianospel, men Blanton kan höras dan under 1800-talet och skildrade oftast även här. Numret är ett typiskt konsert- swinging door mord och död i någon form. ”Stack O’Lee nummer med flera tempoväxlingar och She shot her man Blues” (Inspelad av The Washingtonians arrangemanget lämpade sig inte för en Cause he was doing her wrong redan 9 januari 1928) beskriver hur år danspublik. So bring on your crepe and 1895 Stag Lee Shelton skjuter sin konkur- Numret återkommer den 8 juli 1944, då rent Billy Lyons. 1934 komponerade Cole orkestern uppträder vid ett Naval Train- your flowers Porter ”Miss Otis Regrets”, efter att ha Bring on your rubber tired hack hört historien om hur en svartsjuk kvinna Cause there’s eight men to go to the skjuter sin älskare. ”John Hardy’s Wife” graveyard kan också räknas till denna kategori. (Se Bulletin 2/2016) But only seven are coming back ”Frankie and Johnny” (ibland skrivet She shot her man ”Johnnie”) har en lång historia bakom Cause he was doing her wrong sig. Ibland har den titeln ”Frankie and Al- Now this is the end of my story bert”. Händelsen som beskrivs lär ha ut- spelats i St. Louis 1899 då Frankie Baker, And this is the end of my song en 22 år ung kvinna, skjuter sin 17-årige Frankie is down in the jail house älskare som påstås heta Allen eller Albert And she cries the whole night long Britt. Varför titeln senare blev ”Frankie ”He was my man and Johnny” är svårt att förklara. Vem som skrev melodin är också oklart, men ing Center. Vid tillfället sändes framfö- But he was doing me wrong” när den publicerades 1904 tillskrevs den randet över radio och kom därigenom en viss Hughie Cannon. I dag är melodin att bevaras och gavs senare ut på diverse

12 skivetiketter. Arret är nu något utvecklat igen tillsammans med John Scott Trotters 1946, liksom vid konserten den 20 januari även om det till stora delar följer de tidi- orkester i en radioutsändning för Kraft 1946 i Civic Opera House i Chicago. gare uppläggen. Ellington spelar nu sitt Music Hall. Bing Crosby är konferencier Samma princip tillämpades vid en kon- solo på ett mera subtilt sätt. Blanton finns och det förekommer en hel del humoris- sert i Radio City den 25 maj 1946, men nu inte längre kvar i bandet och är nu ersatt tiskt snack mellan de två innan Frankie är det Oscar Pettiford som hanterar ba- av Junior Raglin som axlar Blantons man- And Johnny spelas. Det är i princip sam- sen. Detsamma gäller vid en konsert vid tel med bravur. Hans solo är nu kopplat ma arrangemang, som då numret spela- Cornell University den 19 april 1947 och med ett solo av Joe Nanton. Numret skul- des första gången med undantag av att Hollywood Bowl den 31 augusti 1947. le med tiden bli mer och mer ett trombon- något bassolo inte förekommer. Denna Den 16 februari 1949 spelar Duke El- nummer. inspelning finns endast utgiven på en lington in en s.k. soundie för Universal När det var dags för Ellingtons årliga obskyr LP – Bonsard 601. med namnet Symphony In Swing. Här konsert i Carnegie Hall den 19 december Till slut blev det dags för en kom- framförs bl.a. Frankie And Johnny återigen 1944 spelades Frankie And Johnny. Det får mersiell inspelning av numret. Den 16 kopplad med Metronome All Out, men nu bli det avslutande numret tillsammans maj 1945 spelas Frankie And Johnny in för finns inte längre Joe Nanton i bandet. Han med Metronome All Out. Arret följer i stort Victor, som ger ut den som 78a kopplad är här ersatt av Tyree Glenn. sett det från föregående tillfälle med det med Royal Garden Blues. Ellington kom- Sista gången vi träffar på Frankie And undantaget att Joe Nanton får de sista två pas enbart av bas och trummor och han Johnny i Ellingtons repertoar är vid turnén korusen för egen räkning och naturligtvis behandlar numret som en pianofeature i Europa 1950. Numret finns bevarat från framför ett storartat solo. med kortare inpass av Junior Raglin, allt konserter i Zurich den 2 maj och i Ham- i ett något