DUKE ELLINGTON MUSIC SOCIETY
02/1 April-July 2002
FOUNDER: BENNY AASLAND
Voort 18b, Meerle, Belgium
Telephone: +32 3 315 75 83
See DEMS 01/3-8/2
17Dec44 session - AFRS did delete "ad talk" but not performances, thus it is very unlikely that "the original broadcast may have had more selections". I venture to suggest that Do Nothin' Till You Hear From Me and Somebody Loves Me do not originate from this broadcast at all. Benny did "confirm" that Somebody Loves Me "belongs" to the 17Dec44 session in a letter to Sjef but he may have been wrong. Did he support his claim with a cassette of an unedited recording of the complete NBC network broadcast? Carl Hällström
No, he did not. As you can read in my article, I do not have a recording in which Somebody Loves Me is linked to this session, but Do Nothin' Till You Hear From Me seems to be genuinely linked to it. (One can never be sure, as you yourself explained in a longer contribution to this discussion, later on this page.) Sjef Hoefsmit
Duke was definitely one of the guests on the bc of 17Dec44 (4:30-5:00P EWT). There are advertisements to this effect in the radio section of the New York newspapers. Worcester is not that far away. With the band bus waiting downstairs outside of the studios, the trip could easily have been made in under 4 hours. Benny and I checked this out many years ago and confirmed both the broadcast appearance and the Worcester dance date. Jerry Valburn
There is no question about Duke being present on the recording for (or of) MALB # 1. We (Carl Hällström and I) only question the date. The broadcast was on 17Dec44, OK. But was it pre-recorded like MALB # 77? Sjef
DESOR is incorrect (on p.1305). The AFRS transcriptions in the MALB series are all two sided, double faced. On a 16" transcription you can put approximately 15 minutes on each side and these programs were half-hour shows. I still recollect that when DESOR listed the AFRS Date With The Duke Transcriptions in their original paperback books they showed them as 12" LPs! Jerry
We know that the AFRS-transcriptions of US network series, like MALB, are, more or less, "the original broadcasts" with new intros ("AFRS presents a re-broadcast of that popular etc etc") and new endings ("This is the Armed Forces Radio Services"). "Ad talks" and references to certain events were removed (the AFRS transcriptions might first have been played up to 5-6 months after the network shows were aired in the USA). The dates of the original broadcasts were shown in the waxes of the AFRS transcriptions. But sometimes the dates were replaced by the words "Dub show" and now I turn to "Bozy" White's booklet "The Eddie Condon Town Hall Broadcasts 1944-45", page 10:
"In some cases AFRS, for reasons that only can be guessed at, had a need to produce an AFRS show when there was no network show at hand. AFRS did this in two ways. First by using a "Replacement show" and secondly by a "Dub show". These "Dub shows" have baffled researchers for years and little wonder!"
A replacement show would have a label which read something like "MALB # XX replaced by Dance Time # XX" so no problem here, but at times there would be "MALB # XX" on the labels but the "broadcast dates" in the wax were replaced by "Dub show". These shows are really "foxy", clever editing gives the impression that you are listening to a "genuine" MALB show but this is actually a mixture of stuff from earlier shows. Thus, selections are repeated, guests who never attended the same network show now appear together, and so on ! I haven't any proof as yet that the AFRS series of the MALB broadcasts had any "Dub shows" but that might be the case and could explain "the homeless MALB bonus tracks" that Jerry Valburn sent along with some of the complete transcription versions. Carl
In regard to MALB, AFRS had the ability to insert material from other broadcasts in the same series. (This happened many times on Date With The Duke.) So, until I can find the log of what tunes were played on each show (hopefully this information is now at the Library of Congress which acquired all the NBC files) we cannot really determine in what original show Do Nothin' Till You Hear from Me with Gertrude Niessen was performed. I'll be stopping at the Library on my way to Massachusetts this coming April. I hope to have the FINAL answer(s) on all of this. Jerry
See DEMS 01/3-10/2
I cannot believe that neither Luciano nor Sjef Hoefsmit have spotted the very clear difference between both takes of Nameless Hour (24Jul67). The first and the last part are almost identical but in the middle is an improvisation by Ellington which is totally different. It begins after the last note on the bass when Ellington starts his solo and it continues until the violins take over again. Georges Debroe
The mystery is solved. When Georges called me, I started to suspect the Decca LP. The great difference Georges is talking about is between the Decca LP 75069 and the Attic CD 1425 (DEMS 96/1-9). The difference starts on the CD at 5:52 during the 12 bars passage by Ellington. It seems that Ellington's piano-part, which he followed scrupulously until that very moment, slipped on the floor. Here the LP is indeed very different, to the extend that it misses two bars of Ellington's passage. Synchronous comparison reveals that he continued playing differently until the very end of the piece. Maybe because Ellington suddenly started to improvise, the conductor started the orchestra earlier. This is not a matter of an insert replacing the end of the recording. Slight differences in Duke's piano playing occur earlier, in the neighbourhood of 1:40 to 1:50. We all took it for granted that the Attic CD would be an identical re-release of the Decca LP. Only Georges Debroe noticed the difference as he earlier did with the alternate take of Joya Sherrill's I'm Beginning To See the Light (DEMS 98/4-1). Georges is the champion among what Duke called: "the people with the ears."
