THE INTERNATIONAL 22 TH year of publication

MS BULLETIN
DUKE ELLINGTON MUSIC SOCIETY
F O U N D E R : B E N N Y A A S L A N D HONORARY MEMBER: FATHER JOHN GARCIA GENSEL
As a DEMS member you'll get access from time to time to
unique Duke material. Please bear in mind that such 2000/4
material is to be handled with care and common sense.It
must under no circumstances be used for commercial Dec 2000 - March 2001
purposes. As a DEMS member please help see to that this Editor : S j e f Hoefsmit
simple rule is followed. Thus we will be able to continue A s s i s t e d b y : Roger Boyes
future special offers.
DEMS is a non-profit organization, depending on
ALL FOR THE LOVE OF DUKE! voluntary offered assistance in time and material.
Sponsors are welcomed.

Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected]

MiwfMEItfS SacfNEWS
DON MILLER BoctOO WILLIE COOK
I had a call from Sue Markle in Chicago and she informed A lead trumpeter is the workhorse of a big band. The job
me that Don Miller is at the Veterans hospital in Milwaukee requires great stamina and such is the load that normally he's
in what could be best described as a hospice ward. It seems not expected to be imaginative or to play solos.
that his doctors feel there is nothing they can do to repair the Duke Ellington thought that Willie Cook was the best lead
damage over 30 years of smoking has done to his lungs. player that he'd ever had. Not only that, but he admired
Sue gave me Don's telephone number at the hospital and Cook's imagination so much that he gave him solo parts
I called him about an hour ago. I'm happy to tell you that he in 40 of his arrangements for the band.
sounded very up beat. He said his morale is better than it's He had a penchant for extemporising on ballads and
been in months. He is getting excellent care and attention. Ellington used him for particularly delicate solo roles.
He will probably have to stay there for good. His son He had a warm, mellow sound in the tradition of lyrical
Brian is working on vacating his apartment in Chicago. Ellington trumpeters Arthur Whetsol and Harold Baker.
If you want to get in touch with Don, here is some Cook joined Ellington as Baker's replacement and played
information for you. in the Ellington band for various periods between 1951 and
His address is: Ward 8A South, VA Medical Center, 1973. A skilled all-rounder, he was also a fine arranger in
5000 National Ave. Milwaukee, WI53295-1000, U.S.A. his own right.
Telephone number is: 888/469-6614 or from outside "In Duke's band," said Cook, "I used to just sit and listen
USA: 414/384-2000, in both cases extension 48052. to the music and learn. I should have paid for a ticket for
In addition, Don can be reached via e-mail at his myself! Duke was always courteous, kind and understanding.
grandson's who will take the messages to him at the medical He made you feel as though you were a great person.
center. That e-mail address is: [email protected] Always. Anyone could talk to him on any level. In fact he
Please feel free to convey this information to Don's many liked to talk to the fellows in the band.
friends. I will keep you posted as I hear more. I used to ask him different things about the writing.
Warmest regards, Tony Schmidt Duke was a painter and he was doing the same things with
the instruments that he would do with his paint brush,
using different tones and shades."
ROGER BOYES
Cook had a typically abrasive career as a professional
reports from Leeds about the inundation's in his part of
musician before he joined Ellington. He was born in
the United Kingdom:
Louisiana but raised in East Chicago. It was there, that he
Our garden is swamp goo, but the house is Mississippi dry. stole his brother's cornet and went on the road with the
Jesse Evans Band, a family orchestra, when he was 15.
He based his style, as so many trumpeters did, on those of
Louis Armstrong and Roy Eldridge. When a short-lived band
of his own broke up Cook joined the Bama State Collegians
PLEASE READ THE and played alongside saxophonists Sonny Stitt and
Lucky Thompson. Although the band was on the verge of
IMPORTANT MESSAGE ON national fame, it broke up over money difficulties, and a
friend recommended Cook to the Kansas City pianist
THE LAST PAGE Jay McShann, who had one of the hardest swinging bands of
the time.
OF THIS BULLETIN ! "McShann's rhythm section played so good together.
They could do everything. They could play soft and swing,
they could play heavy and wing. They could build to where
DEMS BULLETIN 2000/4 S a d News 2
the band would come in, and it would be like a roaring the scraps of parts, for which I had to thank my years of
freight train - no stopping it." study. When it was over Duke sent for me and thanked me."
Cook made hisfirstrecords with McShann and soloed on Britt Woodmanfirstastonished Duke Ellington fans at
the popular "Say Forward, I'll March". Charlie Parker was the same time that another trombone virtuoso of similar
also a product of McShann's travelling academy. stature, Frank Rosolino, was dazzling audiences at
McShann decided to take a rest from the road and in 1943 Stan Kenton concerts. Both men set new standards of
Cook joined another pianist's band, that of Earl Hines. technique, and jazz trombone was never the same again.
"IfiguredI was moving up a stage." Hines encouraged Cook But despite the prodigious bravura of his playing,
to write arrangements for the band. "You really enjoy Woodman never became a major soloist in the way that
hearing something you wrote," said Cook. "That's the Lawrence Brown had been. His playing was full of fire but
greatest feeling in the world." He stayed with Hines until favoured technical display over emotion and beauty.
1948. He played briefly with the Jimmy Lunceford band in When he wasn't working regularly, Woodman used to
1948 before joining Dizzy Gillespie's later in the year. The practice trombone for three hours each day, soaring from the
Gillespie band at that time included the young pedal tones at the bottom of the instrument to the altissimo
John Coltrane. tones at the other extreme. He frequently played solos that
"Dizzy opened the door for me to listening to the would take him through the four octaves of the trombone.
different parts of the chord progression. At that point it was Since his tone was full throughout the whole range of the
most inspiring. You had to have relaxed chops, so much instrument he must have had lips of tungsten.
stuff to play, high and fast I played all the lead." In 1955 Ellington and his band were playing a week at
When Gillespie ran out of work in 1950 he joined a band New York's Birdland. Never one to waste time, Ellington
that Gerald Wilson had formed to back the singer used to compose during the intermission. One night he
Billie Holiday and became Holiday's music director before wrote a brief four bars of a theme on a piece of paper and
retiring from music to live in Pittsburgh. When his band asked Britt Woodman to play it Ellington came back the
came to play in the city Cook was introduced to Ellington next night with the piece written out handed it to Woodman
and in October 1951 Ellington sent for him to join the band. and had him play it for the audience without any rehearsal.
Cook stayed until 1958 when he tired of the continuous It was to be called "Hank Cinq" and it was played and
touring and left the band. But he was back with Ellington in recorded as the third movement of Ellington's Shakespearean
1959 and played with him throughout most of the Sixties. suite "Such Sweet Thunder". It was a minefield of a piece
In 1973 he married again and moved to live in Houston that took advantage of Woodman's ability to leap through
where he retired to work in an instrument store until 1977 the octaves, and was thought to be beyond copying. But, in
when he was persuaded to come back to work with an old a tribute to Ellington, Cleo Laine recorded the piece using
friend, Clark Terry, another ex-Ellington trumpet player. Woodman's solo in what must be one of the most
Late in 1978 he joined the travelling road show led by extraordinary vocal performances by this amazing singer.*
blues singer B.B. King. Count Basie offered him a job and As a boy in Los Angeles, Woodman had a vital role to
Cook stayed with Basie until December 1981. After touring play in the development of his lifelong friend, the jazz
the world with Basie he decided to get married again in composer Charlie Mingus. Unlike Mingus Woodman came
Stockholm in 1982 and settled there for the rest of his life. from a thoroughly musical family. His father, once a well-
His Ellingtonian connections gave him lasting celebrity in known trombonist in New Orleans, taught his son to play
Scandinavia and he made many recordings there and worked piano, trombone, clarinet and tenor saxophone. The young
regularly with another expatriate American, the saxophonist Britt played in the family band with his two brothers.
Ernie Wilkins. Cook played at the international Throughout his life, Mingus was a man both violent and
Duke Ellington conference when it was held in England in sensitive, who was never able to come to terms with his
1985 and again in Sweden in 1994. He was a guest at the surroundings. As a child, Mingus was taught trombone and
conference in 1992 in Denmark. Steve Voce cello (badly) by his church choirmaster. With a false
confidence that was to persist he took on the more
John "Willie" Cook, trumpeter, accomplished Woodman in a cutting contest on trombone.
born Tangipahoa, Louisiana 11 November 1924; Woodman, two years older than Mingus, didn'tridiculethe
died Stockholm, 22 September 2000. boy, but took him under his wing. It was the beginning of a
This obituary by Steve Voce appeared in The Independent friendship that lasted until Mingus died in 1979.
DEMS "The kids in grade school used to take his lunch. He was
very timid then and very bowlegged. I was an expert at
BRITT WOODMAN gymnastics and athletics. So I showed him all that I liked
Duke Ellington always claimed that whenever he needed to play him Ping-Pong with my left hand because he could
a musician he simply hired the best player available locally. never really play. He used to get mad at me and say
He certainly made an exception when Lawrence Brown gave 'Play with your right hand,' and I'd say *You got to learn.'
two weeks' notice, and Ellington cabled the young "Charles," I told him, "everything you do, there's an art to
trombonist Britt Woodman in Los Angeles to come out to it" I never showed him what it was for arm-wrestling, so
join the band for a season at the Thunderbird in Las Vegas in I could beat him twelve times with my right hand and nine
February 1951. times with my left. I didn't weigh but 125, but I had lifted
"Thank God I've got a fortnight to learn the book," weights, and I was pretty strong." The Woodman family
Woodman said to Lawrence Brown when he arrived. "To hell soon absorbed Mingus, who had an unhappy home life.
with that," said Brown. "I'm taking off in the morning." Woodman played with the Les Hite band at the end of the
Ellington's musicians were notorious for turning their Thirties until 1942 when he was called into the army. On
backs on a newcomer. The sheet music in the band's library his release in 1946 he, Mingus and the saxophone players
was in tatters with large parts missing. "I felt lonely and Buddy Collette and Lucky Thompson formed a co-operative
insignificant. A kind word from someone would have made band in Los Angeles, which they called The Stars of Swing.
all the difference," said Woodman. "Fortunately the first This had a promising run at the Downbeat Club on Central
night went well for me. I had no difficulty in sight reading Avenue, the city's jazz street But it broke up and, on
DEMS BULLETIN 2 0 0 0 / 4 3
Thompson's recommendation, Woodman joined the STEVE ALLEN
"progressive" band led by Boyd Raeburn. He played on Just heard that Steve Allen died yesterday (30oct00) in his
Raeburn's avant-garde recording "Boyd Meets Stravinsky". sleep at his son's house.
Later in the year he moved to the Lionel Hampton band and He was 78.1 had Steve on my radio program twice, once
managed to persuade Hampton's wife Gladys, who did the in 1996 and the second time last fall. The subject of the 2nd
hiring and firing, to bring Mingus into the band. By now, show was Duke Ellington, and asking Steve Allen about
Mingus was composing as well as playing bass. Duke Ellington is like selecting one piece of candy from a
"I warned him not to write, because he wouldn't get paid. giant candy store. How his mind could focus on a specific
Nobody who wrote for Hamp got paid. That's how Gladys topic like Ellington without straying was amazing, but he
worked it So Charles said okay. But he wrote 'Mingus did, and spoke eruditely and knowledgeably about everything
Fingers' and they recorded it and he had to get a lawyer to try I asked him.
and get paid." At one point, I played a Johnny Hodges Vocalion 78
Woodman came off the road to study music for two years of Dooji Wooji and jokingly said, "Well, there's one
at Westlake College in Los Angeles before the call came instrumental of Ellington's that won't ever have a lyric",
from Ellington in 1951. He stayed with Ellington for the and Steve promptly composed one on the spot In addition,
next nine years, finding time in 1955 to record with Mingus he analyzed the contrapuntal melodies of the piece, which
in a quintet led by trumpeter Miles Davis. he had never heard before.
Tired of travelling, he left Ellington and settled in At 78, his mind was still inquisitive; there were still
New York. Work proved hard to find, although he eventually things he had not heard that fascinated him. He was a
worked in several musicals on Broadway, including prolific, if not extraordinary songwriter (most of his stuff
"Half A Sixpence", starring Tommy Steele. He played for was rather derivative), but was a terrific boogie-woogie
Mingus, now an established leader in New York, and made pianist We've lost a giant and a true friend of jazz and
more recordings with him. He was a player at Mingus's old records. Cary Ginell
notoriously anarchic and disastrous Town Hall concert in
1962. Another Los Angeles friend, Eric Dolphy, found work Steve Allen is a great American treasure. He will be
for him with John Coltrane and during the Sixties, he joined missed. He wrote beautiful lyrics to Strayhorn's
bands led by Quincy Jones, Johnny Richards, Oliver Nelson, Lotus Blossom. The song, / Never Knew Love Till You
Chico Hamilton, Ernie Wilkins and even the Benny Goodman has been recorded by Crystal Joy and Carol Jolin.
Sextet. He played at the Newport Jazz Festival several times Alyce Claerbaut
with Ellington and then in 1961 with Quincy Jones and in
Duke played with Steve Allen duets on piano in the
1967 with Lionel Hampton.
following Tonight Shows: 16Dec53,28Dec54 and 28Feb68.
In 1970 Woodman returned to Los Angeles to live and Recordings of these performances have survived.
starred in the Bill Berry L.A. Big Band, the Capp-Pierce Sjef Hoefsmit
Juggernaut and the Akiyoshi Tabackin Band. He found
regular jobs in the film and television studios and for a time
worked for Nelson Riddle. It was the first time in his life
that he and his wife Clara could afford a car, by then
considered essential for American families. He recorded with
Happy NEWS
his own octet in 1977 and toured Japan twice with the all-
star group led by Benny Carter that year and again in 1978. GUNTHER SCHULLER
Woodman played on recordings by Ella Fitzgerald, November 22 marks the 75"1 birthday of Gunther Schuller.
Rosemary Clooney, Sarah Vaughan, Dizzy Gillespie, Boston's musical community is planning several events to
Jimmy Smith, Oscar Peterson amongst others. celebrate his birthday and his remarkable achievements. Over
Returning east in 1979 he joined the New York Jazz the past 2 weeks, Mr. Schuller has been the subject of articles
Repertory Company and came with it to England — he'd by the Boston Globe's Richard Dyer (classical music critic) and
last been here in 1958 with Ellington. In New York, he Bob Blumenthal (jazz correspondent).
befriended another ex-Ellingtonian, baritone saxist The Blumenthal article explores Schuller's musical
Joe Temperley, and the two played in the Broadway revival allegiance to both the jazz and classical idioms. According to
of Ellington's songs "Sophisticated Ladies". Schuller, "It happened when I was 12 or 13... the minute
Like Temperley, Woodman played on some of the jazz I heard Duke Ellington, I knew that his greatest music was
cruises to the Caribbean. qualitatively as great as a Beethoven symphony. That's
Woodman's health began to fail and eventually he had to unusual, because for most people either jazz or classical
take an oxygen cylinder with him wherever he went Last music is an acquired taste, like olives."
year he returned to Los Angeles to be with his family and Schuller says his primary goal in jazz was to elevate the
lived there with his brother Coney. A widower who had no status of the composer. He notes that in the '30s and early
children, Woodman is survived by his three brothers. '40s, Ellington wrote out 50 percent of the band's solos.
"He was always one of my inspirations, a good friend," According to Schuller, "Duke wanted to protect the unity of
said the trombonist Steve Turre, a contemporary trombone his pieces by giving Harry Carney, Cootie Williams, and the
star, who featured Woodman on two of his albums. "As far other musicians, great as they were, melodic and harmonic
as playing the trombone goes, he was top shelf. His chops contexts to flesh out"
were ridiculous. He was a grand master, and just a The Dyer article reports that Schuller is working on his
sweetheart" Steve Voce autobiography. Schuller says, "I have already written 250
pages and I am still only 19!"
Britt Bingham Woodman, trombonist: born Los Angeles
I have had the honor of meeting Mr. Schuller and found
4 June 1920, died Los Angeles 13 October 2000. him to be a fascinating person and gifted artist I am sure his
This obituary by Steve Voce appeared in The Independent. autobiography will be a must read for Ellington fans.
* See DEMS Bulletin 00/1-6 DEMS 19Nov00 Bill Saxonis**
DEMS BULLETIN 2 0 0 0 / 4 4
Coleman Hawkins Moonglow G

NEW FINDS Sweet Georgia Brown

E l l i n g t o n Take The "A" Train, theme A B C D E F G H
Swamp Goo A C D E F G H
G