snabbare tempo än tidigare. burg den 29 maj 1950. Tyree Glenn deltog Pianisten Dick Katz har beskrivit num- inte i denna turné, men trots att Ellington ret med följande ord: ”Sonny Greer and har en så kapabel growl-trombonist som Junior Raglin join Duke in a remarkable Quentin Jackson i orkestern låter han i fantasy that tells the story in a complete- stället Ray Nance och hans violin få åt- ly unique way. Ellington combines three skilligt soloutrymme och Nance utnyttjar key changes, several changes of tempo, det med ett stort mått av humor. Säker- exchanges with Raglin and some flat-out ligen spelades numret vid flera konserter stride to create a virtuoso display. There under denna turné. are many Harlem-piano touches, and the De ovan relaterad tillfällena då Frankie ending is pure Fats Waller, via James P.” And Johnny framförts är de som finns no- Vid sina konserter tog Ellington för terade i New DESOR. Numret uppfördes vana att kombinera Frankie And Johnny säkerligen vid flera andra tillfällen under med Metronome All Out . Så görs vid kon- andra hälften av 1940-talet, men de finns På Philharmonic Auditorium i Los Ang- serten den 26 maj 1945 på Regal Theatre inte bevarade. eles den 17 januari 1945 framförs numret i Chicago. Detta gäller även ett framfö- Bo Haufman på identiskt samma sätt. rande i Radio City, New York, den 15 sep- Den 18 januari 1945 uppträder Duke tember 1945, Carnegie Hall den 4 januari

Den skrockfulle Duke Ellington Det är allmänt känt att Duke Ellington var something like that. And if you dropped a full of superstitions. Nobody was supposed to mycket skrockfull och hade en massa fobier button – he would never like to see a button wear anything with yellow in it. Nobody was om olika beteenden som han trodde kunde that somebody dropped on the stage or in his supposed to button a shirt all the way down inverka menligt på hans liv. I Bill Crows dressing room. He didn’t like that. the front. Nobody was supposed to whistle in bok Jazz Anecdotes finns ett kapitel som Patricia Willard: I know he had put all the dressing room. avhandlar dess fobier: telegrams he received at an opening around Rex Stewart: I have often seen him He would James Lincoln Collier: his mirror, some of them from very famous abruptly stride off the stage to change after not wear certain colors; he would not give people. When the engagement was over and a button fell off. During that period when I or receive gifts of shoes, which suggested he was packing up his stuff and the valet was with the band, some lucky fellow would that the recipient would use them to walk was packing his clothes I started to take the be the proud possessor of an Ellington suit away; he was afraid of drafts and kept the telegrams down. He said, “No, don’t touch or jacket, as Duke would not wear a garment windows around him closed at all times; he those. Leave them there.” I asked why. “It’s after it lost a button. was frightened of flying and refused to do it bad luck to take down your opening night Lawrence Brown: I didn’t play with the until the demands of travel forced him into telegrams”. The last twenty-five years of his band at first, because I was the thirteenth man. planes; and he subjected himself to many life that I knew him, he never had a watch and There was so much superstition. Oh, no. not similar taboos. wouldn’t wear one, but yet he always wanted thirteen men! I had to wait for the fourteenth Juan Tizol: Duke used to say never come to know what time it was. man, Otto Hardwick, for about six weeks. in his dressing room eating peanuts or Louie Bellson: Duke and Strayhorn were

13 Tenoristerna mellan Webster och Gonsalves

Duke, Charlie Rouse, Harry Carney och Jimmy Hamilton

De flesta av de amerikanska storbanden hade som salves och han uppehöll rollen som tenorsolist under regel en tenorist av bra kapacitet. Count Basie hade resten av orkesterns existens. Jimmy Hamiltons in- t.o.m. alltid två tenorister. Fletcher Henderson sats som tenorsolist skall inte förglömmas, men han hade Coleman Hawkins. Andy Kirk hade Dick Wil- var primärt en klarinettvirtuos. Efter Ben Websters son. Erskine Hawkins hade Wilbur Bascomb, Cab utträde ur orkestern i augusti 1943 behövde Elling- Calloway hade Chu Berry. Woody Herman hade ton en tenorist som kunde axla dennes fallna man- stundtals tre kapabla tenorister. Fler exempel finns, tel, men självklart var det på gränsen till omöjligt men Duke Ellington hade aldrig någon utmärkande att finna en sådan med samma kapacitet. Vilka teno- tenorsolist förrän Ben Webster kom in i bandet i ja- rister förekom i bandet mellan Ben Websters utträde nuari 1940. Efter mindre än fyra år lämnade han och Paul Gonsalves ankomst? Ellington sökte säkert dock orkestern men återkom för ett halvt års enga- efter någon som hade förutsättningar att bli en ny gemang 1948/49. I augusti 1950 anslöt Paul Gon- Ben Webster. Låt oss göra ett enklare studium: 14 den 8 november 1943 spelades C Jam kester under sommaren/hösten 1948. Blues in där Elbert Williams kan avlyss- Även Leonard Feather påstår detta i nas i två korus. Han är absolut ingen sin ”Encyclopedia of Jazz” och det är Webster-man utan lutar snarar åt Lester kanske därifrån uppgiften härstammar. Young-hållet. På Youtube kan man i dag Några bevis på detta har undertecknad hitta en film med namnet ”Murder With inte lyckats finna. Music”, där Williams framträder med sin tenorsaxofon i ett nummer som har nära anknytning till R&B. Namnet El- bert Williams förväxlas ofta med namnet Elmer Williams. Båda är tenorister men olika personer. T.o.m. i Ellington- sammanhang användes ursprungligen det felaktigt namnet Elmer Williams. Även Benny Åslund använder det fel- aktiga namnet i sin ”Wax Works”. Det Chauncey Haughton dröjde in på 1970-talet innan felaktig- – Kom in i Duke Ellingtons band i juli heten upptäcktes. Än i dag förekom- 1942 för att ersätta Barney Bigard och mer diskografier där de två personer- stannade tills april 1943 då han blev nas karriärer är helt sammanblandade. inkallad i armén. Han var framförallt klarinettist men dubblerade på tenorsaxofon. Några kända upptagningar Foto: William Gottlieb med Haughton som tenorist existerar inte. Han satt ju i orkestern samtidigt som Ben Webster.

Al Sears – Inträdde i Duke Ellingtons orkester i maj 1944 som ersättare för Elbert Wil- liams och för att lanseras som tenorso- Jimmy Hamilton list. Han stannade i den funktionen till – Ersatte Chauncey Haughton i maj januari 1949. Det var meningen att han 1943 och satt kvar i bandet till juli 1968. skulle fylla Ben Websters skor, men det Som bekant var Hamilton framför allt lyckades han inte med. Ingen kunde klarinettist, men framträdde även som Elbert ”Skippy” Williams det. Sears kom ur Hawkinsskolan och tenorist i en skepnad som väsentligt – Anställdes av Ellington direkt efter utformade alltid sina solon på ett käns- skilde sig från hans framtoning som Ben Websters avgång som dennes er- losamt och lugnt sätt, men saknade klarinettist. Ellington använde honom sättare. Jan Evensmo, i sin JazzArcheo- Websters intensitet och uppfinnings- i första hand som klarinettist och be- logy, säger följande om Elbert Williams: rikedom. Han fick många tillfällen att traktade honom aldrig som sin förste ”To replace Ben Webster as tenorsax so- framträda som solist och det man först tenorist, även om han ofta fick utrym- loist in Duke’s band must have been a tänker på är kanske inledningen till me som sådan. För en mera detaljerad hopeless task. It should not be possible Dance #1 ur Liberian Suite, där han in- bild av Jimmy Hamilton hänvisas till to fill even half of Ben’s boots, and Wil- leder med ett passionerat solo. Olle He- Bulletin 3/2015. liams does not, being a normal mortal lander använde detta soloinpass som being. However, he attacks his mission signatur för ett av sina jazzprogram i with courage.” Han ingick i