® Ted Shell's t r e a s u r e s
Ted Shell donated to DEMS 14 cassettes, 10 of which
Take
Girdle Hurdle A C D E F G H
The Shepherd
The "A" Train
B D E GH
C F
contain totally unknown recordings. When he gave me these
cassettes at the Los Angeles conference, I saw that most of Mount Harissa BC D E GH
Up Jump B F H
them were recorded at the Carter Barron Amphitheatre in Bc D E F G H
Salomi
Washington where Duke performed together with Passion Flower cD GH
Ella Fitzgerald and I presumed that these were the same I Got It Bad F
recordings most of the tape collectors already have from Things Ain't What They Used To Be Bc D F G H
Duke's stay in 1966 from 4 until 10M66.1 took them home Welcome to members of DES c
and planned to listen to them when I had enough time to do Satin Doll BcD F GH
so, to find out if they were better than the rather poor copies Solitude Bc D GH
I have from the 1966 concerts. To my great surprise I found Don't Get Around Much Anymore Bc D F GH
that these recordings were not from 1966, but from 1967. Mood Indigo Bc D F GH
Klaus Stratemann mentioned the week long stay from 3 until I'm Beginning To See The Light BcD F GH
9 Jul67 at Carter Barron on page 551. These recordings are Sophisticated Lady Bc D F GH
Caravan Bc D F GH
not mentioned in any of the discographies and the quality is Bc D F GH
Do Nothin' Till You Hear From Me
much better than I expected. I Got It Bad B H
Only a few of the cassettes carried specific dates, but these I Let A Song Go Out Of My Heart &
didn't seem very likely. There were 8 recordings of the theme Don't Get Around Much Anymore B
Take The "A" Train at the start of a session. It was easy to Jam With Sam Bc D F G
distinguish these different versions, because Duke's comments Monologue B H
after this theme were all different What he said also helped to Take The "A" Train and close B
explain why there are 8 starts for 7 concerts. One of the Things Ain't What They Used To Be &
introductions was apparently made at the beginning of the finger snapping A
second half of the concert. Because this concert differs from the Ella F i t z g e r a l d It's Alright With Me A c D F G H
others in many respects, we assume that it was the first one in Don't Be That Way A FGH
You've Changed A FGH
the series and we give the two parts of it the letters A and B. Let's Fall In Love A FGH
In what way is it so different? Bob Cranshaw, who I've Grown Accustomed To Your Kiss H
belonged to the Jimmy Jones trio, replaced John Lamb on Bye Bye Blackbird A FGH
bass in the Ellington band and Bobby Durham, who It Don't Mean A Thing A GH
accompanied Oscar Peterson, replaced Sam Woodyard in the Alfie A FGH
Jimmy Jones trio. Furthermore the sequence is different In A Mellotone FG
Ella came first, Duke followed. Watch The Girls Go By A G
Happy Birthday F H
There is one concert that can be given a specific date. It's Dialogue with L o u i s A r m s t r o n g H
the one where Louis Armstrong comes on stage and does some You Won't Be Satisfied with Armstrong H
vocals with Ella. Because they play Happy Birthday, I have Louis Armstrong talking H
assumed that this concert took place on 4Jul67.4Jul has been Mack The Knife A FGH
considered for a long time Louis' birthday. Luciano Massagli Take The "A" Train and close A F H
directed me to Klaus Stratemann's report on page 551, where
Klaus writes that Duke visited Louis on his birthday and that Roubaix, France — 18oct71
Louis came to Duke's concert on the last day of Duke's Jean Carbonnel donated to DEMS a copy of the recording
residency. Video recordings of this meeting are used for the he made together with his friend Paul Foret almost 30 years
documentary "On The Road with Duke Ellington." ago during Duke's concert at the cinema Colisee in Roubaix.
There is another hint that can help to establish the correct This concert was mentioned in DEMS 91/4-6, but the listing
dates. Ella says in concert F: "last night I forgot to thank the here, based on the tape, is slightly more complete.
orchestra." That means that this concert must have been after C-Jam Blues; Black And Tan Fantasy, Creole Love Call
concert C, D or E, because from these concerts Ella's portion and The Mooche; Kinda Dukish and Rockin' In Rhythm;
is missing. In all other concerts we actually hear her thanking Happy Reunion; Having At It; Take The "A" Train; Fife;
the orchestra. We have designated the concerts by a letter in Chinoiserie; I Can't Get Started; Harlem; Satin Doll; Perdido;
the sequence A to H. The recordings on A and B are from the Addi; Medley: I Let A Song Go Out Of My Heart, Don't Get
same concert (probably the first one) in which Ella came Around Much Anymore, Mood Indigo, I'm Beginning To See
before Duke. There is only one further hint In one of the The Light, Solitude, It Don't Mean A Thing, I Got It Bad,
concerts (concert C), members of the Duke Ellington Society Everybody Wants To Know and Sophisticated Lady.
were welcomed. Is there anybody out there in Washington It is remarkable that Duke announced ADDI as TEGO.
who can help us to pinpoint this date? Sjef Hoefsmit Maybe he wanted the band to play TEGO, which he even
Here is a listing of all the selections: announced as a request! TEGO was only recorded during the
Oscar P e t e r s o n stockpile session of 28Jun71 so it could hardly be a request
Someday My Prince Will Come G other than from Duke himself. Anyway the band played ADDI,
On A Clear Day G which is unmistakably different from TEGO.
Unidentified, maybe What'111 Do? G Erik Wiedemann wrote in his article "Duke Ellington: The
Zoot S i m s , B e n n y C a r t e r , C l a r k T e r r y Composer" in the Annual Review of Jazz Studies 5, 1991 on
Wee G page 45 that TEGO is the same as Limbo Jazz or IMBO or
What's New, solo Sims G
Stardust, solo Terry G Obmil or Island Virgin. That sounds much more to be true.
/ Can't Get Started, solo Carter G Sjef Hoefsmit
DEMS BULLETIN 2 0 0 0 / 4 CA-28 i s OUt 5
The band was made up of musicians from the Parisian symphony
g>ercnabe Co g^toeben orchestras plus a few stray Americans. To start with, they tried to
capture the mood and the rhythm, a seemingly unorganised affair.
They talked, played and felt their way about Someone was
The fairy tale about a dream-come-true for Swedish singer writing in a corner, Duke sat at the piano, Alice stood at the mike.
Alice Babs as told by her to Sjef Hoefsmit. Around midnight three takes had been approved.
The second night
The listeners from the preceding night were again in the studio,
In January 1963 Duke Ellington was contracted for one accompanied by other artist friends who had been told of what was
program on Swedish TV for which he had chosen me as singer. taking place. The excitement grew, more and more titles were
I was almost 40 but I had absorbed Duke's music since I was taped and the air became stiflingly hot A strange and fascinating
12. During rehearsals Duke told me that he wanted to make a sight: to watch two human beings in a wordless contact, a sort of
gramophone recording with me, and a month after the TV musical affinity that, literally speaking, emitted sparks to the
hushed audience.
broadcast he called from Paris asking me to fly down on the Suddenly the light was switched off, there was only a solitary
following day. That notice was a bit too short but three days lamp above the piano, and Duke said to Alice: "Now you play and
later I arrived in a Paris hotel, where Duke, Billy Strayhorn sing." Her protests were all in vain. Duke smiled, placed his coat
and a piano were expecting me in one of the suites. on the chair behind him and said very soberly: "Alice dear." Then
followed a long discourse on the fact that it really did not matter if
Already after Duke's call I had telexed (no fax in 1963) some she did not consider herself a trained pianist or how she had learnt
suggestions as to repertoire but as always when there is a to play: the main thing to him was the result "And Alice, the
piano available, I could not help tickling the keys with some sound is very very good."
fantasies of my own and this is why you unexpectedly, I am Alice sat down at the piano. Everybody left the studio and
sure, find my own songs "Babsie" and "Strange Visitor" on the everybody tried to squeeze into the control booth. A few moments
later her voice filled the room. Someone blew his nose and a tough
album we made. Duke insisted on including both on the record French PR woman brushed off a tear from the corner of her eye.
but he also insisted that on "Strange Visitor" I should A tear. And why? Well Duke himself said i t a few seconds before
accompany myself on the piano. Both Duke and Billy had they all began to applaud, lifting their hands high so that Alice,
"rehearsed" this song at the piano but Duke insisted.... out in the studio, could see their reaction.
Before those days in Paris I only knew Billy as a composer This is what Duke said: This voice, ladies and gentlemen,
embodies all the warmth, joy of life, rhythm and tragedy that, for
but listening to his piano playing made it clear to me that he me, is the innermost secret of jazz." Ragnvi Gylder
must have been "sitting in" on quite a number of the Duke
recordings in my collection. The Reprise LP RS 5024 has never been available in the USA.
Back to Paris. Some preliminary arrangements that Duke DEMS tried to persuade Mosaic Records to include this album
in the CD box with Reprise re-releases. (DEMS 99/4-16/3)
and Billy had prepared for me gave me a thrill, to say the least It didn't work. That*s why we made an exception. We copied
There were harmonies but no melodies and when I asked Duke previously released material (the takes with a plus sign). Six
to explain what he had in mind he just said: "You make the underlined takes were copied from the LP. The rest of what you
melodies yourself. Do whatever you feel like". Thrilling was find on this cassette Azure CA-28 came from our own tapes:
also to hear four french horns played by French symphonic
musicians substituting trombones, and I remember efforts Side A: 28Feb63, Studio Hoche
made to have them achieve the growl-effect Georges Barboteu and three unknown musicians (french horns),
Duke, Gilbert Rovere (bass), Christian Garros (drums)
I have always been the early-to-bed type of girl, but two of
our sessions in Paris (there were three in all) were after Azure -2, +6, -7, -8
midnight so my usual working schedule had to be changed Satin Doll -1, +2
completely. Untitled Lullaby -1, -2, +3
After myreturnto Sweden I often wondered what kept the Things Ain't What They Used To Be was the 4* selection
Reprise people fromreleasingthe album. Duke visited Sweden on this day. It was not included in the album. We skipped it
with the band at least once before any release had been decided Take -2 is on cassette Azure CA-9 and take -9 is on CA-3.
and the "cats" told me that Duke always carried a taped lMar63, Studio Heche
recording in his pocket which he had let them hear. Only later Same as yesterday plus Pierre Gossez (cl.), Joe Hrasko (a.s.),
I heard that there was some trouble with Reprise but that a Gerard Badini (ts.), Billy Strayhorn, Kenny Clark (drums)
release through my gramophone producer in Sweden had been LaDeDoodyDo -1, -2, -3, +4
eventually agreed upon. Royalties, however, were sent to the / Didn't Know About You +1
States, and there they stayed. Take Love Easy -2, +3
-1, -2,-f4
cut. j~ ^ u* H^*^* Jjy&— I'm Beginning To See The Light
C-Jam Blues -1,+2
Taken from the original liner notes on Reprise LP RS 5024: Side B:
Duke visited Sweden in 1963 for a TV show and Alice suddenly Serenade To Sweden -2, -3,-4,+5
saw her dream come true when she was featured as the singer on The Girl In My Dreams -1, -2,+3
that program. Duke was impressed, so much in fact that he talked Stoona -1.+2
to her about their making a record together. A few weeks later he Come Sunday -2, -3,+4
rang her up from Paris. "Can you come here", he said. "I'll be in
Paris for a couple of days. Let's make that record." Babsie +1
Naturally she accepted, ransacked her library of Ellington Something To Live For (BS p.) -3,+5
records and picked out her favourites. She prepared meat balls for Strange Visitor (DEp.) -1,-2
her family, stuck notes of instructions on the deep freezer, packed (BS p. and KC dr.) -3, -4, -5
her bag and came to Paris simultaneously with the spring. This
was, perhaps, symbolical. For in her was as much expectation, (ABap.) +7
rapture and vivacity as the very first day of spring possesses. Each DEMS member may order up to 3 copies of this
The first night latest DEMS cassette Azure CA-28.
A handful of visitors, French and American jazz artists, had
found their way to Studio Hoche, close to the Arch of Triumph, The price is € 8.50 a piece including mailing expenses
and were seated, dead silent, along its walls. and will be subtracted from your DEMS deposit. DEMS
DBMS BULLETIN 2000/4 Conferences 6
onstage for thefirsttime with a short orchestra, ahead of other
LOS ANGELES 2000 acts, including the Bud Shank Quartet Some of the Ellington
musicians simply hadn't shown up on time, but it was
announced that Duke would be back later in the evening.
By Roger Boyes
See DEMS Bulletin 00/2-1, 21, 22, 23 and 00/3-2, 3 George stressed the importance of the album in 1956
especially in the overseas markets of Europe and Japan, where
My report on the International Duke Ellington conference interest in jazz was great and where the US hit singles market,
held in Hollywood last May omitted an account of so successfully penetrated for Columbia by Mitch Miller, was
George Avakian's Friday morning presentation. This is of less consequence. At this point he went over the ground of
because he spoke at some length about the 1999 Sony-CBS the constantly changing weather. Sound bounced off the
issue of the Newport 1956 performance in the Columbia concrete seating in Freebody Park in different ways, according
Legacy series. After the talk I explained to George that I was to variations in the temperature and humidity.
reporting on the Conference for the DEMS Bulletin, and that Ellington had conveyed his concerns to the band by
I'd like him to see what I wrote before I went to print explaining the importance of the event at a meeting backstage,
Instead of sending my account of George's presentation to and encouraging them to do the best they could with the new
DEMS with the rest of my report, I faxed it to George for scores with which they weren't familiar. He told them about
him to look at Both he and I made minor textual Monday's studio backstop in New York, should events slip out
amendments to tidy up the text and clarify the sense. of their control. Then he said that after the Suite they should
relax a little bit, and suggested they should pull Diminuendo
Superficially the title on the Ellington 2000 programme, and Crescendo in Blue out of the pad, even though they'd not
'George Avakian shares his recollections of producing performed the piece in a long while. George quoted the central
Ellington at Newport' sounded to conference regulars like old protagonist Paul, as saying he didn't recollect ever performing
wine in old bottles. At Pittsburgh in 1995 he had told the the piece, but Dukeremindedhim of number 107/108 in the
tale, with the difficulties caused by the high wind, overcome book and Paul answered: "Yeah, I think I do remember."
with the help of the ladies' nylons; and with an adjacent Duke reassured him that it was simply the blues. As with all
Voice of America mike into which Paul played his wailing the Columbia recording artists, Duke's musicians were
interval. Yet no Ellington 2000 speaker's contribution was carefully instructed to play into the Columbia microphones,
awaited with more eager anticipation than George's. This is which were marked with white tape to distinguish them from
because of events surrounding Columbia Legacy's reissue of adjacent VoA's mikes. In the event as we know, Paul chose to
the music as part of its contribution to the centenary. blow into the other mike, in error.
It's a reissue to which George took great exception, as he So the result was a fantastic performance in which Duke
made very clear during Phil Schaap's talk at Ellington '99 in was yelling to Paul to get onto the correct mike, but Paul
Washington. The presentation ended with a detailed refutation took no notice and blew on oblivious, as the girl danced, the
of many statements contained in the notes of the 1999 press photographed her, and Jo Jones stirred his newspaper into
reissue, and I have no intention whatsoever of involving the mix. It was clear at once that the event had been a great
myself in these; controversy and acrimony apart, George had success, but after the performance Duke was really worried
a great deal to say about the background to the event which about the Suite. George said: There are indeed a couple of
was of absorbing interest He pointed out his dual role in it. huge clams but we can fix that easily". They would meet in
In 1956 he was director of Columbia's popular album the studio on Monday morning to listen to the tapes. When
department, at a time when the LP had become an established they did, Duke said: "Let's do the whole Suite over again and
medium and when jazz was enjoying a resurgent popularity. see what comes out". About Diminuendo and Crescendo in
At the sametimehe was a director of the Newport Jazz Blue Duke said: "George we will salvage it we really should".
Festival, then still in its early days; his company's An attempt to overdub Paul's solo onto his own playing was
commitment to producing commemorative albums unsuccessful. When the band members assembled Monday
represented a substantial financial injection for the festival. afternoon in the studio Duke preceded the rerun with a pep talk
As far as Duke was concerned, the Festival was looking as on Saturday. The next day Billy Strayhorn stayed and
for fresh repertoire as against the medley of familiar decided how the tapes should be edited. An acetate was sent to
favourites. Hence the request for a Newport Jazz Festival Duke and a couple of days later Duke called from Canada to
Suite, to which Duke acquiesced. On Friday came an anxious thank George and to tell him not to change anything (the
phone call to George from Duke in Ohio or Pennsylvania. contract stated that 'nothing should be released without mutual
He and Billy were still re-writing parts of the new Suite and consent of company and artist'). Ellington a t Newport
there hadn't been time for adequate rehearsal. Duke had not duly came out to great acclaim, leading to the Ellington
premiered a major work in concert for a number of years. rebirth and thefinancialsecurity which led him on to the
He could not cancel a recording of the new Suite, which had successes he enjoyed through the 1960s. The album should
been announced as the centrepiece of the proposed set of strictly be considered as three 12-inch vinyl sides, the third side
recordings by various Columbia artists, and he could not risk appearing on a second LP shared with Buck Clayton.
the release of an inadequate performance which would be Regarding the problem about the people who were present and
studied and re-studied by critics, lest he suffer again the hurt who would realise that what was on record wasn't identical to
which in 1943 had followed John Hammond's structure that theirrecollectionof the night Duke said:- 'tell them we don't
Ellington should stick to three-minutes pieces. expect people to buy records with mistakes; so wefixedthem.'
The band is off all day Monday," said Duke. "We're sure to But there was no explanation of how they were fixed.
need some patching. Can you book the 30th Street studio all The reason why use could not be made of the VoA's
day? Strayhorn and I can come in at 9 am. and review the recording of the performance, taken from the mike into which
tapes with you, and I'll call the musicians in when we're Paul played, lay in the VoA's constitution. As an arm of the
ready." The 30th Street studio was occupied. To Duke's US Government engaged in promoting the country around the
enormous relief, George was able to book a smaller studio. world, VoA enjoyed an arrangement with the Musicians'
The evening of the event itself brought new drama. An Union whereby musicians were not paid when it broadcast
afternoon rehearsal had not proved possible. But Duke went their performances andrecordings,with the proviso that these
DEMS BULLETIN 2000/4 Conferences 7
broadcasts were never to be made available within the USA. unpublished story about the "Negro in America" titled "Boola".
VoA material was strictly for broadcasting overseas. Professor Edwards illustrated Ellington's use of narrative and
George had always wanted to hear the VoA recording but music by playing recordings of Pretty and the Wolf (1951)
Willis Conover always said it simply couldn't be done; and it and Moon Maiden (1969). He also explained how several of
wasn't. George finally heard it in 1993. By then the situation Ellington's extended works were influenced by literature,
had changed concerning the VoA and its tapes had ended up in most notably "Such Sweet Thunder" (inspired by characters
the Library of Congress. In 1994 the possibility was explored in Shakespeare) and "Suite Thursday" (based on John
of using them to produce an album in 1996, the 40th Steinbeck's 1954 novel, "Sweet Thursday").
anniversary of Duke's Newport triumph, but nothing came of Penny von Eschen, Associate Professor of History
this. The centenary reissue appeared in 1999, and George and African American Studies at the University of Michigan,
addressed aspects of it in the rest of his talk. focused on Ellington's role as goodwill ambassador to the
world and more specifically Ellington's State Department
P.S. In my review of Annie Kuebler's presentation to tours in the sixties and seventies. Ellington was always
Ellington '2000,1 referred to the score titled searching for new sights, sounds and experiences to translate
Monday to Saturday. We're sure many of you worked out into music and the State Department tours expanded
what it is without too much difficulty, but if you didn't, it's Ellington's world to include locations that may not have been
the arrangement of Never on Sunday which Duke recorded on either financially or politically practical. For example,
the Reprise album R 6122, "Ellington '65". Roger Boyes Ellington's 1963 Middle East tour found Ellington and the
Note 1: See Bulletin 99/4-16/6 for a detailed description of band travelling to such exotic locations as Syria, Afghanistan,
the editing of the 1956 release of "Ellington at Newport". Iraq and Lebanon. Penny described the 1971 visit to the Soviet
Note 2: Because the time limit at Ellington 2000 made it Union as Ellington's most successful State Department tour.
impossible to adequately cover the subject, George has agreed A Soviet fan poignantly remarked upon Ellington's arrival,
to expand his brief Los Angeles presentation in a future "we have been waiting for you (Ellington) for centuries".
DEMS Bulletin. DEMS During the Q+A session, George Avakian, the
legendary record producer, offered first hand recollections.
George and others were planning to accompany Ellington on

NEW YORK the Soviet tour to produce a film and record an album, but it
was not to be. The Soviets appeared co-operative, but
continually frustrated the crewmembers' travel visas effectively
Second Annual All-Day TDES Conference killing their effort to record history.
by Bill Saxonis Respected Ellington collector Dennis Dimmer traveled
The second annual all day Duke Ellington Society from the UK to illustrate in words and music the effect of
Conference drew an enthusiastic crowd to Manhattan's Ellington on all types of musicians from amateur to
St. Peter's Church on Saturday, November 4, 2000. The professional. Dennis was well stocked with British recordings
always gracious Duke Ellington Society (TDES) president, ranging from Madame Tussaud's Orchestra in the 1930s to
David Hajdu, severed as the master of ceremonies and Stan Tracey, whom Dennis considers the to be the UK's finest
Krin Gabbard, Professor and Chair of the Department interpreter of Ellington's music. One of the more fascinating
of Comparative Literature at SUNY- Stony Brook, severed examples was highlights from a recording "Busking the Duke"
as the conference director. The program promised an eclectic by the Happy Wanderers Street Band. The band was famous for
blend of personal recollections, academic research and music. snuffling up and down the streets of London playing their
Thanks to the talents, dedication and hard work of TDES music with occasional stops for "liquid refreshment".
volunteers; combined with an impressive roster of Richard Ehrenzeller, a member of the TDES Board
knowledgeable speakers, the conference was a great success. of Directors, continued with a theme established in his
Tom Harris, a former president of TDES (1962-66) presentation at Ellington 2000 in Los Angeles; the
began his talk by reminiscing about his role as an advisor Charlie Barnett - Duke Ellington connection. Richard labeled
to the ABC television network. ABC was considering his presentation a "listening session" and the focal point was
producing a docudrama about the life of Duke Ellington and the recordings of the Barnett Orchestra performing
turned to several people who knew Duke well, including compositions and/or arrangements by Juan Tizol. One of the
Tom Harris. In a memo to ABC designed to shed light on highlights was Charlie Barnett's version of one of my
the Ellington legacy, Tom wrote that Ellington's skill in favorite Juan Tizol compositions, Bakiff. While Barnett's
four areas—composer of popular songs, showmanship, version was enjoyable, it paled in comparison to Ellington's
business (think big, think ahead) and psychology Bakiff featuring the powerful and exotic violin of Ray Nance.
(keen insight into human nature)—provided the underpinning During the lunch hour, pianist, composer and arranger
for Ellington's emergence as one the century's greatest Harlan James offered a recital of Ellington/Strayhorn
composers. While ABC was impressed, the docudrama was favorites. The live music portion concluded with a
abandoned upon learning that public broadcasting (PBS) was Single Petal of a Rose played by Michael Kilpatrick
engaged in a similar project. direct from the UK. To add an historical perspective to the
Brent Hayes Edwards, an Assistant Professor in concert, the piano at St. Peter's was originally owned by
the Department of English at Rutgers University, highlighted Billy Strayhom and generously donated to the church after his
the linkage of literature and narrative verse with Ellington's death. The annual conferences sponsored by TDES play a
musical compositions. Ellington astutely recognized that you critical role in fostering a better understanding of all things
can say anything you want on a trombone, but with words, you Ellington as well as providing a forum for the boom in
need to be careful. Nevertheless, Ellington effectively employed Ellingtonrelatedresearch.Equally important the conferences
written and spoken narratives as tools to enhance are fun! Not surprisingly, this year's conference attracted
his compositions and on several occasions composed music attendees not only from the New York City area, but also from
"parallel" to literature. One of Ellington's most significant distant lands including the UK, Canada, and New York's
extended works, "Black Brown and Beige", was tied together capital city, Albany (me!). I can hardly wait for the third
by narrative themes and influenced by Ellington's own annual conference! Pleasereservemy seat!
DEMS BULLETIN 2000/4 8
essentially unrelated liner notes. But Lambert pulled off the
NEW BOOKS massive feat of at once relating pieces across the entirety of
Ellington's career, without appearing pedantic or didactic.
Lambert passes judgement, to be sure, on the music he
Eddie Lambert encounters. No one will agree with all of his opinions,
and that is as it should be. But no one can gainsay the
"Duke Ellington - A Listener's Guide" encyclopaedic knowledge he brings to the topic, which
makes his judgements a good spur for the readers to arrive
Loren Schoenberg wrote especially for DEMS Bulletin the at their own. The chapters are prefaced by an overview,
next review. In spite of his very busy schedule, Loren did not followed by an exhaustive survey of the music, and end
start writing his contribution before he finished the book. As with a summation of primary players and recommended
many of us know, this takes a considerable amount of time. recordings. There are four appendices (a bibliography, a
That is why we do not apologise for not having reviewed discography, and lists dealing with the French RCA series,
Eddie's book earlier. On the contrary, we feel proud and and the Ellington sidemen) that, frankly, have been
grateful for Loren's remarkable review. DEMS superseded by morerecentpublications.
There is a moderately sized photo section in the middle
Eddie Lambert made that is the only undistinguished component in the book.
DUKE ELLINGTON: A LISTENER'S GUIDE One photo of the trumpet section with Cootie and Mercer
his life's work, and although he died in 1987, his spirit has is dated as 1961 (it has to be from 1966 or later), and there
found eternal expression in this definitive book on one of are no photos from before 1940 — odd in a book that
his great passions, the music of Duke Ellington. devotes over a quarter of its pages to that period. But these
It's hard to know where to begin in assessing this are niggling points.
marvellous book. For starters, it remains unsurpassed and is Much more significantly, on virtually every page there
unique in both its depth of analysis and breadth of its scope. was at least one description of an Ellingtonrecordingthat
There have been, and will continue to be, books of varying sent me scurrying off to my record library. This may be
quality dealing with the personal side of Ellington's life. Lambert's greatest feat he manages to convey his love for
This book is what many have long awaited — a detailed the music through words over the course of almost 400
examination of Ellington's music. And although there have pages, giving full due to every era, with none of the
been many additions to the Ellington discography since "telescoping'' that has marred most similar attempts.
Lambert's untimely passing in 1987, this is a must-read for On a personal note, Eddie Lambert was known for his
any and all serious students of this music. hearty enthusiasms and his love of life. He welcomed this
Lambert transcends the still prevalent prejudice regarding writer into the fraternity of Ellington scholars with open
the primacy of what has come to be known as arms in the early 80's, and did the same for many, many
(unfortunately, in my opinion) the Blanton-Webster band. others. He welcomed passionate, informed debate. One can
Not that Lambert doesn't celebrate their recordings, but he only imagine what Eddie would make of the flowering of
shares his enthusiasm for the music preceding and following Ellingtonia over the last decade, or the relish with which he
that period without implying that it is inferior. Space would have assimilated all of the new discoveries. But there
limitations prevent me from quoting at length from Lambert, is no reason to linger on these hypothetical, for in this
but he writes with a combination of great authority and work, Lambert has left us a bona-fide masterpiece.
enthusiasm about every Ellingtonian era. To quote just a part Finally, in the aforementioned photos, there is a lovely
of a paragraph dealing with the early 40's band: shot of Adelaide Hall and Alice Babs taken at the 1985
"His works should always be taken basically at face value Ellington Conference. Looking on in the background is
and never as if they were parts of a project coming to full Elaine Norsworthy, who also looms large behind the
fruition only at some later date. The records cited at the end publication of this book. After Eddie's death, she conquered
of the last chapter as the best from the late thirties are first every obstacle imaginable to get this book published, and
and foremost important works in their own right The period the music world owes both her and Eddie a sincere debt of
theyrepresentwas formative — or transitional, as it has gratitude. Loren Schoenberg
sometimes been called — only in the sense that this is true
of any other Ellington era.''
Subsequent discoveries of manuscripts, recorded material "Jungle Nights and Soda Fountain Rags"
and other historical items in no way hampers Lambert's Poems for Duke Ellington and the Duke Ellington Orchestra
observations and judgements. In thisrespect,heremindsme Karibu Books, www.karibubooks.com, by Brian Gilmore
of his fellow countryman, Sir Donald Francis Tovey, whose
musical analysis (written between the late 1890's to the late Gilmore's Jungle Nights and Soda Fountain Rags is a
30's)remainsa Rosetta stone for serious music lovers. lyric celebration of the life and art of the incomparable
Tovey brought common sense and unpretentiousness to the Duke Ellington, from vibrant childhood days in his native
serious evaluation of the masterpieces of European classical Washington, D.C., to his rise to international jazz star and
music, and he has found his Ellingtonian counterpart in American cultural icon. To his credit, Gilmore's verse
Eddie Lambert It is well worth remembering that at the time treatment is more than a mere commemoration of
Lambert was compiling this massive tome, there was no Ellington's undisputed musical genius and his many artistic
great spurt of Ellington studies going on, such as we have achievements. The author effectively underscores his poems
had in the years surrounding his centenary. Indeed, it is one with both historical and cultural contexts, effectively
of the bittersweet facets of this remarkable work that its sketching in the spread of jazz, the proliferation of black
author was not around to share his great love and expertise arts, the development of communities, and the bridging of
during this time when Ellington is finally starting to receive cities, countries, and societies. Powerful and directed,
the recognition that is already long past due. dramatic and rhythmic (like the music it so eloquently
Due to its comprehensive nature, this format, in lesser mirrors), Jungle Nights is a pitch perfect blend of poetic
hands, could easily have degenerated into a series of craft, music overview, and cultural history lesson.
DEMS BULLETIN 2 0 0 0 / 4 9
The book features a photograph by Ted Shell, former
President of the Duke Ellington Society, Washington D.C.
Brian Gilmore is the author of Elvis Presley is Alive and
VIDEO REPORTS
Living in Harlem (Third World Press, 1993). His work has
been included in numerous literary anthologies, including A New Sacred Concert
In Search of Color Everywhere (Stewart, Tabori, & Chang, See DEMS 00/2-11
1994). Gilmore's essays and reviews have appeared in the
Christian Science Monitor, The Washington Post, In addition to Ted Shell's review of this video recording
The Nation, Emerge, and on National Public Radio. we print here a review by Drew Wheeler published on the
web-site of CDNow (http://www.cdnow.com) and sent to the
We copied this review from an invitation to a recent Duke-lym list by Jo Ann Sterling.
presentation by Brian Gilmore of his book. DEMS Her posting also contained information about prices.
DVD $19.%; List $ 24.95; Usually ships in 24 hours.
Region 1 encoding (for use in US and Canada only)
Duke Ellington und die Folgen VHS $17.99; List $ 19.98
Darmstadter Beltrage zur Jazzforschung NTSC format (for use in US and Canada only)
Band 6. ISBN 3-923997-91-4
This book was published in November 2000. In his autobiography, Miles Davis recalled meeting
It contains the presentations made at the Jazzforum of perhaps his greatest idol, Duke Ellington. Davis expected to
the same title, which took place between 30Sep and 2oct99 encounter the Ellington of his imagination: a combination
in Darmstadt. 276 pages, lots of notes, nice photos too. It is of genius, guru, seer, and saint Instead, he was stunned to
highly recommended for those who can read German. DEMS find the high-spirited Duke jovially bouncing a groupie on
his knee.
W o l f r a m K n a u e r made two contributions: Duke Ellington may have been a genius, a guru, and
"Every Man Prays In His Own Language...." — even a seer, but he was no saint (at least in terms of
Duke Ellington und seine Welt and marital fidelity), and he never pretended to be. And as a
"Reminiscing in Tempo" — Tradition und musik-Ssthetische self-confessed sinner, his Sacred Concerts of the 1960s
Ideale in Ellingtons kompositorischem (Euvre. were no sham, but rather the truest expression of his belief
B e r n d H o f f m a n n presented: in Christianity as a religion of forgiveness and redemption.
"Zu Gunsten derdeutschen Jugend" — Zur Rezeption As Ellington sensed his years were growing fewer,
afroamerikanischer Musik in derNachkriegszeit he wanted to express publicly what had always been a
P e t e r N i k l a s W i l s o n : "Money Jungle" — part of his private life.
Faden eines Beziehungsnetzes. One of the many concerts held in honor of the 1999
E k k e h a r d J o s t : "Open Letter to Duke" — centennial of Ellington's birth was this revival of the
Was Charles Mingus an Duke Ellington schrieb. Sacred Concerts at the Cathedral Di San Lorenzo in Lugano
F r a n z K r i e g e r : "Piano in the Foreground?" — in Switzerland. (It is pluralized because Ellington wrote
Zum Klavierstil Duke Ellingtons. three "Sacred Concerts", each one somewhat different
Gunter H. L e n z : from the other.)
"Die kulturelle Dynamik derafroamerikanishen Musik" — The Lugano concert featured vocalists Allan Harris and
Duke Ellingtons Kulturbegriff und seine Bedeutung in Michele Hendricks, trumpeter Jon Faddis and drummer
derafro-amerikanishen Literatur und Kritik. Adam Nussbaum. The Lausanne Big Band stood in for the
Bill D o b b i n s : "Mood Indigo" - Ellington Orchestra, under the baton of Roby Seidel, with
Die harmonische Sprache Duke Ellingtons. the chorus Octuor a Cordes Vocales.
W a l t e r v a n der Leur: "Scores of Scores" — Einige Harris reaffirms his credentials as one of the foremost
Anmerkungen zu Manuskripten der Billy-Strayhorn- interpreters of the Ellington/Billy Strayhorn oeuvre, and
und-Duke-Hlington-Sammlungen in den USA. seems scarcely able to contain his joy singing the raucous
M a r t i n P f l e i d e r e r : "Far East of the Blues" — gospel theme "Ain't But the One." He also does a stirring
Ellington und Weltmusik. job with Ellington's Black, Brown and Beige classic
"Come Sunday", perhaps his greatest vocal piece, sacred or
Readers who want to obtain our Ellington book should secular. (Hendricks later joins him on vocals.) Hendricks
contact a book dealer who is able to order German books. takes the spodight to ably deliver "The Lord's Prayer" and
We do not sell them ourselves. the up-tempo worship number "Tell Me It's the Truth."
Another good way to order from everywhere is On the theme "Freedom", Harris describes the
Norbert Ruecker's specialised jazz mailorder bookstore: "Four Freedoms" authored by Strayhorn, underscoring the
N. Ruecker, Postfach 14, D-61382 Schmitten. Germany civil rights message that Ellington wrote into his work back
Telephone (06082) 688, Fax (06082) 2960 in the '60s. And Faddis, who plays a squalling plunger-mute
e-mail: [email protected] solo on "The Shepherd", concludes the concert with
Internet: http://www.jazzrecords.com/jazzbooks stratospheric high notes on the powerful Finale
The price is 39.80 DM (20.35 Euro). Wolfram Knauer "Praise God and Dance".
The cinematography on Duke Ellington's Sacred Concerts
is not particularly elaborate, but works well for this sort of a
"Symphony In Black" on DVD concert film. There are enough cameras to provide plenty of
A small film company in New York, KINO, has released action shots of individual musicians, not just the soloists,
the 1947 feature film "New Orleans" on DVD with Duke's including a tom-tom's-eye view of drummer Nussbaum. The
"Symphony In Black" as bonus material. Please note that sound quality is certainly clean enough for a live recording.
KINO's regular video cassette of "New Orleans" does not This Lugano Cathedral revival of Ellington's Sacred
contain the Ellington one-reeler! KINO can be reached on Concerts movingly delivers a great artist's most spiritual
the web: http://www.kino.com Carl Hallstrom creation, in properly sanctified surroundings. Drew Wheeler
DEMS BULLETIN 2000/4 10