orkestern radio. Sears kan även avlyssnas i den från augusti 1943 till maj 1944. Tyvärr sällan hörda Hiawatha ur The Beautiful sammanföll hans engagemang i orkes- Indians. När Johnny Hodges lämnade tern med inspelningsstoppet så Elbert Ellington tillsammans med Lawrence Williams deltog aldrig i några reguljära Brown och Sonny Greer för att starta grammofoninspelningar. Det som finns ett mindre band kom Sears att ingå i bevarat av hans insatser är radioupp- detta och hade en mycket lyckad skiva tagningar från diverse restauranger med Castle Rock. Den visade vägen till och danspalats, särskilt från Hurricane Sears framtida inriktning. Han kom att Restaurant. Under inspelningsstoppet Hal Singer lämna den genuina jazzen och huvud- gjorde dock Ellington en serie inspel- – Enligt New DESOR påstås denne te- sakligen ägna sig åt R&B. Mer om Al ningar för World Transcriptions och norist ha ingått i Duke Ellingtons or- Sears kan läsas i Bulletin 4/2010. 15 lingtons orkester utökade sin saxsek- Wendell Marshall och Butch Ballard. tion under ett halvår till sex medlem- Musiken gavs ut på danska Baronet mar och hade således två tenorister. som 78or. Från Ellingtons turné finns Rouse tillhörde den modernare skolan en konsert i Hamburg den 10 juni beva- och hade ett förflutet hos nydanare rad där McCain får visa upp sig i Juke som Fats Navarro, Dizzy Gillespie och Bop Boogie. Denna konsert har ännu Billy Eckstine. Han har inte gjort några inte givits ut kommersiellt, men kopior avtryck i Ellingtons orkester och finns cirkulerar bland samlare. Efter sin tid inte noterad som solist i något sam- hos Ellington har han gjort inspelning- Jimmy Forrest manhang. Emellertid skulle han senare ar med bl.a. Louis Metcalf. – Ingick i bandet från maj 1949 fram bli känd för en större jazzpublik för sitt till februari 1950. Han hade ett förflu- samarbete med Thelonious Monk. tet hos Jay McShann och Andy Kirk innan han ersatte Ben Webster efter dennes andra engagemang hos Elling- ton. Han ingick senare i Count Basies orkester och i Clarke-Boland Big Band. Han bildade även en mindre grupp tillsammans med Al Grey, med vilken han turnerade i Europa. Jimmy Forrest hade en stor succé med Night Train, ett Rhythm&Blues-inspirerat nummer, som hade tydliga likheter med Duke Ellingtons Happy-Go-Lucky Local. Detta ledde till vissa juridiska kontroverser Don Byas dem emellan. Emellertid sägs det att – Behöver ingen närmare presentation. konflikten avslutades utanför rätts- Inför turnén i Europa 1950 hade Elling- salen till ömsesidig belåtenhet. Jimmy ton flera ersättare i orkestern. Uppen- Forrest deltog som solist endast i en Alva ”Beau” McCain barligen ansåg han sig behöva en mera kommersiell inspelning med Elling- – Tog över tenorplatsen efter Jimmy kompetent tenorist än Alva McCain och ton. Det rör sig om två tagningar av Forrest i februari 1950 och satt på den anställde därför Don Byas för turnén. The Greatest There Is från den 1 sep- platsen fram till augusti samma år. Byas befann sig redan i Europa sedan tember 1949. CBS gav emellertid inte 1947 ingick McCain i Mercer Ellingtons ett par år tillbaka och Ellington kunde ut tagningarna förrän LP-utgåvorna orkester, som kunde betraktas som ett därmed bespara sig kostnaden för flyg- kom i gång på 1970/80-talen. Forrest farmarband för Duke Ellington. Han resan till Europa tur och retur. Han tar kan emellertid med fördel avnjutas i ingick senare i den orkester som El- de flesta tenorsolona under turnén och några radioutsändningar som getts ut lington turnerade med i Europa som- kan höras på de tidigre nämnda inspel- på skiva. Dessa är från Click Restau- maren 1950. Den 2 maj spelade man i ningarna. rant i Philadelphia. I St. Louis Blues från Zurich och konserten kom nyligen ut Det är först i och med Paul Gonsalves 31 augusti och i It Don’t Mean A Thing på TCB 43062, där McCain kan höras inträde i orkestern, i augusti 1950, som från den 2 september, som finns utgivna i ett kort solo i St. Louis Blues. Vid be- Duke Ellington finner en slutgiltig lös- på Raretone 5005, får Forrest gott om söket i Stockholm den 4 juni gjordes en ning på sitt tenoristproblem. utrymme. Särskilt i det senare numret inspelning med Al Killian Jazz Group visar han vilken duktig tenorist han var. där McCain ingick tillsammans med Bo Haufman Jan Evensmo säger om detta nummer: Sören Christensen, Göte Wilhelmsson, ”The solo is great but in an un-Dukish concept, and it is easy to understand that their ways parted soon after.” Jazz Humour

Charlie Rouse – Kom in i Ellingtons orkester i maj 1949 samtidigt som Jimmy Forrest. El-

16 Sonny Greer´s drumkit In the pulication ”Star Sets - Drum Kits of Greer was cofounder of Ellington’s the Great Drummers” by John Cohan we stylish band, setting his elegant tempo can read the following about Sonny Greer´s behind a massive array of percussion. equipment. “I made a deal back then with the Leedy The job of a drummer in a modern Drum people, in Elkhart, Indiana,” Greer orchestra consists of two main divisions, once told jazz writer Whitney Balliett. “In Duke Ellington’s longtime drummer return for my posing for publicity shots Sonny Greer once wrote. “Firstly, and giving testimonials, they gave me a to supply the basic foundational drum set that was the most beautiful in percussion; and secondly, to ornament the world. Drummers would come up to or intensify the effects achieved by the me and say, ‘Sonny, where did you get other instruments. To foster this end we those drums? You must be a rich man,’ have a large assortment of instruments and I’d nod. I had two tympani, chimes, and gadgets, but given a dominant sense three tom-toms, a bass drum, a snare – cowbell, woodblocks, gongs of several of rhythm, the only essential is a flair for the initials SG painted on every drum sizes, and a vibraphone. The cymbals ‘effect’ and a sense of rightness.” – five or six cymbals, temple blocks, a were from the Zildjian factory. I’d go out to Quincy when we were working in the Boston area, and one of the Zildjians would take me around. He’d tell me to choose cymbals with flat cups and instead of hitting a cymbal to show me how it sounded he’d pinch the edge with his fingers and you could tell just by the ring. I learned how to keep my drums crisp, to tune them so they had an even, clear sound.” In a 1933 article for Melody Maker, Greer wrote about his drums and their role in Duke’s band. “I always maintain that the bass drum should be felt and not heard. Care should be taken that there is no ‘ring’ attached to bass drum notes. Personally I find the indirect action pedals the best. Somehow even pedals of the same brand seem to possess personalities of their own.” “Next to the bass drum and the side (snare) drum, our most important asset is, I consider, the ‘Charleston’ or foot cymbals (hi-hats). I prefer the elevated type, as then the cymbals are also available for hand playing. On the subject of cymbals, I consider it impossible to give too much care to accents and dynamics. I personally use a pair of the tunable variety (of tom-toms), and whilst they are invaluable for ‘jungle’ effects, it is surprising the extraordinary facility with which they adapt themselves to other uses,” Summing up the bottom line in a typically scholarly fashion, Greer writes, “If a drummer cannot ‘swing’ a band, then he must perforce be adjudged a failure.” In other words, “It don’t mean a thing if it ain’t got that swing,”