DISCUSSIONS - ADDITIONS - CORRECTIONS

The Complete Verve Johnny Hodges For what it's worth, the Hodges/Gillespie Squaly Roo is also
See DEMS 00/3-19 on the Verve Elite Edition "Collectors' Disc" (314 527 265-2)
which also contains alternate takes by Louis, Sweets Edison
I'm Gonna Sil Down And Write Myself A Leller and Buck Clayton (w/Jimmy Forrest), FJdridge and Carter,
(1 Uan56,3:24) has been released on the following LP: Ella and Duke, Peterson, Bill Evans, Tal Farlovv,
Verve 2304 4 3 1 - 0 1956, titled "Ellingtonia '56" - unissued Jimmy Smith/Kenny Burrell AND the short
released in May80. (single-length) versions of Hawkins/Webster La Rosita and
Compared with thefirstedition of "Ellingtonia '56" Shine On, Harvest Moon. Brian Priestley
on Barclay/Verve 3668 and Norgran MGN 1055,
I'm Gonna Sit Down And Write Myself A Letter is an From a message by Richard Ehrenzeller to Scott Wenzel:
extra track. The other three titles of the 11 Jan56 session "You did not include the alternate takes of
are the same. Jean Carbonnel Reelin' and Rockin' and Don't Take Your Love From Me.
They can be found on the currently available 2 CD set
I have a copy of Verve 2304 431 (made in France), "The Soul of Ben Webster," Verve 314 527 475-2.
Johnny Hodges, ELLINGTONIA '56, which includes Please tell me what Mosaic might do." Richard Ehrenzeller
I'm Gonna Sil Right Down and Write Myself a Leller. (See for this Verve release DEMS 99/1-15/6)
Here are the titles (the sequence of the titles on side B
is not the same as on previous releases): This is Scott's Wenzel's answer
Side 1: Hi'Ya; Snibor; Texas Blues; "Well, this bit of information escaped Michael, myself and
I'm Gonna Sit Right Down and Write Myself a Letter. John Dalton who did the notes for the set and falls into the
Side 2: Duke's Jam; Night Walk; The Happy One; "we're only human department" as well as the "shit, there's
You Got It Coming. Vittorio Castelli nothing we can do since the CDs are on their way to us as we
speak department". It also escaped the Master list of all reels at
You gave the list of the contents of the complete Polygram, which is an even bigger drag!
Verve Johnny Hodges 6 CD Box. If this list is correct, Bottom line: keep your copy of "The Soul of Ben Webster"
some sessions, which belong to this period, are missing. CD version.
They should normally have been included in this box. Thanks for looking out at any rate. Best" Scott Wenzel
12Jan56: The Happy One; Night Walk;
You Got It Coming; Duke's Jam. (LP Norgran 1055)
26Jun57: Gone And Crazy; Segdoh; Big Al Sears
Little Rabbit Blues; Johnny Come Lately. See DEMS 00/3-18/4
3Sep57: Don't Call Me, I'll Call You;
An Ordinary Thing; Waiting For The Duke; Dust Bowl. Jensen tells us that the Audio Lab LP AL 1540 contains not
(LP Verve 8271) only 8 selections by Al Sears, but also 4 tracks by the tenor
If these sessions arc not included in the box, it is a saxophonist Joe Thomas. Jensen claims that this is not the
deception, because it means that this release is not Joe Thomas, who played with Jimmie Lunceford. This is
complete. It is true that these recordings were made with wrong. The 4 tracks are by the former Lunceford-sideman, who
the complete orchestra, but the four titles of 3Sep57 in had a small combo at the time (approximately 1949-1952) and
your listing (Viscount, etc.) are also with a large who recorded regularly for the King label.
formation (11 musicians). To be more precise about the 8 Al Sears selections on this
Can you tell me if you have forgotten these sessions Audio Lab LP, these were also released on 2 English Parlophone
in your list on page 19 or that Michael Cuscuna has 45 rpm's (GEP8681 and 8688) and on a 10" French Vogue LP
failed to include them in the box. And if so, how (LD 074). I believe that these tracks are also issued in England
Cuscuna is going to issue the missing selections? on Vogue78 rpm's.
Yvan Fournier Nowadays we can find these 8 Al Sears tracks on the CD
Westside WESA 823 titled "Groove Station". Apart of these 8
The items you listed are the big band sides from the Al Sears's tracks this CD contains recordings by Preston Love,
LPs Ellingtonia '56 and The Big Sound. From the title Wild Bill Moore, "Fats" Noel and Jesse Powell, all tenor players
of the box set, I guess they are not going to include whom recorded for King, like Sears. Yvan Fournier
them. Richard Ehrenzeller
Fortunately, the 8 Al Sears tracks are in print on CD. They
It seems that a number of 11 musicians is considered can be found on the CD, Groove Station-King, Federal, Deluxe
a small group. A group of 12 (26Jun57) is judged too Saxblasters Vol. 1 Westside WESA 823. This CD is from
large. Sjef Hoefsmit England. I got my copy from Goran Wallen in Sweden.
To this date, I have not seen this CD in the USA. Also, its
Also, it does not include the album, Gerry Mulligan liner notes state that Johnny Hodges himself stated that he, not
Meets Johnny Hodges and Squaly Roo, the single track Charlie Holmes, is on these recordings. Willie Timner states it
that Johnny recorded with Dizzy Gillespie. This last track is Johnny in the sideman section of Ellingtonia.
can only be found on the compilation CD, The CD has many r&b saxophone recordings. Al's tracks on
Johnny Hodges Verve Jazz Masters Vol. 35 this CD, are nice jazz recordings, unlike those on the Bear
Verve 3114 521 857-2. Richard Ehrenzeller Family CD "Sear-iously". Richard Ehrenzeller
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 11

Duke and Ella at the Cote d'Azur I am by no means an expert on brass mutes, especially
SeeDEMS0O/2-9&10 old out-of-production ones. However, I believe I recall being
told that a Mellotone (as in In A Mellotone) was also the
I guess and hope that the next Bulletin is under
name of a commercially produced mute. Can anyone
preparation and I wonder whether there will be some
confirm? Brian Priestley
reactions to our article on the "Duke and Ella at the Cote
d'Azur" film in the 00/2 edition. I only now realise that the
New DESOR has a Paris, Hotel sequence 6737a with Duke I often wondered why Duke spelled it Mellotone instead
talking about the Maeght Foundation during Mar67. This of Mellow Tone. You have probably answered the question.
filmed sequence possibly is what I suggested to consider as I wonder, though. I do not recall for sure, but it seems to
a new entry into the New DESOR: "Duke talking" from me that I have seen a photo somewhere of Duke's band,
31 Jan67. Are these the same sequences? And if so, what is taken from behind and to the left of the trumpets, and
the correct date? 31 Jan67 or Mar67? Klaus Getting someone is playing a mellophone? A mellophone being the
general shape of a french horn, but using valves somewhat
similar to trumpet valves instead of butterfly keys? Other
The commentary by Duke for the picture "Duke and Ella differences as well, I'm sure. If one of Duke's men used the
at the Cote d'Azur" is indeed not ignored in the New mellophone, then perhaps Mellotone could have been a pun.
DESOR. We only know that it was recorded in Paris.
We do not know the date and we have put it at the end of the By the way, soon you'll be able to learn all you ever
European tour. If the correct date is indeed 31 Jan67, we have wanted to know about mellophones at
no objection about changing it Luciano Massagli http://www.dmoz.org/Arts/MusicAnstruments/Winds/Brass/
Mellophone/
It seems that many marching bands now use a "marching
If we agree on the location being Paris and the date during
mellophone" which is more like a trumpet or flugelhorn in
the European tour early in 1967, there are only three dates to
shape than a french horn. The older style (what I knew as a
choose from: 31 Jan and lFeb67 when Duke played at the
teenager so long ago) is featured at
Salle Pleyel, and 10Mar67 when he played at the Theatre Des
http://www.angelfire.com/oh/EbAltoTenorFhorn/mellphone.
Champs Elysees. See Klaus Stratemann, page 553.
html.
I vote for lFeb67 early in the morning, after the first of
these concerts. Sjef Hoefsmit This page talks about left-belled mellophones. The girl in
my school band played with the bell on the right so there
must have been a choice (or she didn't know her instrument?)
In A Mellow Tone — In A Mellotone Perhaps someone can point out the differences between
See DEMS 00/3-25, General remarks. french hom and mellophone - i.e. maybe the shape of the
In a Mellotone; AKA Baby, You and Me tubing, etc? David Palmquist
(1940, Ellington — Milt Gabler)
First version recorded 5Sep40 with Jimmie Blanton. I have a question about the brass instrument, looking like
It was developed almost spontaneously within the Ellington a small tuba, in the hands of Chuck Connors in the Royal
ranks as a riff the band used to play on the chord pattern of Albert Hall during the performance of Harlem, 19Feb67.
Rose Room. I have seen this title in one word or two words. The same instrument was used by Buster Cooper in the
In a Millstone or Mellow Tone and again as In a Mellotune documentary "A Duke Called Ellington", when he played
or Mellow Tune. Notice Tone was changed into Tune. 77K Opener in London on 16Feb65.
Jane Vollmer Can you tell me if the name Mellophone is correct?
Sjef Hoefsmit
My 1940 78 rpm on French HMV has In A Mellotone.
JfllWfffl on page 500 has In A Mellow Tone. The instruments the trombone players are using is called
Sjef Hoefsmit a euphonium or baritone horn. The difference between a
euphonium and a baritone is only in the manufacturing - one
At the 1991 L.A. Conference, I heard a performance of way of making it places the valves more-or-less parallel to
Rose Room, probably from 1939 or 1940, that ended with the floor, the other has the valves perpendicular.
In a Mellotone from Hodges' solo on to Cootie, and the A mellophone is shaped like a french horn but is
same ending as the 1940 Mellotone recording. And also in constructed with piston valves Qike a trumpet) instead of
19401 have a Rose Room from Chicago with no Mellotone rotary valves as a french horn has. A mellophone may not
in it, except of course the chord structure, which is the same. have the same degree of expansion that the conical tubing of
One of the fascinations in Duke is the unpredictability. a french horn has.
Just because one time they merged into Mellotone doesn't Also, Stan Kenton utilized a whole section of
mean they always did it Bill Strother mellophoniums (mellophones with the bell section
continuing straight out like a trumpet's) on several albums.
I have watched my video recording of Andrew Homzy's I suspect Duke's trombonists were given or loaned the
presentation in Los Angeles on 14Jun91. At the end of his euphoniums as a marketing ploy by the manufacturer.
lecture, he played the 15May38 Rose Room from the Cotton Andrew Homzy
Club on Jazz Archives. It starts with a piano intra which is
the same as the theme of In A Mellotone. He showed us on Melotone was also the name of a record label, established
the screen that this introduction was written out for the band by Warner Bros, in November 1930 as a subsidiary of
on the bottom of the score for Rose Room, but as he pointed Brunswick. From Nov32 Melotone was operated by the
out, it has never been used by the band in a (recorded) American Record Company. CBS purchased ARC in Feb38
performance of Rose Room, but only by Duke as piano intra and discontinued Melotone shortly thereafter. Duke's first
of In A Mellotone in the Cotton Club broadcast recording of In A Mellotone is from 5Sep40.
I admire Bill Strother's excellent memory! Sjef Hoefsmit** (Source: The New Grove Dictionary Of Jazz) DEMS
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 12

Where was Duke in Jan and Feb66? Thank you very much, Jordi.
See DEMS Bulletin 00/3-7/1 Finally I understand the mix-up of these sessions.
Ole Nielsen was right after all. For unknown reasons,
The telecasts "Noche del Sabado" were definitely not the recording of the first set on 8Feb66 at the Circus in
recorded in Spain: the drummer is Sam Woodyard, who Stockholm, has been shown with this confusing title
joined the band on 2Feb66, after the Spanish concerts. "Ella and Duke in Spain."
In my opinion the recording was made in Sweden for I am surprised to read that Ellington flew to Geneva
the Spanish TVE. in Switzerland on 24Feb66. Duke played a recital at
After Things Ain't What They Used To Be, Duke said Goutelas en Forez in France on the 25lh. Sjef Hoefsmit
"to our dear friends in Spain we like to say 'vi alskar er
vansinnigt' that in Sweden means 'te amo locamente'" I just received your draft of Jordi Navas Ferrer's
and from this we conclude that he was in a Swedish contribution. I did not know that Duke played 2 concerts
studio at that moment. Luciano Massagli in Madrid on 23Feb66. If this is true it is possible that
"Noche del Sabado" was recorded near Madrid the day after
I have here an advertisement for two concerts by these concerts as seems to be suggested by the article that
Duke Ellington and Ella Fitzgerald at the Palacio de la he sent you. The information that I gave to Gordon Ewing:
Musica in Barcelona on 25Jan66 on 7:00 and 11:00. 24Jan66, Lisbon; 26Jan66, Barcelona, Palau de la Musica
Duke gave on that same day an interview in Hotel Ritz. Catalana; 31Jan66, Geneve, Victoria Hall and lFeb66 open,
This interview was published the next day, 26Jan66 in came from first hand information, collected at that time
the Barcelona newspaper "La Vanguardia". This is the among the musicians. Luciano Massagli
first paragraph of that article:
"Duke Ellington is, for the lovers of Jazz, an I can only confirm the well-known date of 28Jan66 in
institution — composer, pianist, orchestra leader. Frankfurt, Jahrhunderthalle. I was lucky enough to be
He travels constantly all over the world to play his present at the occasion. I cannot confirm 26Jan66 as a date
concerts. His vitality is enormous, indefatigable, for a concert in Frankfurt. I should have known, but I will
two days ago in New York, yesterday in Lisbon, investigate further. Manfred Redelberger
tomorrow in Frankfurt. He has no days off."
That means that we can now establish the correct Manfred is right A part of the itinerary for this European
itinerary for thefirstdays of his stay in Europe. tour was published in "Jazz Podium" of Jan66:
23Jan66 — New York (Ed Sullivan Show) 27Jan66 — Kaiserslautern Only Duke and orch.
24Jan66 — Lisbon, Portugal 28Jan66 — Frankfurt/Main Duke and Ella
25Jan66 — Barcelona, Spain Jahrhunderthalle Hochst 20:00 and 23:00
26Jan66 — Frankfurt, Germany 2Feb66 — Basel Only Duke and orch.
Hoefsmit's suggestion that the television recordings 3Feb66 — Zurich Only Duke and orch.
for "Noches del Sabado" were made on 26Jan66 is wrong. 4Feb66 — MUnchen Duke and Ella
I was also wrong when I gave long ago to Hoefsmit Deutsches Museum 20:00
the date of 27Jan66 for that same television recording. 5Feb66 — Hamburg Duke and Ella
I have here an advertisement for two concerts by Musikhalle 18:30 and 21:30
Duke Ellington and Ella Fitzgerald at Cine Monumental Wolfram Knauer
in Madrid on 23Feb66 on 7:15 and 11:00.
In an article in ARIA JAZZ, a Madrilenian Jazz The concert of 2Feb66 in Basel was recorded. In the New
magazine, is a report of what happened the next day, DESOR it is documented as being from Basel 3Feb66, but
24Feb66: that date must be wrong. The first group of 5 selections: The
"At noon, we get in the bus again to go to the Estudios Mooche; What Am I Here For?; Soul Call; Happy Reunion
de TVE en Prado del Rey (very close to Madrid), for the and The Opener are from a broadcast from a radio station in
filming of a programme with Ella and the orchestra." Wiesbaden. After The Opener the announcer said: "this was a
"And during several hours, only interrupted for short selection of the recordings made at the concert on Wednesday
visits to the bar, the orchestra, dressed in gala, plays a in Basel". 2Feb66 was a Wednesday. Sjef Hoefsmit
concert before an non-existent audience."
The recordings started at 13:00 and contained several
selections with Ella Fitzgerald and with the orchestra alone, Who were the drummers In Jan/Feb66?
for transmission on different Saturday evenings in the Together with the article about dates and locations in
programme "Noches del Sabado". Audio copies of this "Jazz Podium" of Jan66, Wolfram Knauer was kind enough
recording session circulate among tape collectors. to send us another article in "Jazz Podium" of Mar66 about
On 24Feb66, after the recording session, Duke and the drummers. It says that Louis Bellson, who could not
Norman Granz flew to Geneva, Switzerland; Ella and her join the band in Europe, was replaced by Skeets Marsh and
trio went via London to Reykjavik and the orchestra with Elvin Jones, because Sam Woodyard was not yet available.
600 kilos of luggage went home. In Geneva on 31Jan66 Sam Woodyard replaced Elvin Jones,
I have the video titled "Ella and Duke in Spain," but but Skeets Marsh stayed in the band until the concert in
this concert was recorded in Sweden on 8Feb66.1 do not London on 12Feb66. Although this article seems to be very
know the reason for the title of this concert, which has reliable because it was published after the facts, we have
nothing to do with the recordings in Prado del Rey. strong doubts about Skeets Marsh staying in the band after
I can confirm that Duke, the orchestra and Sam Woodyard came back. In none of the concerts between
Ella Fitzgerald appeared on screen during several Saturday 31 Jan66 and 12Feb66 is there a sign of a second drummer
nights during the year 1966. These recordings were made next to Sam Woodyard. This is very apparent in the video
on 24Feb66 near Madrid. Jordi Navas Ferrer recording of 8Feb66 in Stockholm. Sjef Hoefsmit
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 13