17 John Williams about Duke’s musicians We have in previous Bulletins had the pleasure of reading Göran Wallén’s interviews with Willie Cook about his career. Göran was a close friend of Willie´s and when Stockholm was visited by American jazzmusicians he often took the chance to ask them about their memories of Willie Cook and other personalities in Duke Ellington’s band. In October 2005 the Count Basie band visited Stockholm and in it sat the baritone saxophonist John Williams. Göran made contact with him and found that John Williams was a good friend of Willie Cook´s and liked to talk about him. Göran escorted John in his car and their conversation while driving was taped by Göran. John wanted to visit a certain clothing store and thereafter be taken to a mosque in Stockholm. John Williams happened to be a moslem. Göran took him to the mosque and even accompanied him into the mosque which became quite an experience for Göran. Here follows their conversation about music in general and Willie Cook and Harry Carney in particular: John: Thank you for your hospita- Willie had a very lyrical sense about lity to help me. When you talk about him when he played his solos. That was to Paris and Palais of Versailles to play a the Duke Ellington ´94 Conference in amazing. We had a Freddie Green com- concert there with army bands. In Paris I Stockholm and Kenny Burrell I can tell position Cornet Pocket that was an Ernie went to Henry Selmer and bought a new you that he played at my uncle’s fune- Wilkin´s arrangement that we played. baritone saxophone for 320 dollars. Now ral four years ago with Russell Malone. Willie Cook played a lyrical solo. After that particular instrument cost 10.000 We played in duo There will never be an- a while he developed the solo so that he dollars. After we returned to Germany I other you in a ballad style, very slow, it played the solo in the same way note wanted only to play baritone saxophone was very beautiful. by note every night when he played the and I fell in love with the instrument. As an alto saxophone player I always wan- Göran: What about Willie Cook, was solo in Cornet Pocket. But it was so mas- ted to play like Marshall Royal. He was he, as his wife Christle said, the best lead terfully done, it was so cleverly develo- a great influence on me. I wanted to be trumpeter in the world? ped. When Willie left the band we had another very fine trumpet player in Bob like him - a great alto saxophone player. John: No, it is not true. But anyway. Summers, now in Los Angeles. He tried I had the pleasure of playing in many After the time in 1985 our band visited to play Willie´s solo in Cornet Pocket, but big bands with him in Los Angeles and Poland after Count Basie was gone. Thad you always thought of Willie after two I was a friend of him. I did not play in Jones was the leader. When Willie was in years with him in the band. Willie´s lyri- Bill Berry´s Band. There played another the band Thad Jones was not in the band. cism was outstanding and a nice ton. friend of mine Jack Nimitz. I was the first baritone player in The Capp/Pierce Becoming a baritonist Juggernaut Band. The first section was I played with Tina Turner very shortly Richie Kamuca, Plas Johnson, Bill Green after I was released from the army in (2nd alto), Marshall Royal (lead) and December 1964. A new trumpet player me on baritone. In the band were also came from the U.S.army band in Germa- Britt Woodman, Bobby Shew, Snookie ny and he came to Los Angeles together Young, Frank Rosolino, Buster Cooper, with a singer Joe Tipps. I met the trum- Ray Pohlman, Nat Pierce and Frank pet player and he asked: ”Would you Capp. I also played with Louie Bellson like to go on tour with Tina Turner? ”Yes, in Los Angeles. I rehearsed with Cat sure would”. Before the army I had play- Anderson´s Big Band a lot. ed lead alto saxophone and was a leader of the band in an army dance band. In Harry Carney Number One the army I started to play baritone sax- I listened to Harry Carney. He is the ophone in the last year. I heard Sergeant number one baritone player. I am a great Earl Host playing baritone saxophone. I admirer of him, but I never wanted to asked the commanding officer if I could play like him. Everybody has to do so- Willie Cook och Göran Wallén change to baritone saxophone. We went mething different in life and not copy.