The Radio Years 1940-45 The 1945 session is a "mock" rehearsal with hushed
The rehearsing Duke commentary by Alistair Cooke — excellent balance on band,
See DEMS 00/3-9/1 and 2 which is in fine fettle. Duke puts together the C-Jam Blues,
and it's fun to hear him call out the soloists by name and cut
Andrew Homzy has sent to the duke-lym list a copy of them off after their breaks — he uses the term "Boston" for
pages 123-128 of Alistair Cooke's "Letters from America", solos, which is how he notated them on his scores — it's a
published by Alfred A. Knopf, Inc. 20's phrase. Loren Schoenberg
These pages contained a chapter titled "The Duke",
dated 31 May74. When I listened to the rehearsal disc of the C6te d'Azur
We selected a few paragraphs about the "Sitting In With 8 disc set, I felt very comfortable — Duke's rehearsals were
The Duke" broadcast, recorded in NYC on 3Aug45. DEMS just like many I have been in, and it was great to know I had
"I knew all the records of hisfirstperiod when I was in that type of experience in common with Duke and his guys.
college, from 1927 through 1932. And when Ifirstarrived Youreferto the 1945 session as a mockrehearsal— does
in New York I wasted no time in beating it up to the that mean it's staged, instead of "real?" In other words, does
Cotton Club to see the great man in the flesh. But, apart it have the ambience, the fun, the pizzazz, that comes from
from a nodding acquaintance in night clubs, and becoming recording of a live rehearsal? David Palmquist
known to him no doubt as one of those ever-present
nuisances who request this number and that, I didn't meet The 1945 broadcast consists of pieces that were already
Ellington alone, by appointment so to speak, until the in the band's book, and the band played them without break,
very end of the Second War." so it's not fair to call it a rehearsal. It was just a studio
"The date had been for two in the afternoon." performance with the guys noodling between tunes.
"I was shown into a large and rambling apartment with However, the balance is wonderful as is the band's
a living room that had evidently seen a little strenuous performance. The C6te D'Azur was a bona-fide rehearsal.
drinking the night before. Off from the living room behind There exists a lengthy excerpt from the 1936 session that
curtained French doors was a bedroom. The doors were open produced the small group version of Echoes of Harlem where
and there in full view was a large bed rumpled and unmade. you can really hear Duke teach the piece to everyone
Beyond that was a bathroom, and out of it emerged what (and Sonny Greer at his most cantankerous). I hope it comes
I first took to be some swami in the wrong country. out someday... Loren Schoenberg
It was the Duke, naked except for a pair of under drawers
and a towel woven around his head." Russell Procope or Willie Smith
"I had come to suggest that he might like to record a long See DEMS 00/3-8/2
session with his band for the BBC. This was, remember, the
peak period of his big band, and I suggested that we record The solo in Blues At Sundown on Stardust 201
him not, as we now say, "in concert," but in rehearsal. He (Mar52,52041) is by Russell Procope and the old Desor
shot a suspicious glare at me, as if I'd suggested recording (504 1) was right In the New DESOR we made a very
him doing five-finger exercises. But slowly and warily he silly mistake: we wrote "same as 5201 1," but we forgot:
began to see my problem, and to respect it Simply, how "but RP instead of WS."
to convey to a listener (this was before television) the In Moonlight Fiesta on Stardust 201 (Mar 52,5204q), in
peculiar genius of the Duke, since it was unique in the our opinion, the soloist is Willie Smith.
practice of jazz music. Which was somehow to be, and feel, Luciano Massagli and Giovanni Volonte"
present at the act of creation when it was happening to the
Duke standing in front of the band in rehearsal." I have the impression that it is Willie Smith in
Moonlight Fiesta. Russell Procope played evidently in
"Eventually the Duke appreciated that what we wanted was Blues At Sundown. Duke announced him. Claude Carriere
not just another performance. He agreed, and we had a long
and unforgettable session, in a hired studio on Fifth Avenue, In case you are wondering who the soloist was in
where we recorded the whole process of the number dictated, Blues At Sundown during the next session (22Mar52):
the roughest run-through, with many pauses, trying this it was Willie Smith. This is correct in both the old Desor
fusion of instruments and that, stopping and starting and, (505r) and in the New DESOR (5205b). Again the soloist is
transferring the obligate from one man to another, the Duke mentioned by Duke before the number starts. Sjef Hoefsmit
talking and shouting, "Now, Tricky, four bars" and "Barney,
in there eight." And in the last hour, what had been a taste in
the Duke's head came out as a harmonious,richmeal." One More Question
See DEMS 00/3-11
When I lived in Europe, my work required me to spend I agree with the item about Skin Deep. Louie Bellson
countless hours on the autobahns and autostradas. I always told me the same story a couple of years ago.
made sure to have a car with a short-wave receiver so that
I could listen to the BBC World Service. I heard Cooke's Claude Carriere
program, Letter from America, every Saturday at about noon.
He is an incisive social commentator and essayist and I An Internet discussion
invariably learned something from his discussions of the past See DEMS 00/3-13/2
week in the States I would otherwise have missed had I have the impression that it is Rex Stewart who played
I only listened to regular newscasts. He spoke occasionally in Blue Serge. Listen to the Standard Radio Transcription of
about jazz and I was always reminded that he had also been 3Dec41 and to DETS 10 (16Jun45) and 24 (22Sep45).
the presenter on a number of the BBC pre-WW II short-wave Ray Nance did not play with this kind of sonority until
jazz broadcasts from New York, several of which have much later, after he started using his cornet.
survived and have been released on CD. Leland Farley Claude Carriere
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 14

Even Archie Shepp an E l l i n g t o n l a n ! Did Duke ever play Lush Life?

See DEMS 00/2-6/1. See DEMS 00/3-6/1
We have asked Soren Netterstrem to send us a copy of It is a pity that the producers of the Impulse CD
the article in which Archie Shepp described his performance "Live at the Whitney" (10Apr72, see DEMS 96/1-9) decided
with the Ellington Orchestra on C-Jam Blues at the end of to delete Duke's comments during this recital. These are now
the second concert on 1 Nov69 in Paris. only available to tape collectors and those who have a copy
Roger Boyes has translated for us the relevant of the DEMS cassette Azure CA-8, presented in 1989 in
paragraphs in this article, which was published in Jazz Washington. After Duke played Flamingo, he praised
Magazine 492 of May 1999 on the occasion of Duke's Billy Strayhorn by saying: "I couldn't resist that because it
centenary. The article contained recollections put to paper reminded me that it was with Flamingo that Billy Strayhorn
by Christian Gauffre with the assistance of Gabriel Gauffre. did the.... well he brought about therenaissanceof vocal
We thank Soren and Roger for this amusing and at the orchestration. It was the first time any imagination of Billy
same time enlightening publication. DEMS put behind the vocal and it's growing on and on ever since.
Billy Strayhorn, a great wonderful man." Somebody from the
It's Paris in 1969, and on the stage of the Salle Pleyel audience asked him to play Lush Life. Duke replied:
in Paris, Archie Shepp is joining the Duke Ellington "I would love to play Lush Life but I can't stand it I can't
Orchestra. Archie tells the story I can't even stand that anybody else plays it It is the most
"At the time I was living as a sub-tenant in an apartment beautiful thing that's ever written." Sjef Hoefsmit
in the Rue de I'Universite\ Don Byas was living with me,
along with Calvin Massey, who I'd brought with me from The Lush Life we hear in the Ella Fitzgerald show
New York. Don knew Duke Ellington. They'd worked (8-1 lApr68)is not played by Duke Ellington. I believe it is
together.* Jimmy Jones. Claude Carriere
We went along to be present at the Orchestra's rehearsal.
Duke asked Don to play with them that evening for old We have listened again to Lush Life in the
time's sake. We all went along to the concert. Don played Ella Fitzgerald show and we are convinced that the
and then came back into the wings. He was livid. pianist is Duke Ellington.
There's no way I can play that saxophone!" He'd borrowed Luciano Massagli and Giovanni Volonte"
Paul Gonsalves's horn. We'd all drunk a great deal. Anyway,
without a moment's hesitation I said to him, "Come on
then, pass it over to me, I'll play it" And I started to run
around the keys.
® SeeGerald Wilson
DEMS 00/3-2&3

The band launched into a new piece and Duke signalled in In an interview that wasreleasedon the double CD
our direction. Maybe he thought Don would be coming back MAMA, MMF 1014, Gerald Wilson declared to have
on anyway I stepped up. By the time I'd taken my solo arranged in 1947 not only You Gotta Crawl Before You
I understood what Don had meant: the mouthpiece never Walk, but also Antidisestablishmentarianismist.
stopped moving about, so there was no way you could keep Claude Carriere
your embouchure properly secure!
Gonsalves used to spend a lot of time working on his Jo Jones In the 20Nov50 session?
reeds, he was always trying new things and that's probably See Comments on Timner page 22, entry 118,
why the mouthpiece wasn't fixed properly. I panicked. 20Nov50. This page came with Bulletin 99/1.
What's more I didn't know what key we were in. I thought I have listened again to the session of 20Nov50.
we were in G, which is to say A on the tenor Duke at the Jo Jones could be the drummer in all three selections.
piano sensed my distress and I heard him murmuring "C! C!" You have given me another item to doubt about
Clearly we were playing C-Jom Blues! Somebody else seems to play a sort of "shaker"
And Irememberanother shock: I ended my chorus on an (ormaracas)inSHJW77iar/?ai/roaffrom 1:43 until 2:07,
A sharp which I carried on hearing after I'd taken thereedout or is it just done with brushes? The drum sounds like
of my mouth! It was Cat Anderson who'd picked up the same Greer's drum kit (2:05-2:06 timpani).
note, an octave higher, and who was launching into his On the other hand the accents do resemble those of
solo!" Jo Jones in Love You Madly at 1:09, from 1:35 until 1:40,
* Don Byas replaced Charlie Rouse in the Ellington at 2:05, 2:10, 2:15,2:23 etc. and in Great Times in the intro
Orchestra during the 1950 European tour from 20Apr until — hi-hat — and at 0:20, 0:56 etc. Also the swing on the
10Jun. ride cymbal starting with Jimmy Hamilton at 1:17 sounds
like Jo Jones.
SONOPRESS But my doubts remain: listen to Sonny Greer in
See DEMS 00/2-5/1 Sultry Serenade from 10Nov47. Claude Carriere
My copy of "The Blanton-Webster Band" CDs is the I repeat Bob Rickles' comment on Timner. As you will
usual Bluebird issue and it bears all thereferencesyou see, it only mentioned one selection, Build That Railroad,
mentioned describing yours, except that it is made in and it mentioned also all the people involved in what is
Germany and that my Hayfoot Strawfoot is take -1. evidently a matter of hearsay:
"Sonopress" is misleading, because it is only the name of Bob Rickles: "I heard Al Hibbler tell Phil Schaap that
the CD factory, apparently owned by the BMG/Ariola Jo Jones was the drummer on Build That Railroad.
Company. The name is only embodied in the CD itself in Sonny Greer could well have been the drummer on the other
the region around the central hole, just like 78 rpm & LP two numbers. I know that Hibbler is sightless, but he was
matrix numbers used to be. Vittorio Castelli there." Sjef Hoefsmit
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 15

(TN Harry Carney Ivie Anderson

There seem to be a lot of photographs where Duke I came across an article on page 187 in Ken Vail's
is interacting with Harry Carney. I recall at least two of book. Ken has Duke's career in chronological order together
separate sessions from the 1950s where they appear in with articles or part of articles kept in a scrap book manner
discussion about the scores. I have since wondered what but no bibliography. (See DEMS 99/2-2)
input or influence Carney had in the leadership and creativity Page 187 (September 1940)
of the orchestra. Does anyone know more about Carney? Her Husband is Safe in Holland
I would love to know more about his personality. The article quotes Ivie and goes on to say. "Ivie and
I enjoy his work more than that from any other soloist. Bacon were married in 1934 shortly after he joined the
David Barry Ellington Band."
David's comment about the possible extent of Can anyone give me where this article originated and the
Harry Carney's influence on Duke and the band in the date of their marriage?
recording studioremindedme of something I have not I do not remember reading anything about Ivie Anderson
given particular thought to in the last 40 years. In the being married. Jane Vollmer
course of a decade or more ofrecordingDuke, I do not Barry Ulanov, Duke Ellington, page 160:
remember any musician ever accompanying Duke into the "Louis Bacon, Ivie's husband...."
control room to listen to playbacks other than Carney. Derek Jewell, A Portrait Of Duke Ellington, page 50:
Although I have norecollectionof photos of Duke and "....Louis Bacon (Ivie Anderson's husband)...."
Harry conferring on the studio floor, the saxophone I have not found the date of the marriage. Sjef Hoefsmit
section was always set up so that Harry was seated closest
to the piano. Whenever Duke spoke to me from the studio To make things more complicated or uncertain I'd like to
floor, it was invariably through the microphone suspended mention what Will Friedwald writes in his (excellent) book
over Carney's side of the sax section. "Jazz Singing" on pagelOl: " With the help of her
The image of Duke standing with his back half-turned (=Ivie Anderson's)firsthusband, Marques Neal, she made a
away from the control room, but his head turned to the success of an LA eatery called the Chicken Shack, and then
right so he could see me as he spoke, is permanently in real estate with her second husband, Walter Collins...."
etched in my memory. Rob van de Velde
As a boy in the late twenties and early thirties, I saw The LA Chicken Shack was one of the birthplaces of
my first bands on the stages of movie-and-vaudeville rhythm &blues — I think it was Amos Milburn who
houses like the RKO 86th Street (Rudy Vallee) and later, recorded "Chicken Shack Boogie".
when we moved uptown, the RKO 181* Street Coliseum The irony here is that Duke has no heirs in pop — except
(Lucky Millinder, Tiny Bradshaw). Bands in those days maybe for the peripheral activities of art-pop acts like
used two altos and a tenor. I don't think I ever saw a Pink Floyd and Laurie Anderson. But one of his SINGERS
baritone sax until Ellington, probably in 1933 at the was a key player in the development of the most pervasive
Capitol Theater in Times Square, which became my popular music form of the last century.
mother's favorite place to take me to the movies, until The stupid thing is that Ivie was apparently a severe
the Radio City Music Hall opened with its more asthmatic (and this is what killed her) and she settled in, of
elaborate stage shows. all the inappropriate places, Los Angeles. If she'd settled in
I have always felt that Duke must have been the first Denver or Phoenix, I guess she might even still be with us.
to give the baritone sax a permanent place in an orchestra, Steve Danby
although myfirstconsciousness of a baritone sax was
seeing Ozzie Nelson onstage doing a novelty called Besides owning and operating Ivie's Chicken Shack off
something like "I'm Looking for a Guy Who Can Double Central Avenue in L.A., she toured the West Coast as a
on Clarinet and Baritone Sax and Wears a Size 36 Suit." single before she passed and I got to know her in Vancouver,
B.C. In 1945 she made two records for Exclusive (3113/4)
As a person, Harry Carney was a soft-spoken, kindly with Ceele Burke. On 3114 she recorded Play Me The Blues
man. I'm sorry to say we never had a real conversation, and this is vintage Ivie and I am grateful to Steven Lasker for
although we chatted as I rode in afirstrow seat in the bringing it to my attention. Shortly thereafter she did
Ellington bus a few times with him and Duke. The first several numbers for Black & White.
time was in 1942, when Duke gave me a lift almost all the
way back to Fort Benning, Georgia, after a one-nighter at In addition Jazztone (?) brought out an LP with Lena on
which I was almost thrown out of the dance hall for asking one side and Ivie on the other of the Black and Whites.
if I could go backstage to see Duke. (Same thing happened Bill Hill
with Louis Armstrong near another army camp. Each time In 1928, before her time with Hines and Ellington, Ivie
a state trooper asked me — no, demanded — why I wanted (then billed as Ivy) did a tour in Australia with the Sonny
to mess around with them s.) Clay band. Unfortunately some ugly racial prejudice caused
Duke asked me how I was going to get back to camp. the tour to be shortened. While in Australia her repertoire
I said, "Hitch-hike, like I came". He wouldn't hear of it included I'm a Little Blackbird, looking for a Bluebird.
He consulted the driver and ordered the bus several miles A friend of mine in New Yorkfirmlybelieves that Ivie
out of the way to get me to a large cross road where recorded this number but I've never found any evidence of it
I thumbed my way back just before dawn. Bill Egan
This reminds me of the seating on the bus. I was told
that Carney and Duke always took over the two front seats Timme Rosenkrantz
on either side of the aisle, on every trip. Obviously, this See DEMS 00/1-10/2
made for easy conversation as well as poring over music Timme published in 1939 "Swing Photo Album - 1939"
paper between Duke and his closest friend in the band. Doug Dobell republished the book in 1974 including the
It all fits. George Avakian original captions under each photo. Pete Ford
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 16
^fc Alberta Hunter Here our puzzle deepens for while Alberta Hunter used the
In reviewing my history of Ellington's vocalists, pseudonym of May Alix there was a "real" May Alix who
I came across the following discrepancy. 24Nov24 — sang with Jimmie Noone and recorded with
Alberta Prime (Gammond); Alberta Pryme (Vail). Louis Armstrong. She was Liza Mae Alix who worked under
I know she also went under the name of Alberta Hunter. the name May Alix. Michael Palmer
Jane Vollmer
According to Linda Dahl's "Stormy Weather", Mae Alix
Ross Laird's "Moanin1 Low" very comprehensive was a "club act" (like Ethel Waters, presumably) who came
discography of female vocalists has the following entries: in on the tide of the twenties blues boom.
"Alberta PRIME: Mis-spelling for Alberta PRYME" I suppose there is some overlap between her tone and the
"Alberta PRYME: Vocal blues; piano ace. N.Y., young Alberta's — everyone sang shrill in the pre-amplifier
c. Nov, 1924, Alberta PRIME (sic) & SONNY GREER, days. But Alberta is a mezzo, and Mae is a soprano.
vocal novelty; piano ace. Oh, and of course, Alberta can sing the blues. Mae is pure
T2001-1 It's gonna be a cold, cold winter Blu-DiscT1007 Vaudeville.
T2002-2 Parlor social deluxe Blu-DiscT1007 The fun thing about the "Mae Alix sounds too white"
There is no link with Alberta Hunter. The Taylor /Cook story in this context is Alberta's own incarnation as a lounge
bio discography for Alberta Hunter does not mention singer with Jack Jackson's band in London in the 30's.
Prime/Pryme either. However, Dickson and Godrich I do not think you would ever mistake her for Greta Keller or
("Blues & Gospel Records 1902 -1942") credit it to Hildegarde, but it is very much the same territory —
Alberta Hunter as 'Prime', with Duke Ellington pianist, and "whitebread" all the way. Steve Danby
seem to imply that Sonny only sings on one side.
Alberta Hunter was working in New York in 1924, at I'm inclined to go with Tucker, especially as I've looked
Happy Rhone's Club and other spots, so there is no conflict more closely at what he wrote on pages 171 - 172 of
there. "Ellington - The early years". I have scanned some of it
Page 172 of Mark Tucker's "Ellington: The early years" below.
seems to clear up the Prime/Hunter confusion — there was "Ellington neverrecordedwith the big blues stars.
an Alberta Prime who was not Alberta Hunter. Bill Egan His singers were lesser lights in theirtime;today they are
obscure. He accompanied two Albertas — Prime and Jones
Some researchers agree that Alberta Hunter is the same as — but not Alberta Hunter (at least not in the studio).
Alberta Prime (Pryme or Prima) where others state she is The Washingtonians' first successful record date in
not. This is where it stands now. Alberta Hunter was singing November 24 yielded five vocal sides. Four came out on the
in NYC in 1924. She did do some recordings but often used Blu-Disc label and one was issued by its subsidiary,
pseudo names like May Alix or Josephine Beatty. Up-to-Date. Ellington scholar Jerry Valburn, among others,
It is a possibility that they are all the same person which believes that all the November 1924 sides — both vocals and
brings up another question: is Alberta Jones (who recorded instrumentals — come from one session, possibly two.
with Duke on 14oct26) included in this. Until more information surfaces about Blu-Disc (i.e., studio
Now here is the real gasser. A May Alix was auditioned logs, business records), this assumption will stand.
with Ivie Anderson in 1931 but turned down by Duke not Alberta Primefilledtwo sides of a Blu-Disc record with
because of her voice but because she was too white. It's Gonna Be a Cold, Cold Winter and Parlor Social De
I think of all the info in various books, I tend to believe Luxe. (This is her only known recording.)
Dickson and Godrich saying they are the same individual Like the better-known "Bricktop", Prime was a cabaret
with the exception of Jones that I have no info on to date. singer who ran her own clubs and performed in them.
Jane Vollmer In 1925 Variety announced that she was opening "a new
colored club at (JO* Street and Broadway" with "four
Regarding the Alberta Hunter/Josephine Beatty/May Alix principals in the floor show and a chorus of six girls."
question, my old "Hot Discography" (Charles Delaunay) Judging from these two sides, she did not have much of a
shows two sessions, in November/December 1924, by voice. Garvin Bushellrememberedher more as a great
"Josephine Beatty (Alberta Hunter)" with the beauty than a great singer. Such extramusical appeal may
Red Onion Jazz Babies, which included Louis Armstrong have led to her Blu-Disc date with Ellington."
and Lil Hardin/Armstrong. These are also listed under
Alberta Hunter's name in an English publication, More details follow about the session, but the specific
Jazz Directory, which I do not think was ever completed. references from Variety and Garvin Bushell strongly suggest
However, I cannot find a connection between Hunter and that Tucker had Prime well covered.
May Alix — Delaunay shows Alix as having recorded with Re Alberta Jones, Ross Laird gives a list of about 20
Jimmy Noone (Jun29 and Oct30) and also on two songs tracks recorded between 1923 and 1930. Two of these —
with the Louis Armstrong Hot Five in Nov26 — she sang Lucky Numbers Blues and I'm gonna put you right in jail are
Sunset Cafe Stomp and a duet with Louis on Big butter and shown as "ace. by the Ellington Twins (sic)", Oct26.
egg man. Her voice is shrill and not attractive. Dixon & Godrich give much the same list but indicate
Unfortunately, I have no recordings by Alberta Hunter, and Otto Hardwick is the second 'twin'. Bill Egan
so cannot compare the voices — can anyone else help?
David Stevens I remember hearing a 78 r.p.m. of Alberta Hunter singing
Two Cigarettes In The Dark. I was surprised to hear her in
No, Alberta Hunter's voice was not shrill. You can go to her "chanteuse" period, very compelling and appropriately
CDNow (www.cdnow.com), search for Alberta Hunter, and "tragic". She was quite a person. Stan Dunn
listen to bits from her variousrecordings.When Alberta was
87 she sang at the Chicago Jazz Festival. The audience went Fans of Alberta Hunter should try to watch the video of
wild. She was something else. The way she belted out a the movie "Remember My Name" which features her
song, even at that age! She died two years later, age 89. extensively on the sound track. It is a tough one to find
Jo Ann Sterling however. Ron Heath
DEMS BULLETIN 2000/4 DISCUSSIONS - ADDITIONS - CORRECTIONS 17