18 You have to be yourself. I met Harry a he didn’t want to tell me that I was a Terry and Paul Gonsalves played all of few times and he was such a generous ”dummy” and didn’t know how to use them in the Ellington and Basie band. man, very affable and easy to speak to. the stand. It took me years to understand He was always willing to give time to a what he meant. Paul Gonsalves I met Paul Gonsalves in 1948 in my young person. I was in my hometown The tone, richness of sound, concept, spi- uncle´s house in New York. It was with 1968 when I visited my mother. I met rituality of Harry Carney was amazing to Charlie Smith, Paul, Sahib Shihab and my Harry Carney in his hotel. I went to his me. He was certainly the platform of the uncle John Collins, a guitarist. My father hotel and knocked at his door and as- music for the Ellington Band. Like clear was there and my uncle introduced me to ked if I could play my bass clarinet for water floating under a bridge, a beautiful Paul and said: ”Johnny, this is Paul Gon- him. He became very interested to know sound. Without any doubt he was my fa- salves and he plays with the Count Basie how the instrument was built. A friend vourite all time baritone player. of mine had built the instrument. The Orchestra”. I was so amazed to meet so- About the differences of Gerry Mul- meone from the Count Basie Band. Two, clarinet had a low D on my E-flat. In the ligan, Harry Carney or Pepper Adams, Count Basie Band we played low C years three years later he played with Duke. I they all had their own style. It’s not fair heard the Ellington Band 1951 with Willie later. Harry Carney only played low E- to compare them with each other. The Flat so he was interested in my extension Smith, lead alto, in South Carolina. That personality is so unlikely different. As a was a great band. on my bass clarinet. I had a wonderful bebop player, who was better than Pep- Roy Burrowes played with the Count mouthpiece. But I lost the mouthpiece in per Adams or Nick Brignola. Stuttgart, Germany in 1985, when I drop- Basie Band, June – September 1970 on tour ped it and it was broken. I couldn’t re- Göran: But Gerry Mulligan had his with the singer Tom Jones from Wales. Roy pair it. It was a French mouthpiece. own style and you have to give him cre- was a substitute for 12 weeks. Roy lived in dit as well. I saw Gerry Mulligan 1957 I was very nervous in Carney’s pre- New York and 1994 he moved to London. with Billie Holiday in the great TV-show. sence. I never got over that feeling. I He was Jamaican from the Caribbean. I sat home with my parents and I saw it wanted to please him. I wanted to play I had a great pleasure to know him ”live”. It was surely a great show. on the same stand with him once. He had and Pepper Adams, Charlie Fowlkes, such a polite way of asking me. He said: John: In the Count Basie band we had Nick Brignola and from New York, Gary ”May I use your stand?” Afterwards he so many names that you don’t remem- Smulyan, who is a great baritone player. said:” I hope that I did not confuse you ber them all. After Basie was gone I had Maybe he is the best player of all times. by setting the stand with a wrong ang- problem to look across the stage at the I just heard him with Dave Holland Big le”. I said: ”Of course not”. I felt pleased piano. I realised that somebody else was Band in North Sea Festival in Holland. I and honoured that he wanted to use sitting there. Freddie Green, Al Gray know him since several many years. my baritone stand. He kept saying that and Booty Wood and so many others are Joe Temperly from Scotland lives in during the night about the wrong angle. gone now. Booty Wood had a couple of New York since 1965. He sat in with us It occurred to me years later that what solos each night. He played mostly blues last week in Wernice in Scotland and he meant was that I didn’t use my stand solos. A loveable person and we loved played a marvellous solo in Jumping at correctly. So the ”wrong” angle was the him very much. the Woodside. He played with Erskine right angle. The reason was to give the Al Gray was the great plunger in the Hawkins’, Mercer Ellington´s and Ernie audience the right tone. Mine as straight band. Today it is Clarence Banks who Henry´s Band. up and it should be a little more pointed does a good job as a plunger. Quentin toward the audience. In his polite way Jackson, Booty Wood, Willie Cook, Clark Bill Crow’s experience of Duke In Bill Crow’s book ”From Birdland Woodman leaned over relate to the audience, he made sure I to Broadway” (Oxford University from the trombone had the information I needed. He would section and said, “Don’t point to the piano key that represented Press) he tells about his experience do that. That’s all been my note each time there was a chord of playing with Duke: changed.” Meanwhile, coming up that I needed to know about. I got to play with Duke’s band one Duke was out front He never played my note for me. He just evening when Gerry Mulligan’s quartet announcing the first number. Britt said, pointed to it half a beat before I needed was scheduled to share a concert with “Just hang around in B-flat. We’ll tell you it. I was able to play as if he’d written out them. Duke’s bass player hadn’t arrived, when to change.” a part for me. and Duke walked over to where I was I’d been listening to Duke’s music all I had such a good time playing with standing with my bass. my life, and just followed my ears. With Duke that Gerry’s nose got a little out “Come with me”, he said, taking my the trombone player giving me helpful of joint. As the quartet took the stage, arm and pulling me on stage. I followed clues, everything went fine. Duke he grumbled to Duke about “tiring out him as if in a dream as he positioned me stayed in front of the band most of the my bass player,” and later said to me, at the left end of his keyboard. When I time, but when he announced a ballad I “How come you don’t have that much reached down to get the bass book that didn’t know, he came to the piano. While fun playing with me?” was lying under the music stand, Britt playing his own part and continuing to

19 Posttidning B Duke Ellington Society of Sweden c/o Leif Jönsson, Anbudsvägen 15 187 50 TÄBY

KALLELSE! Duke Duke Ellington Society of Sweden hälsar sina medlemmar välkomna till höstens första medlemsmöte torsdagen den 2 oktober. P.g.a. begränsad tillgänglig tid i Franska Skolans Aula blir kvällens Ellington evenemang något mera komprimerat än vad vi är vana vid. Aulan är tillgänglig från kl. 18.00 men våra medlemmar är välkomna Society att samlas i entrén redan kl. 17.45 för att sedan ta plats i aulan. of Sweden, DESS

ISSN 1400-8831 DESS c/o Leif Jönsson Anbudsvägen 15, 187 50 TÄBY 08 - 51 05 03 14, 0706 22 88 16 [email protected] PLATS: Redaktionsgrupp: 19.00 – 20.15 Bo Haufman, Franska Skolans Aula, Kvällens musikaliska underhållning Claes Brodda, Thomas Harne, Döbelnsgatan 3, Stockholm. innehåller två av Sveriges främsta mu- Lars Björkman,Ulf Callius (layout) Portkod för kvällen: 1002. Entrén siker som arbetat utomlands vid flera öppen från kl. 17.00. tillfällen. Hemsida: Entréavgift: 200:- i kontanter. Klas Lindquist, altsax/klarinett, och www.ellington.se Notera portkoden som endast Erik Söderlind, gitarr. gäller för denna kväll. Klas Lindquist är inte obekant för oss. Facebook: Kommer Du inte in så ring: 070-622 Vi har hört honom i Kustbandet, Duke Ellington Society of Sweden 88 16 eller 070-540 70 09 Stockholm Swing All Stars och många E-postadress: andra konstellationer. Han behärskar [email protected] PROGRAM: många genrer men anses väl främst vara en musikalisk arvtagare till Arne 17.30 - 18.30 Bankgiro: Domnerus. Den i musikerkretsar kände Ivan 211-3207 Erik Söderlind har spelat med stor- Sundberg, som grundade och ledde heter som Jojje Wadenius, Nils Land- PayPal account: Adlib, bjuder på Pytt-i-Panna à la gren, Viktoria Tolstoy, Barbara Hen- [email protected] Duke efter behag. Vi får ta del av dricks för att nämna några i en lång en personlig betraktelse på Duke International Bank rad. Alltså garanterat högklassig un- Ellingtons mångåriga produktion. derhållning! Account Ett Jazz Pot-Pourri kanske Duke IBAN#: SE95 6000 0000 0002 8408 3992 själv skulle ha kallat det? Tiderna är ungefärliga. BIC: HANDSESS 18.30 – 19.00 PAUS med möjlighet till mingel och DESS medlemsavgift inköp av öl/vin 30:- och wraps 40:-. är per kalenderår: Obs. Endast kontanter gäller. Inom Norden 250 kr Membership outside Scandinavia Nästa medlemsmöte äger rum den 11 december. annual fee USD 40 Notera i Din almanacka!