Speaking of Alberta Hunter, I was able, on a trip to Mood Indigo

New York in 1977 or 1978, to hear her perform. A premise accepted by many composers/arrangers is
She certainly was a captivating singer, and hearing her live at that Barney Bigard came up with the 2nd theme of
the Cookery was a wonderful experience. She sang blues, Mood Indigo (that heard in his solo). Duke set the chords
ballads, and up-tempo numbers with equal skill and with a to it and composed what we know as thefirsttheme (also
deliciously irreverent sense of humor. 16 measures) which is essentially 1/2 notes, 1/4 notes and
You could not help but leave at the end of the night with whole notes. It is probable that it took Duke ± 20 minutes
a feeling of having witnessed a truly rare event to write this out in 3 part harmony — bars 9 to 12 are also
The Columbia CD "Amtrak Blues" is a good Bigard's — and copy out the parts. In other words, Duke
representation of how she sounded at that time. Definitely composed and scored 12 measures of music on the original
worth owning, in my humble opinion. John Bartholomew recording — played twice — the rest is improvised.
It is Duke's 12 bars that grab us. Andrew Homzy
I have compared the recordings I own made by Alberta
Hunter, Alberta Prime and Alberta Jones. Black Cat Blues
I listened to the following recordings (all on vinyl):
1. Stingaree Blues: Alberta Hunter with Fats Waller. NYC, Duke Ellington's Black Cat Blues (© 1927) was never
recorded but it exists in the form of a published piano score.
Jun23 It consists of two themes. The first, AB16, is exactly the
2. It's gonna be a cold, cold winter: Alberta Hunter with same as the second theme of The Blues I Love To Sing.
Duke Ellington: NYC, c. Nov24. RUST's Jazz Records The second is a 12 bar blues, apparently different from
1897-1942 (revised edition 1969, published 1970) notes everything else. Vittorio Castelli
"This issue as Alberta Prime ..."
3. Parlor social de luxe as above plus Sonny Greer, voc.
4. Texas Moaner Blues: Alberta Hunter with Red Onion Jazz A Day At The Races
Babies: NYC, 8Nov24 See DEMS 00/3-8
5. Nobody knows the way I feel this mornin': as 4, but In 19701 had long conversations with Leo Arnaud,
22Dec24 trombonist and arranger, known in the United States under
6. Early every mornin': as 5 the pseudonym Leo Armand. It was his first visit to France
7. Cake walking babies: as5 after he left the country in 1931.
8. Lucky numbers blues: Alberta Jones ace. by Ellington In 1937, when he was employed by M.G.M. as an
Twins (=Duke plus Hardwick): NYC, c. 19oct26 orchestrator, he worked on thisfilm.He assured me that he
9. I'm gonna put you right in jail: as 8 had re-orchestrated the parts which are claimed to be played
To start with the easiest part The singer on 8 and 9 has a by the Duke Ellington orchestra, because these parts did not
total different voice compared to that of the singer(s?) on the fully meet the requirements of Hollywood.
other seven recordings. She has more the blues singer type These re-orchestrated parts were recorded by the studio
voice; on the other recordings you hear strongly vaudeville- orchestra. It is true that one can recognise Barney Bigard and
typed voices. Cootie Williams (between 4:15 and 5:04 on track 6 of
The conclusion is justified that Alberta Jones is a CD # 1 of Rhino R2 70805). However, what one can hear
different singer to the singer or any of the singers on the first behind them is not very Ellingtonian. Claude Carriere
group of seven recording. I agree with you. The band which played the rejected
The voices on the seven recordings (1-7) have a rather minute of music does not sound very Ellingtonian. But it is
strong resemblance to each other, as far as that can be still possible that it was the Ellington band. It didn't make it
discerned from the three LPs involved. into thefilm.The recording that replaced this rejected
This is not strong evidence because what you hear are Ellington recording in thefilmis undoubtedly by the studio
rather "common" voices, so it would not be difficult to find a orchestra. It seems to me that your statement confirms,
handful or more of other quite similar voices. rather than contradicts, Will Friedwald's liner-notes.
More important is that on recordings 2 and 3 we hear a
significantly different vibrato to that on 1,4,5, 6 and 7. Sjef Hoefsmit
Consequently, I support the conclusion of Mark Tucker Rex Stewart's true name
that the Duke did not record with Alberta Hunter. See DEMS 00/1-11/3 and 00/2-4/3
Rob van de Velde Hughes Panassie' wrote a book, titled "Cinq Mois a New-
York", printed in 1947. Panassi6 stayed in New York from
The Duke Ellington Songbook 12oct38 until 23Feb39. On page 120 and 121 he gave a
See DEMS 00/1-9/1, recordings 25,26 & 27Jun57 report of what happened on 28Dec38.
I am 99.9% certain (which is a bit presumptuous): One paragraph reads as follows: When I ask Rex if his
Drop Me Off In Harlem Ray Nance name is written Stewart or Stuart he answers: "'My family
Caravan Harold Baker name is STEWART, but I often sign STUART since I have
Perdido Harold Baker many autographs to give. It's faster to write". I think this
Clementine Ray Nance question is clear now. Paul Foret
I'm Beginning To See .... Harold Baker (intro)
All Too Soon Ray Nance (obligate) sequence) Old Time Radio
Rockin' In Rhythm Ray Nance (in the pep section) See DEMS 00/2-12/2
Cat Anderson (at the end) As I mentioned earlier the VM-tapes can be ordered via
/ Got It Bad Billy Strayhorn, piano [email protected], but the homepage is accessible through
(ascending run in the intro) www.old-time.com. If you click yourself down you will find
and arranger. Claude Carriere Radio Showcase and its catalogue. Anders Asplund
DEMS BULLETIN 2000/4 18
So, to sum up, there are two "prototypes" of
Mood Indigo (or Dreamy Blues) from 14oct and 17oct with

NEW RELEASES the same, reduced personnel, and they both exist and are
different Can anyone give a sensible explanation why MoJ
denies the existence of thefirstone — and shakes my
AND R E - R E L E A S E S confidence in their accuracy by doing so? Frits Schj0tt

Note: See comments on limner page 4, entries 14,17 and

fk Duke Ellington — Volume 11 — 1930 30oct30. These comments came as supplement to
V Masters Of Jazz MJCD 173 Bulletin 98/3. DEMS

Aug30 From the soundtrack of You are right Frits. It is a pity. On the other hand we
"Check And Double Check" have a never before released version of The Mystery Song on
When I'm Blue this CD. You can hear it in the film but it has never been
The Mystery Song released on records. Three Little Words from this soundtrack
East St. Louis Toodle-Oo is not accepted by everybody as a genuine Ellington
Three Little Words recording. See Klaus Stratemann page 36. Steven Lasker
Old Man Blues reported in DEMS Bulletin 98/1-17, low right column, that
20Aug30 Ring Dem Bells -2 he may have heard the real Ellington recording of
Ring Dem Bells -3 Three Little Words being used in another 1931 RKO picture.
Old Man Blues -1 It is very different from the "Check And Double Check"
Old Man Blues -2 soundtrack although the fragment is not longer than 15
Old Man Blues -3 seconds. Sjef Hoefsmit
Three Little Words -1
26Aug30 Three Little Words -5 The reason why you mayfindit difficult to acquire a
Ring Dem Bells -6 copy of the CD Masters of Jazz MJCD 173,
Old Man Blues -A Duke Ellington, Volume 11, is the fact that the Media 7
Old Man Blues -6 company went bankrupt We are trying tofinda way of
continuing the series.
2oct30 Hittin' The Bottle -1
-2
The reason why I forgot to include the recording of
Hittin' The Bottle
Mood Indigo from 14oct30 is because I did not yet have the
That Lindy Hop -3
indispensable New DESOR. I goofed. Thisfirstrecording of
You're Lucky To Me -2 Mood Indigo will be the first track of Volume 12, which
Memories Of You -1 will be out soon, we hope. Claude Carriere
14oct30 Big House Blues -C
Rocky Mountain Blues -B
17oct30 Runnin' Wild -A Unique Jazz (United States) 1033

27oct30
Mood Indigo
Home Again Blues
-A
^
© Duke Ellington
Live In 1947! At The Hollywood Bowl
Wang Wang Blues -A
I recently picked up a new release on CD of thefirstpart
I have always considered Masters Of Jazz as the ultimate of the Hollywood Bowl Concert of 31 Aug47. This is a re-
in discographical completeness and perfection — not the release of the Unique Jazz LP 001. Here are the selections:
least the Duke Ellington-volumes, so I was somewhat Blutopia; Overture To A Jam Session; The Mooche;
puzzled, when I recently received vol. 11 (MJCD 173 — Jumpin' Punkins; Ring Dem Bells; Beale Street Blues;
august- October 1930). Memphis Blues; St. Louis Blues; Golden Feather;
In the booklet - page 13 - it says: Air Conditioned Jungle; Golden Cress; Diminuendo In Blue;
" On Sunday 12th October 1930, Ellington and his Transblucency; Crescendo In Blue.
musicians took part in a gala benefit at the Broadhurst I hope we will soon see a re-release of part two of this
Theatre, with the Marx Brothers also on the bill. Two days concert Geff Ratcheson
later Duke and six members of the band cut three sides for
Okeh as The Harlem Footwarmers'. These included a
prototype of Mood Indigo, which has never seen the light Cassette Jazzline JLPCI
of day."....and on page 14: "For thefirstissued version of Jazzline Limited, P&C 1987
Mood Indigo, on the other hand, the band was cut down to
the same seven-piece as on October 14." This is about the The Mooche 17Jul46
session on 17oct with the full-band issue of Running Wild. Someone 17Jul46
So much for the Masters Of Jazz booklet I Can't Believe That You're In Love With Me 17Jul46
The New DESOR notes the recording of Mood Indigo Indiana 16Jul46
from 14oct (matr.nr. W 404481-A) issued a.o. on CBS Fickle Fling 16Jul46
88000 - the "The Complete Ellington" on dbl.LPs, vol. 3, One O'Clock Jump 16Jul46
which I have checked. On the cover the matr.nr. is Tip Toe Topic 28Mar46
W404481-B and the rec. date is noted as 30oct, but these Tea for Two 17Jul46
errors are solved now (see note). Then comes the 17oct A Gathering In A Clearing 11JU146
recording, matr.nr. E34928, which is the same as track 20 Suddenly it Jumped 1 Uul46
on the MoJ-CD, and which is the same as the one issued All these selections are taken from the Capitol
on the 3 CD set Decca GRD 3-640 (DEMS 97/1-10). Transcriptions. Lance Travis
DEMS BULLETIN 2000/4 New and R e - r e l e a s e s 19

not really good quality but have a lot of wow and flutter in
Storyville CD STCD 8323 them. DEMS members are advised to wait for the
TOGO BRAVA SUITE forthcoming Storyville CDs label DETS where all these
selections, except selection 2, will be available. Here is the
This CD, announced in DEMS 00/2-16/1 is scheduled for information:
release in Europe in March 2001. If you have a problem 1. In The Shade Of The Old Apple Tree 26May45 610A
finding it, you may order it directly from Storyville Records, 2. Creole Love Call lDec43 415A
Dortheavej 39,2400 Copenhagen NV, Denmark. Tel. (45) 3. It Don't Mean A Thing 21Apr45 480B
3819 8590; Fax 3819 0110; Email <storyvilpost8.tele.dk> 4. Harlem Air-Shaft 12May45 483A
DEMS 5. Kissing Bug 8Sep45 558A
6. Prelude To A Kiss 12May45 701A
7. Ring Dem Bells 7Jul45 701A
TKO/MAGNUM MUSIC (E) CECD 012 8. Diminuendo And Crescendo In Blue 7Jul45 534A
Duke Ellington — The Jeep Is Jumpin' 9. Frankie And Johnny 26May45 626A/B
Selection 2, Creole Love Call, is recorded at the Decca
1. Mood Indigo * 8Nov43 Circle Studios in NYC and can be found on CIRCLE CD 102
2. Solitude 20Nov52 Birdland (See DEMS 97/4-15) and on TKO 34102 (See DEMS 99/1-
3. Perdido * 20Nov52 BindTand 12/3).
4. Take The "A" Train * 30Apr53 Portland With the exception of selection 4, Harlem Air-Shaft, all
5. Tea For Two 8Nov43 Circle the selections can be found on the COLLECTOR'S CHOICE
6. Lullaby OfBirdland* 30Apr53 Portland 3 CD SET (See DEMS 98/4-14).
7. Time On My Hands 30Apr53 Portland The locations were: 21Apr45 — 400 Restaurant, NYC;
8. Stomp, Look And Listen 30Apr53 Portland 12May, 7Jul and 8Sep45 - ABC Studios, NYC;
9. Creole Love Call 24Nov52 Biidland 26May45 — Regal Theatre, Chicago.
10. Caravan 24Nov52 Birdland Jerry Valburn
11. Do Nothiri Till You Hear From Me 8Nov43 Circle
12. Hollywood Hangover * 7Aug45 Circle The transfer is indeed very poor. Track 6 is much too fast
13. In A Jam 7Aug45 Circle and track 8 is too slow. Track 2 is missing a second on 0:20
14. Main Stem * 9Nov43 Circle and again on 4:22. Track 6 is missing a second on 1:51, whict
15. Midriff 2Jan45 Circle means that the two high piano notes are totally missing.
16. Play The Blues And Go * 19Mar56 55319-8 It seems that this CD is copied from the Decca LP PD 12007,
Jerry Valburn titled The Best Of Duke Ellington, Jazz of World War 2nd, # 3
in the series Die Grossen Stunden Des Jazz. The selections on
* If you compare this TKO CD with the Memorial the Decca were cut from the original broadcasts at exactly the
album (DEMS 99/1-12/3) you must come to the conclusion same spots and the wrong speeds were already there.
that TKO compiles its CDs from a very limited source base. I advise everyone to check TKO Magnum releases carefully
Notes: before buying.
3. Bar 11 is missing from thefirstchorus by Clark Terry. See also DEMS 98/2-16/3 and 99/1-12/3. Sjef Hoefsmit
The copy on the Memorial album was OK. How come?
5. Bars 3,4 and 5 are missing from the second chorus by
Taft Jordan. TKO/MAGNUM MUSIC (E) CECD 024
9. The piano introduction is deleted. Live In The Big Apple
15. This is take -2. Take -1 was on the Memorial album.
Sjef Hoefsmit This CD consists of the following tracks, in order
1. Diminuendo In Blue 23oct46 5765^
2. Magenta Haze 23oct46 5766-4
TKO/MAGNUM MUSIC (E) CECD 023 3. Sultry Sunset 25Nov46 5813-2
Duke Ellington at the Zanzibar Club 4. Happy-Go-Lucky Local Part 1 25Nov46 5814-2
Happy-Go-Lucky Local Part 2 25Nov46 5816-2
I just picked up "Duke Ellington At The Zanzibar Club" 5. Blues [sic] Skies 25Nov46 5815-1
on TKO/Magnum. Despite their rather shady history with 6. Hiawatha 5Dec46 5817-1
Ducal releases, it appears that they didn't rip us off this time! 7. Flippant Flurry 5Dec46 5818-3
The CD says, "Recorded At The Zanzibar Club, New York 8. Golden Feather 5Dec46 5823-1
During the Summer & Autumn 1945". If this info is close 9. Minnehaha 5Dec46 5824-3
to accurate, I at least don't have these recordings elsewhere 10. Overture to a Jam Session Part 1 llDec46 5845-3
(although I'm sure that many of the old-timers do!). Overture to a Jam Session Part 2 HDec46 5846-3
The music is definitely worthwhile. The sound quality is 11. Jam-A-Ditty HDec46 5847-1
fair, clear but the highs are non-existent (although TKO rates
the sound 9/10 hmmm ). I find it interesting that there AH this material is from the well-known Musicraft
is no radio announcer anywhere on the disc. Ill be curious to sessions. It sounds as if it's been transferred (not very well)
learn more about this CD. Geff Ratcheson from an LP and there is probably an exact equivalent on the
Allegro (LP-3074) and Ember label(LP-3327), but TKO has
Despite the claim on the CD that these selections are the correct sequence. A better buy (two selections more and
from the Zanzibar Club not a single selection is from the Jack Towers responsible for the transfer) was the Musicraft
Zanzibar Club. They are ALL V-Discs and the transfers are CD MVSCD-52 in 1992. (See DEMS 89/2-1) DEMS**
DEMS BULLETIN 2000/4 New and Re-releases 20

Hep CD 1069 DETS (D) 9039001 - 2 CD set

Ivie and Duke Vol. 2 - All God's Chillun Duke Ellington Treasury Shows

This marvellous Vol. 2 of "Ivie & Duke" just came out. CD 1 — 400 Restaurant, 7Apr45
It has more than 75 minutes of glorious music. The sound Take The "A* Train; Blutopia; Midriff; Creole Love Call;
quality is again superb, with re-mastering by Suddenly It Jumped; Frustration; I'm Beginning To See The
John R. T. Davies. Steve Voce Light; Perfume Suite: Love, Violence, Dancers In Love,
Sophistication; Air Conditioned Jungle; I Ain't Got Nothin'
Here are the selections (with correct dates): But The Blues; Subtle Slough; Passion Flower.
9Apr37: There's A Lull In My Life (-1); — War Bond Rally, NBC Studios, lMay43
It's Swell Of You (-1). Take The "A" Train; Hayfoot, Strawfoot; Don't Get Around
22Apr37: Old Plantation (-1). Much Anymore; A Slip Of The Lip; Take The "A" Train.
8Jun37: All God's Chillun Got Rhythm (-1);
CD 2 — 400 Restaurant, 14Apr45
Alabamy Home (-2).
Moon Mist; New World A-Comin'; Nobody Knows The
24Feb38: If You Were In My Place (-2); Skronch (-2).
Trouble I've Seen; Mood Indigo; Chant For F.D.Roosevelt;
3Mar38: Carnival In Caroline.
Poor Pilgrim Of Sorrow; Creole Love Call; Moon Mist.
11 Apr38: Swingtime In Honolulu.
7Jun38: You Gave Me The Gate; Rose Of The Rio Grande — Treasury Star Parade #231, Jun43
Take The "A" Train; Don't Get Around Much Anymore;
(-1); When My Sugar Walks Down The Street.
Caravan; It Can't Be Wrong; Johnny Come Lately.
20Jun38: Watermelon Man; La De Doody Do.
— Treasury Star Parade # 232, Jun43
12Jun39: In A Mizz; I'm Checkin' Out Goo'm Bye;
Take The "A" Train; Wait For Me, Mary; Moon Mist;
A Lonely Co-Ed; You Can Count On Me.
16oct39: Killin' Myself; Your Love Has Faded. A Slip Of The Lip; Things Ain't What They Used To Be.
14Feb40: Solitude; Stormy Weather; Mood Indigo
6Mar40: So Far, So Good. Note: Each of the Treasury Star Parade broadcasts began
15Mar40: Me And You. and ended with the theme Any Bonds Today? I believe that this
22M40: At A Dixie Roadside Diner. was played by an unknown studio orchestra. The New DESOR
5Sep40: Five O'clock Whistle. accepted it as a genuine Ellington recording. Sjef Hoefsmit

The liner notes are not free from errors: it says 4Apr38 Since these CDs were announced in DEMS 98/4-11, many
instead of 11 Apr38 and 14Jul40 instead of 5Sep40. members have inquired about the date of release and the way to
Arthur Whetsel was in the band until he was replaced by find them. If you cannot find the CDs in your local record
Wallace Jones on 24Feb38. Harold Baker did not join the shop you can order them directly from Storyville Records,
band before 1942. On 3Mar38 Herb Eemming replaced Dortheavej 39,2400 Copenhagen NV, Denmark. Tel. (45)
Juan Tizol. Jimmie Blanton joined the band after the 3819 8590; Fax 3819 0110; Email <storyvilpost8.tele.dk>
16oct39 session. The name of Wardell Jones (replacing The set will be released in the USA in January 2001. The
Wallace Jones on the final track) is new to me. price is $ 25.- plus postage. EU citizens will be charged with
I have also checked the first volume, Hep CD 1067, VAT (25%). Prepayment is requested. DEMS
"Ivie and Duke - Raisin' The Rent" (see DEMS 00/1-19/6)
As could be expected, if alternate takes existed, the most
original 78 rpm releases were used, as by the way also was
done for the second volume.
Lawrence Brown joined the band in Mar32.
ELLINGTONIA
Get Yourself A New Broom belongs to session (d) and
not to (a). Concord Records CCD-4895-2
Fred Guy started playing guitar instead of banjo in the Marian McPartland
session of 15Feb33. The Single Petal Of A Rose
Also Joe Nanton was out in the session of 12Apr34.
Marshall Royal had already left the band on 9May34. Take The "A* Train; Just Squeeze Me; All Too Soon;
Charlie Allen never took part in a recording session I Let A Song Go Out Of my Heart; Mood Indigo; Take The
during his short stay with Duke. Coltrane; Single Petal Of A Rose; Everything But You;
On 9Jan35, Billy Taylor played tuba next to Cerulescence; It Don't Mean A Thing; Sophisticated Lady;
Wellman Braud, who was still on bass. Warm Valley; C-Jam Blues.
Lawrence Brown was in the band on 20Jan36. Cerulescence is a word that describes the essence of
Ben Webster was not in the band on 17Jul36. blue/azure. Appropriate for a Duke tribute. Loek Hopstaken
Hep deserves to be praised for filling up the CDs to the
maximum. Volume 1 had almost 72 minutes of great music. Concord has also released the CD Jazz Piano Essentials
Sjef Hoefsmit — The Music of Duke Ellington, CCD-4913-2. Most of the
recordings come from Concord's Maybeck Recital Hall CD
FARGO, delay of the new release. series. On this latter CD, Marian performs the rarely played
See DEMS 00/3-7/2 The Clothed Woman. Richard Ehrenzeller
Owing to an unforeseen delay in the production of the
accompanying booklet, the 60'b anniversary edition of the I once heard Marian McPartland recount how she was
Fargo recordings will not be available until early 2001. We'll playing for Duke when he leaned over the piano and said
certainly advise you when it is available. The catalogue "why do you play so many notes?" Being the daughter of an
number will be Storyville 8316/8317, and it will have some earl no doubt she handled the situation with aplomb.
special packaging, I gather. Bob Bamberger Keith Richardson
DEMS BULLETIN 2000/4 New and Re-releases 21

Naxos Jazz 86032-2 Prophone # 21, distributed by JEM

Joe Temperley — Double Duke Alice Babs
Serenading Duke Ellington
This is a quintet recording led by Joe Temperley
containing 9 tracks that plays for 57 minutes. This CD is available for on line purchase at both
Recorded 3oct98 in New York, it is amazingly engineered CDNow and Tower Records.
by David Baker. The CD is made in Germany. Tracks: Lady In Blue; Me And You; Don't Get Around
Joe replaced Harry Carney in 1974 on his death. He was Much Anymore; Freedom; There's Something About Me;
an obvious choice with his prowess on baritone and soprano Somebody Cares; Warm Valley; I Don't Mind;
saxophones and bass clarinet Actually Joe was no slouch on Jump For Joy; I Like The Sunrise; Freedom I And III;
alto and tenor saxophones either! I saw him on numerous Somebody Cares; Thank You For Everything;
occasions at Ronnie Scott's Club. Something About Believing; Solitude. David Palmquist
Having to occupy Carney's chair in the Ellington
Orchestra his reputation as "the baritone player" was "Alice Babs Serenading Duke Ellington" was issued on
irrevocably established. LP (Swedish Society SLT 33233) as a tribute to Duke.
Other members of the quintet include: It was recorded by Swedish Radio in Stockholm on 26 and
Wycliff Gordon, tmb; Eric Reed, pno; Rodney Whitaker, bs 27Nov74. She was accompanied by Nils Lindberg's big band
and Herlin Riley, dms. as well as by a small unit from the band. Nils also arranged
Their rendition of Black and Tan Fantasy is a tour de the music. Bjarne Busk
force in which the quintet displays an orchestral potential,
thanks to the tonal variety of which the two horn players
are capable. Prestige PRCD-24214-2
In my humble opinion, Rodney Whitaker is masterful on Can't Help Swingin'
bass and is equal to, if not better than, other bass players in Jimmy Hamilton
this 8:21 piece!
The trombone of Wycliff Gordon is one of the finest bits Admirers of Jimmy Hamilton will want to acquire this
of playing I've heard. He plays in the tradition of Tricky'' fine CD.
Sam Nanton and the incomparable Booty Wood. It combines two albums that Hamilton recorded in NYC
Joe makes this CD "work" however, with a brilliance for Prestige's Swingville subsidiary. The first of these, titled
that comes from years of playing the Duke's music and the "It's About Time", features a sextet with Ellington alumni
skill of a master at the top of his profession. Look for: Britt Woodman, Clark Terry, and Wendell Marshall in their
Creole Love Call, Rubber Bottom and Cotton Tail, also familiar roles, along with drummer Mel Lewis and pianist '
Strayhorn's Raincheck. Barry Dina Tommy Flanagan.
PS. NAXOS website is: <www.hnh.com> The second is a quartet date, with Flanagan and Marshall
again on piano and bass, respectively, and Earl Williams on
Joe Temperley is the greatest living baritone player. No drums.
question about it. His sound is like Ben Webster on the Thefirstalbum was recorded on March 21,1961, and the
baritone. second a mere two weeks later, on April 4.
I was present at the date. In fact Fascinatin' Rhythm is Both sessions contain nearly as much of
my arrangement. Another factor that might induce people to Jimmy Hamilton on tenor sax as on clarinet Furthermore,
buy this album is the incredibly low price. I think away from the Ellington orchestra his tenor is played in a
something like $4.69 US. style almost entirely lacking the "raunch" that characterized
If you don't know Temperley's playing, you owe it to his saxophone work with Duke. Apparently EKE used him
yourself tofindout how great a baritone saxophone can on tenor specifically to achieve that effect and — away from
sound (he doesn't sound like Harry—nor does he try to). Duke — his innate approach to the horn was much more
If you know Joe's playing, then I don't need to tell you. elegant and (to my ears) interesting. This is a disc which
David Berger continues to reward after many listenings.
The CD does appear to contain both of the original
Kendra Shank — Reflections albums in their entirety. The following is a listing of the
Bob Blumenthal in his "Jazz Notes" column (Boston tracks in the order they appear on the CD:
Globe 10/27/00) offers strong praise for Kendra Shank's new (From the LP "It's About Time," Swingville 2022)
CD "Reflections" (Jazz Focus). 1. Mr. Good Blues
Blumenthal says, "don't ask 'Kendra who?' when my 10- 2. Peanut Head
best list rolls around." 3. Nits and Wits
An interesting aspect of this CD is that the title track is 4. Stupid But Not Crazy
Ellington's Reflections in D with lyrics. Unfortunately I 5. Two for One
have not yet heard the CD and do not know who contributed 6. Gone with the Blues
the lyrics. (From the LP "Can't Help Swingin'," Swingville 2028)
Considering that Bob Blumenthal is one of today's better 7. Definite Difference
jazz critics/writers, his endorsement of Ms Shank's new CD 8. Pan Fried
is worth noting. Bill Saxonis 9. Lullaby of the Leaves
10. Baby Won't You Please Come Home
I just spoke to Will Friedwald. Kendra's version of 11. There Is No Greater Love
Reflections in D is the same one that Tony Bennett did on 12. Dancing on the Ceiling
his LP, "Life is Beautiful". He informs me that it is on one 13. Route 9W
of Tony's compilation CD's. Rich Ehrenzeller 14. Town Tavern Rag John Bartholomew
DEMS BULLETIN 2000/4
increasingly difficult to maintain, and it is dawning on us
EMI Classics 57014 2 8 keepers of the classical music flame that we are not the art
Classic Ellington but one of many arts. Sir Simon's concert — peopled by
splendid musicians working hard and joyously, and
I received a promotional copy of the EMI soon to be experienced by an enthusiastic audience — still had more
released disc "Classic Ellington" which contains 12 to do with separation than with contact"
selections featuring Luther Henderson's symphonic
arrangements played by the City of Birmingham Symphony
Orchestra with Simon Rattle as Conductor. Impulse GRD-116
The 12 selections are: Take the "A" Train; You're The One; Everyone Knows Johnny Hodges
Sophisticated Lady; Harlem; Isfahan; Ad Lib on Nippon;
That Doo-Wah-Thing; Something To Live For; Hodges recorded on several different labels besides Verve;
Come Sunday; Solitude in Transblucency; Maybe and Impulse, BMG (RCA) and Prestige come to mind.
Things Ain't What They Used To Be. One gem currently available is the Impulse CD,
The featured artists include Lena Home, Clark Terry, "Everyone Knows Johnny Hodges".
Regina Carter, Geri Allen, Mark Goodchild, Joe Lovano, The CD actually contains two LPs, "Everybody Knows
Lewis Nash, Peter Washington, Bobby Watson and Johnny Hodges" (Impulse AS-61) and "Inspired Abandon" by the
Joshua Redman. Adrienne Alyce Claerbaut Lawrence Brown All-stars with Johnny Hodges (Impulse AS-89).
The CD is packed with stars from the Ellington band
Michael Ullman has sent us a review, which will be
including Nance, Gonsalves, Carney, Cat and Procope. Johnny's
published soon in Fanfare. He and his editor gave us
son plays drums on two tracks. Jimmy Jones is the pianist The
graciously permission to quote from this excellent review.
mix of the 16 songs is great including classics such as Main
It is worthwhile to look out for the complete article.
Stem and Mood Indigo as well as some of Johnny's originals
We choose this quote: including Sassy Cue, Little Brother and Good Queen Bess.
"Henderson has top-drawer credentials, though mostly in These recording from 1964 and 1965 have excellent fidelity.
Broadway and TV. He, or Simon Rattle, had the clever idea of
bringing in a clutch of solid jazz soloists to liven up the I must point out that the CD is not new. According to the
proceedings. They include the veteran trumpet player Tower Records Web site, the CD was released on 7/92.
Clark Terry, whose fluency and rounded tone are featured on I know that I have had my copy for several years.
Take the A Train and Things Ain't What They Used to Be. The label on Tower's web site is listed as GRP, but the CD
Lena Home, now in her eighties, has now a deteriorated voice features both the "GRP" symbol and the "Impulse!" symbol.
but plenty of style. She is heard on three Strayhorn tunes. (For some reason, the CD number is GRD-116 and not GRP-
116.) Tower Records on line has the CD for $10.00, but at
Does this sound like a classical album? Hardly. The disc CDNOW(also on-line), they are asking $11.50.
focuses on Ellington and Strayhorn hits, inflated in pop-
oriented orchestral arrangements that are well played in a It is a great CD! Bill Saxonis**
style that only reminds one of what jazz sounds like. To my
mind the highlight of the album, and the only piece that
justifies the overall title, is Ellington's episodic, but DJAZ Records DJ 716-2
evocative fourteen minute piece, Harlem, which is well Carrots for Hodges
played here by an orchestra that even has its own growling Claude Tissendier Septet
trumpeter. Elsewhere, I listen for the excellent solos by the
saxophones and by violinist Regina Carter. This material is Most Ellington collectors have also a collection of
almost always available in superior performances by the Hodges recordings. Not only was Hodges' sound one of the
Ellington band. The disc is valuable for Harlem and will key elements in Duke Ellington's recorded ceuvre, but the
attract Lena Home collectors. Perhaps it will attract new musicians in Hodges' small groups were mostly colleagues
listeners to Ellington's more idiomatic performances, or will from the Ellington band. The same happened with the
drive an occasional fan to pick up a Joe Lovano disc or to Gaude Boiling band. Gaude Tissendier has assembled a
listen once more to the incandescent Clark Terry: even in small group, most of whose members have also played in
this setting, he is able to rock the band on the Big Band of Gaude Boiling.
Things Ain't What They Used to Be." Gaude Tissendier's recent CD should not really be
mentioned in DEMS Bulletin at all. There are no
Bernard Holland reviewed in the N.Y.Times the 28SepOO Ellingtonians involved and no Ellington composition is
"Classic Ellington" concert at Carnegie Hall by the Orchestra included. Still we think that if you like the Johnny Hodges
of St. Luke's, conducted by Sir Simon Rattle. small groups, you should give this CD a listen. All
His review ended as follows: compositions and arrangements are by Claude Tissendier and
"One of ourfirstimpulses when we make new friends is he has succeeded in making his CD a genuine Ellingtonian
to introduce them to our old ones. But in the case of one. The sound and the flavour of Johnny Hodges' small
Duke Ellington Meets Classical Music, I would suggest that groups are beautifully captured. Claude Tissendier himself
one plus one equalled less than two. So many of takes care of the Hodges voice and he comes very close to
Mr. Henderson's touches seemed intent on showing us his the inimitable Arne Domn^rus. However, more important
prowess in classical orchestral style, and no one could doubt than the exact same sound is the same atmosphere, and in
his easy sophistication. this respect Claude Tissendier has done a marvellous job,
Pure Ellington, on the other hand, got lost in the especially in the four selections in the 12 bars blues form.
demonstration. Listen to the Ellington band on records, and The recordings were made on 28Jun99 in Paris. The CD has
be lifted up by the sharpness and energy, an edge and a bite 56'48" playing time. Strongly recommended.
that a symphony orchestra can only dilute and weaken. If you cannot find this CD in your local record shop you
Maybe someone will one day discover a common ground could write to DJAZ Records, Box 93,92123 Montrouge,
for these two significant branches of music, but the question Cedex , France. Or contact through telephone or
remains: do we really need to? The idea of high and low art is fax +33 (0) 1. 46.54.44.60. Sjef Hoefsmit
DEMS BULLETIN 2000/4 23
from the Andre" Mahus collection and Jean Portier got his
The New DESOR corrections copy from me. Thus, our sources are identical. I agree with
Sjef it is quite unbelievable, but I ask him to listen again to
Unsigned suggestions come from me (Sjef Hoefsmit). this very pleasant theme She. JG? OB? on 5212j?
Klaus Getting
Page 31. Session 3711 — 8Jun37. I've given my opinion. Let's wait and see what Luciano
DE371 lc, thefirsttake of All God's Chillun Got and Giovanni think of this. Sjef Hoefsmit
Rhythm, is also recorded with the vocal group of RS, HC
and HA1, like DE371 Id as correctly indicated on page 726. Page 276. Session 5925 — 8Aug59.
Delete in the first line: AM(t), — AM was already
Page 46. Session 4003 — 14Feb40. mentioned among the personnel for session 5914.
Typing error. Who played the piano? Duke is not
mentioned. Page 417. Session 6614 — 7Feb66.
Page 49. Session 4018 — 5Sep40. In the Bulletin # 4 of 4Dec98 of the Duke Ellington
DE4018c, Five O'Clock Whistle, has a vocal by Society of Sweden, page 4 it was claimed that Duke and
Ivie Anderson. Jimmy Jones both played on the piano in Cotton Tail.
I asked for a confirmation. This was the answer:
Page 52. Session 4032 — 28oct40. This is an old question. Yes, Bo Sherman says that there
Several years ago I extracted a set of parts from were two pianists playing at the end of that recording.
Strayhorn's score for Chloe. Everything about it is his, plus Jimmy Jones and Duke Ellington. Geran Wallen
the fact that he plays piano on it. Loren Schoenberg
Ole Nielsen (in his discography Jazz Records 1942-80,
Page 169. Session 5018 - 26Dec50. Vol.6: Ellington, on page 333) claims that Duke and
The title for 5018c is given as Unidentified "C". Jimmy Jones played Duke's Place on the same piano at the
On my tape however, following Ko-Ko, Duke talks about end of the second concert of 8Feb66. This is proven to be
the forthcoming Metropolitan concert on 21Jan51, the true by the video recording of that concert. It is also
NBC Symphony and then he announces the next title to be documented in the New DESOR
played as Co-percussional Intricacies. This title is earlier
mentioned in Hoefsmit's comments on Timner's 3rd edition I am inclined to believe that Jimmy Jones joined Duke
th
and accepted by Timner in his 4 edition. for the performance of Cotton Tail the day before (7Feb66).
Bo Sherman was there. Why shouldn't we believe him?
All titles 5018 are claimed to be unissued. It is a pity that we do not have a video recording of this
I have a Soundtrack "Audition" LP (Reeves Soundcraft Corp. show. It could convince us all, including the authors of
nd
10 East 52 Street N.Y.) containing 5018a-g on one side and the New DESOR. Sjef Hoefsmit
5018h-i on the other. No number engraved, no information
on the white label, only some hand-written infos on the Page 447. Session 6681 — 21Nov66.
ochre-coloured sleeve. This seems to be a kind of test- In Jam With Sam (6681k) the piano was played by Duke,
pressing and I wonder whether other copies exist The music Joe Bushkin and Skitch Henderson.
is the very same as on my Cavalcade-tape; there are however Page 551. Session 6962 - 15Nov69, Geneve.
some slight differences: Jean Carbonnel asked why Fleurette AJricaine disappeared
— above mentioned title of 5018c is clearly announced from this session. In the old Desor we put
on tape, but this announcement is deleted from the LP; Fleurette AJricaine at the end of this concert asl231t, but
—firstnotes of Perdido 5018i are missing on the LP, that was a mistake. In the New DESOR we removed it from
but present on the tape; the Geneve concert, but we have forgotten to put it in a new
— two short interruptions (%) on tape during Coloratura session. Claude Perrottet, who gave me this tape many years
5018h, no interruption on LP. Klaus Getting ago, told me that this title came from the telecast of the
Indeed, Timner accepted my "correction" as suggested in Suise Romande "Le Club Du Piano" and that it was recorded
my comments on his 3 edition (Co-percussional Intricacies).in Paris, probably in Nov69.
rd Luciano Massagli
DESOR did not They apparently did not consider this a Page 738. Theme Azure - 24Apr66 — 6641e.
genuinetitle,but rather a joke. In the 3° chorus is a typing error. We hear
I do not believe that our Italian fiends will accept your Jimmy Hamilton, not Harold Ashby (who was not even in
Soundcraft "Audition" LP as a release to be included in their the band at that time).
Section III — Discs. It seems to me that this LP was made Page 746. Theme Beautiful Woman Walks Well —
before the era in which first wire and later tape became the 24Apr66 - 6641j.
ideal medium for storing sound. Nowadays one would use
CD's for privately made recordings (or copies from On my tape the non complete 2° chorus has 15 bars.
recordings). I know that also such CDs will not be accepted Page 1168. Theme Sunswept Sunday. I suggest to make
for inclusion in the New DESOR. Sjef Hoefsmit a note that 3° and 4° chorus are repeats of chorus 1° and 2°.
I do not expect my Soundcraft LP to be accepted for Page 1459. Now I got the name for Rolf Ericson. That
DESOR Section III but I still wonder what kind of LP this was not easy tofind.But the church phoned me yesterday
is; what was it made for, by whom and did other copies (20Nov) about it. His full name is Rolf Nils-Berje Ericson.
survive? Klaus Getting** His nickname is "Roffe". Geran Wallen
Page 182. Session 5212 - 25Jul52.
In 00/1-25 Jean Portier claimed that 5212J (She) was
sung by Ozzie Bailey and not by Jimmy Grissom.
Sjef Hoefsmit could not believe it I have however doubts. 3
I know that OB is known/supposed to have joined the band l ^ j p i s i f -©g ^©^©
only 5 years later, but I trust very much Jean Portier's
ears.... There is something strange with this 5212j version Bulletin 00/3-26 entry 1394 should read 1304.
following Happy Go-Lucky-Local by JG and by two false This will be corrected on future prints of Desor small
starts of She. My tape is a copy Sjef made me years ago corrections-sheet 5003. DEMS
DEMS BULLETIN 2 0 0 0 / 4 24

DESOR small corrections 5003 818 - Creole Love Call. 7151c Same as 7149c.
846 - Don't Get Around Much Anymore. 715 lo
V o l u m e 1 (Corrections Dec 2000) Same as 6003m.
IX - KY Kentucky 868 - Fife. 715li Same as 6969o.
XXI - TCC The Chrinoline Choir 887 - Happy Reunion. 7151g Same as 7149g.
18 - Session 3205. Add 3205xa Creole Love Call. 890 - Harlem. 71511 Same as 7147a, but cod 1RJ,%.
Correction-sheet 1021. (00/3-22) 891 - Harlem Air-Shaft. 4028f. Delete: int6DE; add: int8DE.
20 - Session 3214. Add take -B and -C of Porgy. 892 - Harlem Air-Shaft. 6103e int4DE;l°PG;
Correction-sheet 1022. (00/3-22) 2° 16BAND,8BAND&LB,8BAND;3°4BAND,4RN
29 - Session 3612. Add take -2 of Black Butterfly. 4BAND,4RN,8BAND&RN,4BAND,4RN;
4°8BAND,8BAND&JHa,8JHa,8BAND&JHa;
Correction-sheet 1023. (00/3-22)
5°24JHa,8BAND&JHa;cod2BAND&JHa.
29 - Make a note for the "fresh" session 9012. 907 - / Can't Get Started. 7151k
Early 37. Soundtrack "A Day At The Races." l°(nc)8DE;20HA;3014HA,%,16HA;cod6HA.
Correction-sheets 1023 and 3009. (00/3-8) 915 - 1 Got It Bad. 715 lo Same as 7152s
31 - 3711c Add: vc RS, HC, HA1 921 -I Let A Song Go Out Of My Heart. 715 lo
39 - Session 3832. Add: HC(b.s.). Same as 7152s.
46 - Session 4003. Add: DE(p.). (00/3-22) 933 - I'm Beginning To See The Light. 715 lo
55 - Make a note for the "fresh" session 9010. Prob. 1941. Same as 7175J.
Correction-sheet 1029. (00/2-21) 937 - In A Mellow Tone. 4030a. Delete the whole
142 - Session 4648. Delete: Omaha, NE & November 16, description and add: Same as 4018b, but int%,lDE.
1946; add: New York City, NY & October 12, 1946. 956 - It Don't Mean A Thing. 715 lo Same as 7003i.
Add: Radio City. (00/1-11/1 and 00/3-4) 982 - Kinda Dukish. 7151e Same as 6461ae.
150 - 4723e. Maybe I Should Change My Ways. Delete: 986 - La Plus Belle Africaine. 6665i. Delete the first chorus.
unissued; add: Co 1-331. (00/3-24) (00/2-10)
152 - 24Nov-7Dec47. Make a note for a "fresh" session 1032 - Moodlndigo. 7151o Same as 7005c.
9013 at the Lookout House. Correction-sheet 1022. 1055 - Include a "fresh" title: Ole Buttermilk Sky. 9013b.
(00/3-1) Correction-sheets 1022 and 2003. (00/3-1)
214 - 29Dec55. Make a note for the "fresh" session 9011 at
10% - Rockin' In Rhythm. 7151f Same as 711 If.
the Blue Note. Correction-sheet 1025. (00/2-22)
255 - Session 5831. Delete: Persian Room; add: Edwardian 1111 - Satin Doll. 7151m Same as 7149n.
Room. (00/3-24) 1135 - Solitude. 715 lo Same as 6844t
297 - Session 6103. Add take -2 of Tulip Or Turnip and 1147 - Sophisticated Lady. 7151o
three unnumbered takes plus take -6 of int2DE,2BAND;l08DE,8BAND,12HC,%.
Harlem Air-Shaft. Correction-sheet 1023. (00/3-25) 1157 - St. James Infirmary. 3003b: FJ instead of JT.
297 - Session 6104. Add 16 alternate takes. (00/3-25)
Correction-sheets 1024 and 3009. (00/3-20) 1161 - Make a note for the title with descriptions Strange
298 - Session 6105. Add 11 alternate takes. Visitor on Correction-sheet 2003. (00/2-4/1)
Correction-sheets 1025 and 3009. (00/3-20) 1181 - Take The "A" Train. 7151h Same as 6552a.
479 - Make notes for six "fresh" sessions early Jul67. 1196 - Tego. Delete 7151n. (00/4-4/2)
9019. Correction-sheet 1022. 1215 - The Mooche. 7151d Same as 7152d.
9014 and 9017. Correction-sheet 1026. 1217 - The Old Circus Train. 6664s. The description should
9015 and 9016. Correction-sheet 1027.
9018. Correction-sheet 1028. read as follows: 13<7270JH;28<7290BAND&JH.
One "fresh" session on 9Jul67. 9020. (00/2-9)
Correction-sheet 1028. (00/4-4/1) 1267 - Warm Valley. Replace 4018d by 4031a and 4031a by
528 - Delete before 6916bo: "only" and add: PK(b.); RJ(d.). 4018d. (00/3-25)
1314 - 0162 BLUEBIRD - The Blanton-Webster Band
(00/3-25)
Add to NOTE: Some copies of this CD have 4105b
619 - 715 In. Delete: Tego; add: Addi. of Jumpin' Punkins instead of 4105c and 4013c of
Add three titles and one selection in the Medley. Sepia Panorama instead of 4013b. (00/2-5/1)
Correction-sheet 1021. (00/4-4/2)
1412 - 0678 & 0679 ROULETTE CDP-7938442 &
V o l u m e 2 (Corrections Dec 2000) ROULETTE R-52074. Add, in the NOTE: Track 07:
721-Adtfi.Add:7151n The 6,h chorus and the coda are from 6105xk.
Same as 7152w, but: int2RJ,2DE,2JBe. (00/4-4/2) (00/3-20)
729 - All Too Soon. 4024d. Delete the whole description and 1439 - Allen, "Steve".
add: Same as 4014b, but int4DE. Add: Dec 26, 1921 -Oct 30, 2000 (00/4-3)
754 - Black And Tan Fantasy. 7151b Same as 7149b. 1453 - Cook, "Willie".
Add: Nov 11,1924 - Sep 22,2000. (00/4-1)
766 - Blues At Sundown. 52041. Add:, but RP instead of
1503 - White, William Jr. Delete: occ. for the session of
WS. (00/3-8/2 and 00/4-13/2) . June 12, 1940; add: some days in June 1940.
781 -C-Jam Blues. 7151a (00/3-22)
Same as 7048a, but l°%,9BAND&NT(cl.). 1505 - Woodman, Britt.
797 - Chinoiserie. 715 lj Same as 7142c, but: lib42HA. Add: Jun 4,1920 - Oct 13,2000. (00/4-2)
DEMS BULLETIN 2 0 0 0 / 4 25

New DESOR correction-sheets

Sessions Titles
1001- 9001 Preston 30Nov73 99/4-5 2001- 5733 All Heart 99/4-22/3
1002- 9002 Berklee 22May71 99/4-4 9002 Baby, You Can't Miss 99/4-4
9003 L.A 29May59 99/5-15 6113 B.D.B. 99/4-20/1
9004 Hartford, CT HApr32 99/3-5 9003 Beer Garden 99/5-15
5804/08 Blues In Orbit 99/4-18/1
1003- 9005 Rotterdam 18Nov73 99/5-1 99/5-17
1004- 4107 Culver City 20Feb41 99/3-5 3019 I'm So In Love With You 99/3-10/5
4117 L.A 3Jul41 99/3-11/12 2002- 5919/20/9003 Haupt 99/5-15&17
1005- 5625 NYC 7Aug56 99/4-18/2 5739 , Narration to Portrait of E.F. 99/4-22/3
5718 NYC 24Apr57 99/4-18/2 5804 Track 360 99/4-18/1
5721 NYC 3May57 99/4-18/2 5920 Unidentified "R" 99/5-17
1006- 5733 NYC 2Sep57 99/4-22/3 2003 4319/29 A Slip Of The Up 00/1-25
5739 NYC 3oct57 99/4-22/3 9013 Ole Buttermilk Sky 00/3-1
6338 Strange Visitor 00/2-4/1
1007- 5804 L.A 4Feb58 99/4-18/1 Correction-sheet 2003 is not yet available
5807 L.A HFeb58 99/4-18/1
5808 L.A 12Feb58 99/4-18/1 Discs
1008- 9003 L.A 29May59 99/5-15 3001- 5613/14. Columbia C2K-64932 99/4-16/6
5918 L.A Uun59 99/5-15 5804/08 Columbia CK-65566 99/4-18/1
5919 L.A 2Jun59 99/5-15 5625/5721 Columbia CK-65568 99/4-18-2
1009- 5920 L.A Early Jun59 99/5-17 5918/20/9003.... Columbia CK-65569 99/5-15&17
6113 Columbia CK-65571 99/4-20/1
1010- 6113 NYC 6M61 99/4-20/1
3002 CD1/CD9 RCA 09026-63386-2 99/3-9&10
1011- 4319 NYC 30May43 99/4-6
6544 Tanglewood 28M65 99/3-14/1 3003 CD10/CD17 RCA 09026-63386-2 99/3-11&12
1012- 5805 L.A 5Feb58 99/4-18/1 3004 CD18/CD24 RCA 09026-63386-2 99/3-13&14
7328 Winnipeg 25May73 99/4-5/2 4319/4361 AFRS Jubilee-69 99/4-6
7345 Caprice Records CAP-21599 99/1-13/3
1013- 7345 Malmo" 25oct73 99/1-13/3
3005 4415/30 ,, Musica Jazz MJCD-1124 99/4-7
1014 7156 London, 1" conceit 21oct71 99/4-5 4363/6914 Storyville DE- 100WA 99/3-15
1015 7160 Birmingham, 1" cone. 24oct71 99/4-5 5340/5403 (LP) Up To Date 2007 99/5-23
1016 7161 Birmingham, 2nd cone. 24oct71 99/4-5 5724/39 Verve 559248-2 99/4-22/3
1017 4571 NYC loct45 99/4-21/4 3006 4527/35 AFRSDWTD-24 00/2-19
9006 NYC 15oct45 99/4-21/4 4571 Buddha 74465-99629-2 99/4-21/4
9008 NYC 20Apr57 00/1-10/1 5318/5407 LBird 61746-80298-2 99/5-18/1
9007 WW Fall 1965 99/4-9/2 4010/4549 Jazz Unlimited 2043 00/2-13/3
(6544/9007 , , RCA Victor SP-33394 99/4-9/2
1018 4028 Chicago Sep/Oct40 00/2-21 6557
i Verve Bite 314547265-2 00/2-13/2
4728 NYC 10Nov47 00/1-16/1
9009 NYC 27Apr57 00/1-10/1 3007 «CD1/CD3 Columbia C3K-65841 00/1-16/1
4504 MEDIA 7 MJCD-141 00/1-19/4
1019 6338 Paris lMar63 00/2-4/1 3610/3715/3828 R/V Records 1001 00/2-14/1
1020 6338 00/2-4/1 3008 •4566 AFRS MALB-68 00/2-3/1
5925 Chicago 8Aug59 4566...AFRS Yank Swing Session-86
1021 3205 NYC HFeb32 00/3-22 5925 AFRS This Is Jazz 01/09/14
7151 Roubaix 18oct71 00/4-4/2 3009 i6104/05 Roulette 7243524547-2 00/3-20
1022 3214 NYC 22Dec32 00/3-22 i6104/05 ... Roulette 7243524548-2 00/3-20
9013 00/3-1 4227/28/9012. Turner CM. R2-79805 00/3-8
9019 Washington Early Jul67 00/4-4/1 Correction-sheet 3009 is not yet available
1023 3612 L.A 21Dec36 00/3-22 Small corrections
6103 L.A 3Mar61 00/3-25
9012 L.A Early 37 00/3-8 5001 Two pages with small corrections, assembled
December 1999, from page XXV until and including
1024 6104 NYC 3Apr61 00/3-20 page 910 (see 99/5-23&24).
1025 6105 NYC 4Apr61 00/3-20 5002 - Two pages with small corrections, assembled
9011 Chicago 29Dec55 00/2-22 December 1999, from page 936 until and including
1026 9014 00/4-4/1 page 1490 (see 99/5-25); assembled March 2000,
9017 Washington Early Jul67 00/4-4/1 from page XXIV until and including page 1428
(see 00/1-26) and assembled June 2000, from page 90
1027 9015 00/4-4/1 until and including 1473 (see 00/2-19).
9016 00/4-4/1
5003 - Two pages with small corrections, assembled
1028 9018 00/4-4/1 September 2000, from page XXV until and including
9020 Washington 9Jul67 00/4-4/1 page 1425 (see 00/3-26) and assembled December
1029 9010 USA prob.41 00/2-21 2000, from page IX until and including 1505
Correction-sheet 1029 is not yet available (see 00/4-24).
DEMS BULLETIN 2 0 0 0 / 4 26

NEW RELEASES ON COMPACT DISC

by Jerry Valburn

ASV (E)
CD AJA 5 3 4 2 THE CHARLESTON ERA : 2 4 - Runnln' Wild
BCI MUSIC (US)
BCCD 4 6 9 DUKE ELLINGTON - SWINGIN' : Ko-Ko/Change My Ways/I Ain't Got Nothln' But The Blues/
Things Alnt What They Used To Be/Blue Is The Night/Bakltf/Body And Soul/Satin Doll/The Mooche/Take The "A" Train/One O'clock Jump
BLUEBIRD (AU)
74321 21446 2 JAZZ CAFE - THE SINGERS : ( = BLUEBIRD (E) 7 3 4 2 1 2 1 4 4 6 2 )
74321 26370 2 JAZZ CAFE - LATIN : 2- Caravan
BMG (AU)
74321 44646 2 THE DUKE ELLINGTON COLLECTION ( 2 CD SET) : (1_) Washington Wobble/The Mooche/Cotton Club Stomp/
I Let A Song Go Out Of My Heart/m A Sentimental Mood/Caravan/Take It Easy/Solitude/The Dlcty Glide/Creole Love Call/
The Sheik Of Araby/Perdldo/Conga Brava/Black And Tan Fantasy/Jubilee Stomp/Tiger Rag/Misty Mornln'/Moon Over Dixie/
Crescendo m Blue ( 2 ) Black Beauty/East St. Louis Toodle-oo/Don't Get Around Much Anymore/Sophisticated Lady/I Got It Bad/
Ring Dem Bells/Old Man Blues/Saratoga Saratoga Swing/Hot And Bothered/Prelude To A Klss/C-Jam Blues/Rockln' m Rhythm/
Cotton Tall/Blues I Love To Sing/Chelsea Bridge/St. Louis Blues/Jump For Joy/It Dont Mean A Thing/Moon Mist
BMG (J) (* INDICATES ITEM PRESSED IN U.S./BOOKLET IN JAPAN)
BVCJ-2604 DUKE ELLINGTON - BEST COLLECTION : Take The "A" Traln/I Got It Bad/Perdldo/Mood Indigo/
Black And Tan Fantasy/Solitude/The Mooche/Sophisticated Lady/Creole Love Call/Isfahan/Ad Lib On Nippon/Lotus Blossom/Day Dream
BVCJ-37058 THE POPULAR DUKE ELLINGTON : ( - RCA-VICTOR (US) 0 9 0 2 6 - 6 8 7 0 5 - 2 )
B V C Y - 3 8 0 0 9 / 3 8 0 3 2 * THE CENTENNIAL EDITION ( 2 4 CD BOX) : ( = RCA-VICTOR (US) 0 9 0 2 8 - 6 3 3 8 6 - 2 )
BMG DIRECT (US) (BMG MUSIC)
DMC2-1274 GOD BLESS AMERICA/40 UNFORGETTABLE SONGS OF WORLD WAR II : 3 - Don't Get Around Much Anymore
BMG FUNHOUSE (J) (FIRST ITEM BELOW IS "MAIL-ORDER SERVICE ONLY')
DRF 8 3 0 1 / 8 3 1 0 CENTURY HERITAGE - THE SWING ( 1 0 CD BOX) :
( 3 ) DRF-8303 TAKE THE "A" TRAIN/MOOD INDIGO : Take The "A" Train/Mood mdlgo/C-Jam Blues/Never No Lament/
Concerto For Cootie/Sophisticated Lady/Things Alnt What They Used To Be/I Got It Bad/Caravan/Solitude/Cotton Tall/
It Don't Mean A Thlng/Perdtdo/fm Beginning To See The Light/Jump For Joy/In A Mellotone/Just Squeeze Me/
I'm Just A Lucky So-And-So/Black And Tan Fantasy/Ko-Ko/In A Sentimental Mood/Prelude To A Kiss/Chelsea Bridge
( 1 0 ) DRF-8310 SWING IS ALIVE :8 The Hawk Talks 9 - ELLINGTON MEDLEY : Don't Get Around Much Anymore-
Jri A Sentimental Mood-Mood Indlgo-l'm Beginning To See The Light-Sophisticated Lady-Caravan-Solltude-I Let A Song Go Out Of My Heart-
Don't Get Around Much Anymore
BVCJ-37181 JOHNNY HODGES-THINGS AINT WHAT THEY USED TO BE : Things Ain't What They Used To Be/Day Dream/
Good Queen Bess (-1 & -2)/That's The Blues Old Man/Junior Hop (-1 & -2)/Squaty Roo/Passlon Flower/Goln' Out The Back Way
BVCJ-37163 DUKE ELLINGTON - TAKE THE "A' TRAIN : Take The "A" Train/Jack The Bear/Ko-Ko/Cotton Tall/
Harlem Air shaft/m A Mellotone/Warm Valley/Jump For Joy)'Just A-Settln' And A-Rockln'/Perdldo/C-Jam Blues/Come Sunday/
Prelude To A Kiss/Caravan/Black And Tan Fantasy/Mood Indlgo/ln A Sentimental Mood/It Dont Mean A Thing/
Sophisticated Lady/Solitude/Mr. J. B. Blues/Rockln' In Rhythm/The Mooche
BVCJ-37180 SWEET GEORGIA BROWN-ESQUIRE ALL-AMERICANS :
1- Long, Long Journey 2 - Snafu 3- The One That Got Away 4 - Gone With The Wind
BVCJ-37185 AFTER YOU'VE GONE-MALE SINGERS : 1 0 - / Ain't Got Nothln' But The Blues
11- I'm Just A Lucky So-And-Sp 12- You Dont Love Me No More 1 3 - Flamingo 1 4 - The Brown Skin Gal
BVCJ-37188 SWEET LORRAINE-GREAT CLARINET PLAYERS : 1 0 - A Lull At Dawn 1 1 - Ready Eddy 1 2 - C-Blues
BVCJ-37187 BEAUTIFUL EYES - GREAT TENOR SAX : CANCELLED
BVCJ-37188 FRANKIE & JOHNNY - GREAT TRUMPET PLAYERS : . 12- Concerto For Cootie
BVCJ-37189 SMOKE GETS IN YOUR EYES - GREAT PIANISTS : 1 4 - Frankle A Johnny IS- Jumpln' Room Only
1 6 - Drawing Room Blues
BROAD MUSIC (AU)
BRCD 0 0 2 JAZZ - A HISTORY : 9- Take The 'A" Train
CAPITOL (J) (Toshlba-EMI)
TOJC-66091/66092 LOUIS ARMSTRONG & DUKE ELLINGTON - THE GREAT SUMMIT-COMPLETE SESSIONS ( 2 CD SET) :
( <- ROULETTE JAZZ (US) 7 2 4 3 5 2 4 5 4 6 2 4 )
CASTLE COMMUNICATIONS (AU)
CMCD 2 4 0 YOU MUST REMEMBER THIS : 14- Take The ~A~ Train
COLLECTABLES (US) (RHINO ENTERTAINMENT COMPANY) (LOGO ALSO SHOWS VEE JAY)
COL-CD-7145 IN CONCERT CARNEGIE HALL - DIZZY/BIRD/GETZ : 2 - Body And Soul
COLUMBIA (AU) (SONY MUSIC ENTERTAINMENT, INC.)
CK 6 9 8 9 8 DUKE ELLINGTON - LIVE IN SWING CITY : Happy-Go-Lucky Local/Main Stem/C-Jam Blues /Multicoloured Blue/
Chtnoiserte/Black And Tan Fantasy/Cotton Tall/Mood Indlgo/BII-Bllp/Harlem Air Shaft/Portrait Of Louis Armstrong
 DEMS BULLETIN 2000/4 NEW RELEASES ON COMPACT DISC 27
COLUMBIA/LEGACY (AU)
CK 8 4 6 1 7 THIS IS JAZZ N« 7 - DUKE ELLINGTON : ( = COLUMBIA/LEGACY (US) CK 6 4 6 1 7 )
CK 8 5 0 8 8 THIS IS JAZZ N» 38 - DUKE ELLINGTON PLAYS THE STANDARDS ( = COLUMBIA/LEGACY (US) CK 8 5 0 8 8 )
COLUMBIA/LEGACY (US)
CK5 6 1 4 3 2 KEN BURNS JAZZ - THE STORY OF AMERICA'S MUSIC (5 CD BOX) : (1_) 1 6 - The Mooche
1 7 - East St.Louis Toodle-oo 1 8 - Black Beauty 1 9 - Mood Indigo (2) 1 - It Don't Mean A Thing 2 - Echoes Of Harlem ( 3 ) 2 - Cotton Tall
3- Take The "A' Train ( 5 ) 3 - m A Sentimental Mood 4 - Tourist Point Of View
CK 6 1 4 3 9 BEST OF KEN BURNS JAZZ (SAMPLER) : 6- The Mooche 1 0 - Cotton Tall
CK 6 1 4 4 4 DUKE ELLINGTON - KEN BURNS JAZZ : East St. Louis Toodle-oo/Black And Tan Fantasy/The Mooche/
Rockln' m Rhythm/Mood Indigo/Creole Rhapsody, Pts 1-2/lt Don't Mean A Thing/Creole Love Call/Sophisticated Lady/Solitude/Caravan/
Back Room Romp/Ko-Ko/Never No Lament/Cotton Tall/Take The "A" Traln/Satln Doll/Come Sunday/Black Beauty
CK 6 6 0 8 0 THE WORLD OF SWING : 1 9 - One More Once
COLUMBIA RIVER ENTERTAINMENT (US)
CRG 1 2 0 1 0 4 JAZZ CATS - JAZZ ON THE BEACH : 1 4 - Riff Staccato
DECCA JAZZ (J)
MVCR-20065 THE BEST OF EARLY ELLINGTON : ( - DECCA (US) GRD 6 6 0 )
DEFINITIVE RECORDS (SP) (Dlsconforme SL)
DRCD 1 1 1 7 0 DUKE ELLINGTON COMPLETE COLUMBIA & RCA-VICTOR SESSIONS with BEN WEBSTER featuring
JIMMY BLANTON - CENTENNIAL EDITION (HIGH RESOLUTION 2 4 BIT) (4 CD BOX) : (1_) Truckln'/Cotton/
Accent On Youth/In A Jam/Exposition Swing/Uptown Downbeat/Solitude/Stormy Weather/Mood Indigo/Sophisticated Lady/
You, You Dariln'/Jack The Bear/Ko-Ko/Mornlng Glory/So Far So Good/Conga Brava/Concerto For Cootie/Me And You/Cotton Tall/
Never No Lament/Dusk/Boj angles ( 2 ) A Portrait Of Bert Wllllams/Bhje Goose/Harlem Air Shaft/At A Dixie Roadside Diner/All Too Soon/
Rumpus m Richmond/My Greatest Mlstake/Sepla Panorama/There Shall Be No Nlght/m A Mellotone/Flve O'clock Whistle/
The Flaming Sword/Warm Valley/Across The Track Blues/CMoe/t Never Felt This Way Before/Without A Song/My Sunday Gal/
Mobile Bay/Linger Awhile/Charlie The Chulo/Lament For Javanette ( 3 ) A Lull At Dawn/Ready Eddy/The Sidewalks Of New York/
Flamingo/The Girl In My Dreams/Take The "A" Train/Jumpln' Punklns/John Hardy's Wife/Blue Serge/After All/Baklff/Are You Sticking?/
Just A-Settln' And A-Rockln'/The Qlddybug Gallop/Chocolate Shake/I Got It Bad/Clementlne/The Brown Skin Gal/Jump For Joy/
Moon Over Cuba/Some Saturday/Subtle Slough ( 4 ) Menellk-The Lion Of Judah/Poor Bubber/Flve O'clock Drag/Rocks m My Bed/Bll Blip/
Ralncheck/What Good Would It Do?/l Don't Know What Kind Of Blues I Got/Chelsea Bridge/Perdldo/'The C-Jam Blues/Moon Mist/
What Am I Here For?/l Dont Mind/Someone/My Little Brown Book/Main Stem/Johnny Come Lately/Hayfoot, Straw foot/Sentimental Lady/
A Slip Of The Lip/Sherman Shuttle
PETS (D)
903 9001 DUKE ELLINGTON-THE TREASURY SHOWS, VOL. 1 :

(1_) 4 0 0 RESTAURANT, APRIL 7 T H , 1 9 4 5 / W A R BOND RALLY (NBC STUDIOS) MAY 1ST, 1 9 4 3

(2) 4 0 0 RESTAURANT, APRIL 1 4 T H , 1945/TREASURY STAR PARADE, JUNE 1 9 4 3
(1_) (Theme) Take The "A' Traln/Bh/topla/Mldrlff/Creole Love Call/Suddenly It Jumped/Frustration/I'm Beginning To See The Light/
THE PERFUME SUITE : Love-Vloienca-Dancers * i Love-Sophlstlcatlon/AIr Conditioned Jungle/1 Alnt Got Nothln' But The Blues/
Subtle Slough/Passion Flower - (Theme) Take The "A" Traln/Hayfoot, Strawfoot/Don't Get Around Much Anymore/A Slip Of The Lip/
Take The "A" Train ( 2 ) (Theme) Moon Mist/New World A-Comln'/Nobody Knows The Trouble I've Seen/Mood Indigo/Chant For FDR
(American Lullaby)/Poor Pilgrim Of Sorrow (A City Called Heaven)/Creole Love Call/(Theme) Moon Mist - Any Bonds Today?/(Theme)
Take The 'A' Traln/Dont Get Around Much Anymore/Caravan/Bond Promo/It Can't Be Wrong/Johnny Come Lately/Any Bonds Today?/
(Theme) Take The 'A" Train/Walt For Me Mary/Moon Mist/Bond Promo/A Slip Of The LIp/Thlngs Alnt What They Used To Be/
Any Bonds Today?
EMI JAZZ (AU)

7243 8 55146 2 3 DUKE ELLINGTON - 1 9 5 3 - 1 9 5 5 JAZZ MASTERS : Satin Doll/Ftamlngo/Llza/ln The Mood/Things Ain't What They
Used To Be/Caravan/My Old Flame/Black And Tan Fantasy/Stardust/Flying Home/Band Call/Rockln' In Rhythm/If I Give My Heart To You/
m A Sentimental Mood/Harlem Alrshaft/Warm Valley/One O'clock Jump/Baklfl'/Reflections m 'D'/C-Jam Blues
EMI MUSIC AUSTRALIA (AU) (CAPITOL JAZZ)
7243 5 25782 2 1 NOW THAT'S SWING (2 CD BOX) : (1_) 5 - Harlem Air Shaft
FESTIVAL (AU)
D 17103 BIG BANDS OF THE SWINGING YEARS : 2 - Magenta Haze
GALLERIE (E)
GAL 4 5 1 VIOLIN JAZZ (2 CD BOX) : ( 1 ) 1 7 - C-Jam Blues 1 8 - Moon Mist
GIANTS OF JAZZ (IT)
CD 5 3 3 5 6 GIANTS OF JAZZ SAMPLER : 14- Take The "Am Train
GOLD SOUND (EC) (Promo Sound AG)
DCD-927 THE SWINGING BIG BANDS-THE MYTHS 5 0 MASTERPIECES ( 2 CD SET) : (1_) 1 - It Dont Mean A Thing
GRP (J)
MVCJ-14014 DUKE ELLINGTON : The Jeep Is Jumpln'/Mood Mlgo/Llmbo Jazz/Wanderlust/m A Sentimental Mood/Stevle/My Little
Brown Book/C-Jam Blues/Lotus Blossom/MEDLEY : Black And Tan Fantasy-Prelude To A Kiss-Do Nothln' Till You Hear From Me/
Caravan/Satin Doll
DEMS BULLETIN 2000/4 NEW RELEASES ON COMPACT DISC 28

HEP (UK)
HEP 1 0 6 9 IVIE ANDERSON WITH DUKE ELLINGTON. VOLUME 2 - ALL GOD'S CHtLLUN GOT RHYTHM :
There's A Lull m My Lite/It's Swell Of You/You Can't Run Away From Love Tonight/All God's Chlllun' Got Rhythm/Alabamy Home/
It You Were In My Place/ Skrontch/Carnival In Caroline/Swlngtlme In Honolulu/Rose Of The Rio Grande/Watermelon Man/
La Do Doody Oo/tn A Mlzz/lm Checkln' Out, Goom-Bye/A Lonely Co-Ed/You Can Count On Me/Klllln' Myself/
Your Love Has Faded/'Solitude/Stormy Weather/Mood Indigo/So Far, So Good/Me And You/At A Dixie Roadside Diner/Five o'clock Whistle
HIPPO (US) (Universal Music Enterprises)
314 541 5 8 2 - 2 YULE B' SWINGIN' TOO I : 5 - Jingle Bells
IMPULSE (J)
MVCJ-19058 DUKE ELLINGTON MEETS COLEMAN HAWKINS ( 2 0 BIT) : ( - IMPULSE (US) IMPD 1 6 2 )
MVCZ-10083 DUKE ELLINGTON AND JIOHN COLTRANE ( 2 0 BIT) : ( - IMPULSE (US) IMPD 1 6 6 )
JANDA MUSIC (AU)
MIDCD 0 2 0 THE GIANTS OF JAZZ ( 2 CD SET) : (1_) 9 - Caravan 1 0 - Honeysuckle Rose 11 - Love You Madly 1 2 - Perdldo
1 3 - Prlmpln' At The Prom 1 4 - Rose Of The Rio Grande 1 5 - Sophisticated Lady
JAZZ HERITAGE (US)
5260286 THE DUKE AT THE BLUE NOTE (2 CD SET) : ( = CAPITOL/ROULETTE JAZZ (US) CDP7 8 2 6 6 3 7 2 )
JAZZ MAGAZINE (F)
ISSUE 5 0 2 MARCH 2 0 0 0 1 9 3 7 JAZZ COLLECTION-LHISTOR1E EST D'ACTUALITE : 3- Caravan
ISSUE 5 0 3 APRIL 2000 1 9 2 8 JAZZ COLLECTION-L'HISTORIE EST D'ACTUALITE : 13- The Mooche
ISSUE 504 JULAUG 2 0 0 0 1 9 3 4 JAZZ COLLECTION-L'HISTORIE EST D'ACTUALITE 4 - Saddest Tale
ISSUE 5 0 8 OCT 2000 1 9 3 2 JAZZ COLLECTION L'HISTOIRE EST D'ACTULATIE : 1- It Don't Mean A Thing 8 - Diga Dlga Deo
9- I Cant Give You Anything But Love
LEGACY ENTERTAINMENT, INC. (US)
ATP 0 1 5 THE JAZZ SELECTION. VOLUME 2 : 4 - Sophisticated Lady
MADACY ENTERTAINMENT (US) (Universal Music Special Markets, Inc.)
LEG2 1 0 1 7 LEGENDS OF SWING 5 - Birmingham Breakdown
MASTERSOUND (AU)
502002 BIG BAND SWING : 1 - Rockln' m Rhythm
MILLENIUM (G) (Trumpets of Jericho) (CDs manufactured In Israel))
204034-304 DUKE ELLINGTON - THE MILLENIUM COLLECTION (2 CD SET) : (1_) Take The "A" Train/Jack The Bear/Ko-Ko/
Morning Glory/Conga Brava/Concerto For Coolle/BoJangJes/Never No Lament/Blue Goose/Portrait Of Bert Williams /Harlem Air Shaft/
All Too Scon/Sepla Panorama/My Greatest Mistake/In A Meiletone/Warm Valley/Across The Track Blues/jumpln' Punklns/John Hardy's Wife
( 2 ) Blue Serge/Baklff/Are You Sticking?/Just A-Settln' And A-Rockln'/Glddybug Gallop/Jump For Joy/Five O'clock Drag/Chelsea Bridge/
Ralncheck/C-Jam Blues/Main stem/Black And Tan Fantasy/Sophisticated Lady/Tonight I Shall Sleep/Rockabye River/'Suddenly It Jumped/
Beale Street Blues/Indiana/Blue Is The Night
MUSIC CLUB (US)
50146 THE BIRTH OF JAZZ : 2 - Choo Choo
MUSIC WORLD (CZ)
MW 5 8 8 3 DUKE ELLINGTON COLLECTION - 4 0 GREAT TRACKS (2 CD SET) : ( 1 ) Black And Tan Fantasy
Washington Wobble/The Mooche/Cotton Club Stomp/1 Let A Song Go Out Of My Heart/In A Sentimental Mood/Caravan/
Take It Easy/Soiitude/The Octy Glide/Creole Love Call/Sheik Of Araby/Perdldo/Conga Brava/Black And Tan Fantasy/Jubilee Stomp/
Tiger Rag/Misty Mornln'/Moon Over Dixie/Crescendo In Blue ( 2 ) Mood ktdlgo/Black Beauty/East St. Louis TootSe-oo/
Don't Get Around Much Anymore/Sophisticated Lady/I Got It Bad/Ring Dem Bells/Old Man Blues/Saratoga Swing/Hot And Bothered/
Prelude To A Klss/C-Jam Blues/Rockln' In Rhythm/Cotton Tall/Blues I Love To Sing/Chelsea Brldge/St. Louis Blues/Jump For Joy/
It Don't Mean A Thing/Moon Mist
PRESTIGE (CA)
24241-2 STEAMIN' - THE GIANTS OF JAZZ ON PRESTIGE : 7- The Shepherd
RCA-CAMDEN (US) (For Delta Entertainment Corporation)
01811 6127 2 DUKE ELLINGTON - DUKE AT THE COTTON CLUB : Cotton Club Stomp/Jungle Nights In Harlem/
Saratoga Swing/Stevedore Jump/Haunted Nights/Hot Feet/Creole Rhapsody. Pts. 1-2/Shout "Em Aunt Tlllle/Arabian Lover/Rmg Dem Bells
RCA-VTCTOR (F)
74321 747972 THE FAR EAST SUITE : ( = BLUEBIRD (US) 0 7 8 6 3 - 6 6 5 5 1 - 2 )
RCA-VICTOR (US)
09026-63729-2 THE VERY BEST OF DUKE ELLINGTON : Take The "A" Train/Warm Valley/Cotton Tall/Jack The Bear/
Concerto For Cootie/Black And Tan Fantasy/East St. Louis Toodle-oo/The Mooche/Mood Indigo/Rockln' In Rhythm/Creole Rhapsody, Pt.t/
I Got It Bad/ Don't You Know I Care?/Chelsea Bridge/Work Song/Caravan/Perdldo/lsfahan/Blood Count/Come Sunday
READER'S DIGEST MUSIC (US)
219 GREAT ROMANTIC MEMORIES OF THE WAR YEARS (4 CD BOX) : ( 3 ) G.I. JIVE 1 3 - I'm Beginning To See The Light
 DEMS BULLETIN 2000/4 NEW RELEASES ON COMPACT DISC 29

REDX (AU)
RXBOX 3 1 0 3 3 THE GREAT SENTIMENTAL FAVOURITES (3 CD BOX) : ( 2 ) 1 - Don't Get Around Much Anymore
RXBOX 3 1 0 3 8 THE GREAT N« 1 HITS ( 3 CO BOX) : ( 1 ) 8 - I Let A Song Go Out Of My Heart
RXBOX 3 1 0 7 9 THE GREAT FORTIES COLLECTION ( 3 CD BOX) : (JO 9- Take The "Am Train
RXB 001 DUKE ELLINGTON - BLACK, BROWN & BBGE : Take The "A" Train/Creole Love Call/Sophisticated Lady/Harlem Air
Shaft/All Too Soon/In A Sentimental Mood/Sepia Panorama/Echoes Of Harlem/The Gal From Joe's/Bojangles/Prelude To A Kiss/Black Beauty
Things Ain't What They Used To Be/I'm Beginning To See The Llght/Ko-Ko/lt Don't Mean A Thing/Caravan/Black, Brown And Beige
RHINO (US)
R2 7 9 8 7 4 RHAPSODIES IN BLACK - MUSIC AND WORDS FROM THE HARLEM RENAISSANCE (4 CD Box) :
( 1 ) 2 - Cotton Club Stomp ( 2 ) 9 - Bast St. Louis Toodle-oo ( 4 ) 6 - Baby I 1 9 - Symphony In Black
SILVER STAR (B)
AMC 5 5 . 2 5 4 ©"OCCUPATION A LA LIBERATION. VOL. 2 : 1 5 - Do Nothln' Till You Hear From Me
AMC 5 5 . 2 5 5 D'OCCUPATION A LA LIBERATION, VOL. 3 : 6 - Don't Get Around Much Anymore
AMC 5 5 . 2 5 6 D'OCCUPATION A LA LIBERATION, VOL. 4 : 6 - Do Nothln' Till You Hear From Me
SONY CLASSICAL (AU) (SONY MUSIC ENTERTAINMENT, INC.)
49770 2 CAFE JAZZ 2 : 1 - Anatomy Of A Murder 9 - Diminuendo And Crescendo In Blue
SONY MUSIC (AU) (SONY MUSIC ENTERTAINMENT, INC.)
RJ BOX 0 1 THE GREAT BIG BANDS ( 4 CD SET) : (1_) 3 - Take The 'Am Train 4 - I'm Beginning To See The Light (2)
5 - Caravan 6 - Mood Indigo ( 3 ) 7 - East St. Louis Toodle-oo 8 - Perdldo ( 4 ) 9 - I Let A Song Go Out Of My Heart 1 0 - Rockln' m Rhythm
RJ BOX 0 2 HITS OF THE THIRTIES AND FORTIES ( 4 CD SET) : (JO 1 7 - / Let A Song Go Out Of My Heart
RJ BOX 23 STARRING DUKE ELLINGTON ( 2 CD SET) : (1) Black And Tan Fantasy/Creole Love Call/East St. Louis Toodle-oo/
Blues I Love To Sing/Black Beauty/Hot And Bothered/Misty Momln'/Take It Easy/The Mooche/Cotton Club Stomp/Saratoga Swing/
The Dlcty GUde/Tlgor Rag/Mood mdlgo/Old Man Blues/Ring Dem Bells/Rockln' m Rhythm/Moon Over Dlxle/Shelk Of Araby/Sophisticated Lady
(2) Caravan/I Let A Song Go Out Of My Heart/Prelude To A Kiss/Concerto For Cootie/Cotton Tall/Dont Get Around Much Anymore/
Solitude/Chelsea Brldge/I Got It Bad/Jump For Joy/Take The "Am Train/Johnny Come Lately/Main Stem/Moon Mlst/Perdldo/C-Jam Blues/
I'm Beginning To See The Light/In A Sentimental Mood/It Don't Mean A Thing/Things Alnt What They Used To Be
SONY MUSIC ENTERTAINMENT (J)
SRCS-9207 HI Fl ELLINGTON UPTOWN • HARLEM SUITE : ( • COLUMBIA JAZZ MASTERPIECES (US) CK 4 0 8 3 8 )
SRCS-9208 FIRST TIME I : ( - COLUMBIA (US) CK 8 5 1 5 )
SRCS-9547 ELLINGTON AT NEWPORT 1 9 5 6 COMPLETE ( 2 CD SET) ( = COLUMBIA/LEGACY (US) CK 6 4 9 3 2 )
)SRCS-9549 SUCH SWEET THUNDER : ( - COLUMBIA/LEGACY (US) CK 6 5 5 6 8 )
SRCS-9550 BLACK, BROWN AND BBGE : ( - COLUMBIA/LEGACY (US) CK 6 5 5 6 6 )
SRCS-9551 ANATOMY OF A MURDER : ( - COLUMBIA/LEGACY (US) CK 6 5 5 6 9 )
SRCS-9552 FIRST TIME ! : ( - COLUMBIA/LEGACY (US) CK 6 5 5 7 1 )
SRCS-9623 THE WORLD OF SWING : ( - COLUMBIA/LEGACY (US) CK 6 6 0 8 0 )
STARTEL ENTERTAINMENT (AU)
SPACK 0 0 9 5 0 BIG BAND CLASSICS ( 2 CD SET) : (JO 3 - Take The "A" Tram 4 - I'm Beginning To See The Light
2 1 - Caravan 2 2 - Mood Indigo ( 2 ) 7 - East St. Louis Toodle-oo 8 - Perdldo 2 5 - / Let A Song Go Out Of My Heart
STORVILLE (D) (The following release, delayed now, should be available late December 2 0 0 0 / o r / January 2 0 0 1 )
STCD 8 3 1 6 / 8 3 1 7 DUKE ELLINGTON UVE AT FARGO - NOVEMBER 7 T H . 1 9 4 0 - 6 0 T H ANNIVERSARY EDITION (2 CO SET) :
(1_) It's Glory/The Mooche/The Shlek Of Araby/Sepia Panorama/Ko-Ko/Thare Shall Be No Night/Pussy Willow/Chatterbox/Mood indigo/
Harlem Air Shaft/Ferryboat Serenade/Warm Valley/Stompy Jones/Chloo/Bojanglos/On The Air/Rumpus In Richmond/Chaser/Sidewalks Of NY
Flaming Sword/Never No Lament/Caravan/Clarinet Lament ( 2 ) Slap Happy/Sepia Panorama/Boy Meets Horn/Way Down Yonder In NO./
OOhl Babe, Maybe Someday/Five O'clock Whistle/Fanfare/Call Of The Canyon/Unidentified Title/All This And Heaven Too/
Rockln' #7 Rhythm/Sophisticated Lady/Cotton Tall/Whispering Grass/Conga Brava/I Never Felt This Way Before/
Across The Track Blues/Honeysuckle Rose/Wham/Star Dust/Rose Of The Rio Grande/St. Louis Blues/Warm Valley/God Bless America
TEO RECORDS (US)
DE 0 0 0 2 TEO MACERO PRESENTS IMPRESSIONS OF DUKE ELLINGTON : 1- Fanfare
DEMS BULLETIN 2000/4 NEW RELEASES ON COMPACT DISC 30

TEMPO (AU)
247 DUKE ELLINGTON - THE BIG BANDS - THE CLASSIC TRACKS OF THE 20s & 30s : Creole Love Call/
Black And Tan Fantasy/East St. Louis ToooTe-oo/Jubilee Stomp/Hot And Bothered/The Mooche/Saturday Night Function/
Ring Dam Bails/Mood mdlgo/lt Dont Mean A Thing/Slippery Horn/Drop Me Off At Hasriem/m The Shade OT The ad Apple Tree/
Daybreak Express/Stompy Jones/Solltude/Clartnet Lament/Echoes Of Harlem/Trumpet In Spades/Caravan/Braggln' In Brass/
Prelude To A Kiss/Boy Meets Horn/The Sergeant Was Shy/Tootln' Through The Hoot
248 DUKE ELLINGTON - THE BIG BANDS - THE CLASSIC TRACKS OF THE 40s : Stonny Weather/Jack The Bear/
Ko-Ko/Conga Brava/Concerto For Cootie/Cotton Tall/Never No Lament/Bojangles/Portralt of Bert Williams/Harlem Air Shaft/Rumpus m
Richmond/Sepia Panorama/In A Mellotone/Flve O'clock Drag/Warm Valley/Take The 'A" Tram/Blue Serge/Just A-Settln' A A-Rockln'/
I Got It Bad/Chelsea Brldge/Ralncheck/Perdldo/C-Jam Blues/Main Stem/Things Alnt What They Used To Be
TKO/MAGNUM MUSIC (E) (The Kruger Organisation, mc.) (See special report on this elsewhere In this Issue)
CECD 0 2 3 DUKE ELLINGTON AT THE ZANZIBAR CLUB : m The Shade Of The Old Apple Tree/Creole Love Call/It Dont Mean A
Thing/Harlem Air Shatt/The Kissing Bug/Prelude To A KIss/Rlng Dam Bells/Dtmlnuendo And Crescendo m Blue/Frankle And Johnny
TKO/SM (EC) (A New Jazz Language Release) (The roliowlngt set comes In a rectangular tin)
NJL 6 0 0 1 B THE SWING YEARS (3 CD BOX) : 0 ) 1 - Mam Stem ( 2 ) 5 - Mldrltt ( 3 ) 6 - Hop Skip Jump
TOKUMA (J)
TKCF-77031 DUKE ELLINGTON ON V-DISC 1 9 4 5 - 1 9 4 6 : Harlem Air Shaft/Ring Dam Bells/Prelude To A Kiss/
m The Shade Of The Old Apple Tree/Sophisticated Lady/On The Sunny Side Of The Street/I Cant Give You Anything But Love/
It Dont Mean A Thlng/Hottywood Hangover/Unbooted Character/Esquire Swank/Goldam Cress/Sultry SunsetB/Mam Stem
TKCF-77057 DUKE ELLINGTON ON V-DISC, VOLUME 2 1 9 4 3 - 1 9 4 7 : Diminuendo In Blue/Crescendo In Blue/Hop Skip Jump/
New York City Blues/Air Conditioned Jungle/Kissing Bug/Creole Love Catt/Frankle And Johnny, Pts/ 1-2/
Black, Brown And Beige, Pts 1-2
UNIQUE JAZZ (US) (RK0/UNK3UE JAZZ, INC.) (ON THE CD LABEL APPEARS THE N» 1 0 2 7
RKO 1 0 3 3 DUKE ELLINGTON - LIVE IN 1 9 4 7 I AT THE HOLLYWOOD BOWL : Blutoota/Overture To A Jam Session/
The MoocheJumptn' Punklns/Rtng Dem Bells/MEDLEY : Beale Street Blues-Memphis Blues-St. Louis Blues/The Golden Feather/Golden Cress/
Diminuendo In Blue-Transblucancy-Crescendo In Blue
VERVE (US)
314 549 0 8 3 - 2 JOHN COLTRANE - KOI BURNS JAZZ : 6 fri A Sentimental Mood
314 549 085-2 COLEMAN HAWKINS - KEN BURNS JAZZ : 1 9 - Self Portrait Of The Bean
VERR-01040-2 JAZZ - A FILM BY KEN BURNS (SAMPLER) : 9- Take The "A" Train
WARNER MUSIC AUSTRALIA (AU)
3984225652 BEGIN THE BEGLHNE : 4 - I'm Beginning To See The Light
3984225682 JUMPtN' AT THE WOODSIDE : 5 - Caravan 6 - Mood Indigo
3984225672 LET'S DANCE : 7 - East St. Louis Toodto-oo 8 - Perdldo
3984225682 OPUS ONE : 9 - / Lot A Song Go Out Of My Heart 1 0 - Rockln' m Rhythm
3984225692 TAKE THE "A" TRAIN : 1 - Take The 'A' Train
3984250742 THE BEST OF BIG BANDS (3 CD SET) : ( - 3984225852 • 3984225662 + 3984225672 )
m
3984291312 STRICTLY INSTRUMENTAL ( 3 CD SET) : (2) 4-Take The A" Trail
3984269422 THE FABULOUS FORTIES, VOLUME ONE (4 CD SET) : (1_) 1 8 - Take The "A" Train

Wt totel) pou all a

jftlerrp Cfcrtetmas! anb a Haoop JBteto i^ear.
We tfjank pou for pour question*, pour
ansitoers, pour contributions, bonations anb
Support.
Do not forget to read the special message on the last pagel
DEMS BULLETIN 2000/4 31

Paying instructions for donations to the Duke Ellington Music Society

in the first quarter of 2001.
USA. You can send your American dollars (USD) in the form of a check or money order, payable to
Charles H. Waters. Jr. 8809 Echo Valley Drive, Houston. Texas 77055-6675. Telephone home: (713) 467-7641;
telephone office: (713) 216-8507; telecopy office: (713) 577-5200; E-mail: [email protected]
The check or money order should NOT be made payable to DEMS, but should be clearly noted
(in the space customarily available at the lower left on printed checks) as being for "DEMS."
Do not forget to mention your name!

Canada. You can send your Canadian dollars (CAD) in the form of a check, payable to DEMS and send it to
Lois K.Moody, 1702-500 Laurier Ave. W., Ottawa. Ontario KIR 5E1. Telephone: (613) 237-3014.
Do not forget to mention your name!

United Kingdom. You can send British Pounds (GBP) by giving instructions to your bank to transfer the money to
Trustee Savings Bank, Account name: P.J. and D. Caswell, Account number 23204968, Sort Code: 77-19-01.
Bank address: 12 Mosley Street, Manchester. M2 3AQ
Peter Caswell's address: Lea Hurst, Hurst Mill Lane, Glazebury, Warrington. WA3 5NR,
telephone: 01942 671938. E-mail: [email protected]
Do not forget to mention: for DEMS and do not forget to mention your name!

Sweden. You can transfer your Swedish Crowns (SEK) to the Swedish Postgironumben 433 27 36-0.
The name and address is: Goran Wallen, Skogstorpsvagen 39, 191 39 Sollentuna. telephone: 08 96 52 34.
E-mail: [email protected] Do not forget to mention: for DEMS and do not forget to mention your name!

Denmark. You can transfer your Danish Crowns (DKK) to Frits Schj0tt, Thorsgade 56, DK-5000 Odense C.
Postal (giro) account 9093915.
If you want to call Frits, this is his number 65 910 989.
If you pay in a bank or on the mail office it might cost you 6-7 kroner, but if you use your own postal account, the fee
is only 3 kroner for each transaction. Do not forget to mention: for DEMS and do not forget to mention your name!

Belgium. You can transfer Euro's to J.Hoefsmit's Postal account in Belgium: 000-1704030-31.
You can also use the Fortis Bank, Kerkstraat 1,2328 Meerie. DEMS-bank-accounC 230-0319084-71.
Do not forget to mention your name! My address is on page 1.

Germany. You can transfer Euro's to the bank account of Manfred Redelberger
at the Hypo Vereinsbank Saarbriicken. Bankleitzahl 590 200 90, Konto Nr 8707189.
Manfred's address is Lilienthalstrasse 18, 66117 Saarbriicken. His home telephone-number: 0681 51598.
E-mail: [email protected] Do not forget to mention: for DEMS and do not forget to mention your name!
France. You can transfer Euro's to Klaus Getting, 105, rue Caulaincoutt, 75018 Paris, telephone: 01 42 59 72 63.
E-mail: [email protected] You can do that by sending a French cheque to Klaus or to transfer the money to his
bank account at the Credit Commercial de France, account nr: 0050 0640330.
Do not forget to mention: for DEMS and do not forget to mention your name!

Italy. You can contact Dott Giovanni Volonte\ who volunteered to collect the donations from our Italian DEMS members.
His address is Via Carducci 32,20123 Milano. telephone: 805.26.68.
Giovanni would like to receive the money either in cash or in the form of a cheque payable to himself.
Do not forget to mention: for DEMS and do not forget to mention your name!
Nederland. Je kunt je Euro's overmaken naar de Rabo-bank, op nummer 15.09.40.033 ten name van J.Hoefsmit, Meerie,
Belgie. Vergeet niet je naam te vermelden! Mijn adres staat op pagina 1.

Any other country. Put some money in an envelope and send it to J.Hoefsmit, Voort 18b, 2328 Meerie. Belgium.
If you do not want to take therisk,transfer Belgian Franks or Euro's to the Fortis Bank, Kerkstraat 1,2328 Meerie.
Belgium. DEMS-bank-account: 230-0319084-71. The bank's swift address is GEBABEBB08A.
If you do not transfer more than 24.79 Euro's or 1000 Belgian Franks it will be free of charge in Belgium.
If you transfer more than 1000 Belgian Franks it will cost you 0.1% (one pro mille) with a minimum of 150 Belgian
Franks (or 3.72 Euro).
If you transfer Belgian Franks or Euro's from your Postal account to J.Hoefsmit's Postal account in Belgium:
000-1704030-31, it will cost you 61 Belgian Franks or 1.51 Euro's in Belgium.
If you transfer Belgian Franks or Euro's from your Bank account to J.Hoefsmit's Postal account in Belgium:
000-1704030-31, it will be free of charge in Belgium.
Do not send us cheques! The costs are outrageous. Do not forget to mention your name!
DEMS BULLETIN 2 0 0 0 / 4 32

Your donations for DEMS in 2001

As I explained last year (DEMS 99/5-29) and the year My request for a donation will be expressed either in
before (DEMS 98/4-21), I only want you to pay your DEMS euros or in one of these six currencies. A fellow DEMS
donation for the first half of the next year (in this case 2001). member within your own country will continue to collect your
I give you credit for the second half. The purpose of this donation.
arrangement is to free myself and/or my family from having Please remember that you are being asked for a donation
to arrange for the paying back of money to DEMS members and not for a subscription. DEMS accepts a number of free
in the event of something happening which would make it subscriptions, and if you cannot afford the donation I ask you
impossible for me to continue publishing DEMS Bulletins. for, please let me know. In the last analysis, the only absolute
The worst scenario for you as a member would be to have condition for being a member is that you are interested
paid for issues destined never to drop on your doormat. enough to read the Bulletin. DEMS is not a money-making
For me the worst scenario would be to have circulated concern. Any financial surpluses are spent in the support of
Bulletins, or to have sent cassettes or DESOR correction- Ducal activities.
sheets to the membership for which I would never be paid. At the bottom of this page you will find your Balance
For this arrangement to work well it is important that all Report, expressed in euros, and if this is appropriate, a
DEMS members whose accounts have a surplus over and request to send us a donation which will be sufficient to cover
above what is necessary can ask for money back whenever the first half year (next one and a half Bulletins as explained
they wish. Simply give instructions as to how you wish to above). Instructions for making your payment to DEMS are
receive the money and I will arrange for the transfer to be printed on page 31.
made to you. Do not send your request for reimbursement to I do not give you a complete survey of how your donation
the member in your country who collects DEMS donations was spent over the last year. If you want one, please let me
each year; your request should be sent directly to DEMS. know. I will prepare it for you as soon as possible.
The money collector in your own country does not keep any Your payment should be made before 1 April 2001. This
record of your account. I alone have this information, so is essential since I do not want to put our money-collecting
I alone can take care of such refunds. member in your country to more trouble than necessary. So it
If on the other hand you prefer not to ask for your money is most important that she/he receives your money by 1 April.
back, it will continue to be used in the future as in the past, Once your payment has been received you will have credit
for sending you Bulletins (and cassettes or DESOR during the whole year 2001, not only for the Bulletins but also
correction-sheets if you order these). But if something should for buying DEMS cassettes and DESOR correction-sheets.
happen to me in the meantime and while your account is in Next December (2001) you will be asked to settle your
surplus, please do not expect to have money returned. It is account once again. If you propose to order many cassettes
very important for me that I do not leave my family with the or DESOR correction-sheets, I trust you will send extra
burden of reimbursing a large number of small amounts of money in advance. You should send extra payments to the
foreign currency to people all around the world. money collecting member in your own country at the same
Many of you owe me the donation for the second half of time as you send her/him your donation. Do this in one single
2000 and you may find at the bottom of this page a request payment, before 1 April, please! Do not pay after 1 April.
to transfer money for a full year (second half of 2000 and first Please remember that you have the address of the
half of 2001). money collector in your own country only tor the purpose of
The donation for the year 2001 is € 15.00. dealing with your donation and the money transfer as such.
This covers three issues of the bulletin. I have tried in Bear in mind that all other questions should be addressed
vain to reduce the number of pages in order to stay under the directly to DEMS in Belgium.
limit of 100 grams. I have decided for the next year to
decrease the number of editions to three in order to keep
things under control, both time- and money-wise.
To facilitate the bookkeeping in the case of those
countries whose currency is not pegged to the euro, I have
set, as last year, a fixed exchange rate for the whole of the
year 2001.1 have deemed € 15.00 (EUR) to be equivalent to
US $ 14.00 (USD), Can $ 21.60 (CAD),
British Pounds £ 10.00 (GBP), Swedish Crowns 136 (SEK),
Danish Crowns 118 (DKK) and Swiss Francs 24.00 (CHF).