The difference between the Radio Canada LP recently discovered by Georges Debroe and the Attic CD is as I said earlier, hardly noticeable. However, after having spent several hours with these three takes I am convinced that they are all different. When I compared the CD with the Radio Canada LP earlier, I concentrated on Ellington, but now I have specifically listened to the orchestra. The score is identical but the tempi are slightly different. Ellington obviously plays from paper from beginning to end. Sjef Hoefsmit
We have listened attentively to Nameless Hour. You are right about the Decca LP and the Attic CD: there is a clear difference in the pass by Ellington and we made the addition of an alternate take in the New DESOR. Correction-sheet 1034. We have on the contrary not found aurally any difference between the Attic CD and the Radio Canada LP: we do not feel up to consider another alternate take. Luciano Massagli**
Billy Strayhorn was likely unaware of it, but in writing Take the "A" Train he used chord progressions from a song written by Ellington years before.
The Ellington in question is Duke, not his son Mercer, for whom a specious claim to "A" Train's authorship could be argued on the grounds that he is the song's sole credited composer in its earliest incarnation on Standard Program Library P-132, a 16-inch ET recorded 15Jan41. While this disc's labels omit composer's credits, copies of the company's catalogs credit "Mercer Ellington" in one edition (this entry is reproduced in Benny Aasland's Wax Works of DE, 1940-42) and "Ellington" in a later one. However, according to Mercer (David Hajdu, Lush Life, p84), "A" Train was written by Strayhorn and Mercer's own not inconsequential contribution to the song's birth was to rescue the manuscript from "out of the garbage".
Writers and musicians have long noted "A" Train's similarity to the standard Exactly Like You, which was credited to Dorothy Fields and Jimmy McHugh on its 3Feb30 copyright deposit, and first recorded by Seger Ellis on 28Mar30. The latest to address this topic is Walter van de Leur, in his praiseworthy new book, Something to Live For: The Music of Billy Strayhorn (pp48, 292):
"With its chromatic eighth-note lines, "A" Train's bebop-flavored theme is surprisingly modern, although the chord changes seem to owe a debt to the 1930 Jimmy McHugh/Dorothy Fields composition Exactly Like You." [....] "McHugh's theme, however, does not touch on the characteristic flatted-fifth in bar three. Aware of their shared chord progressions, Charles Mingus made a recording that simultaneously featured the themes of Take the "A" Train and Exactly Like You (May 25, 1960, issued on Charles Mingus: Charles Mingus Revisited, Mercury MG20627)."
Not disclosed in print until now is the debt Exactly Like You would seem to owe to the chord changes in the main theme of a slightly earlier song, Oklahoma Stomp. This was brought to my attention by the highly observant pianist and jazz scholar Brooks Kerr; Mark Tucker later concurred. Provisionally titled as "Oklahoma Stuff," Oklahoma Stomp was recorded on 29oct29 by "The Six Jolly Jesters," who consisted of eight Ellingtonians plus two of the four members of the Washboard Serenaders, who were also on the bill at the Cotton Club that season. A third Washboard Serenader, Harold Randolf, appears on Goin' Nuts, the other title recorded by the Jesters on this "Black Tuesday" when Wall Street went nuts.
One may reasonably infer that Exactly Like You's melodist, Jimmy McHugh, was exposed to Oklahoma Stomp prior to its 1Feb30 release on Vocalion 1449, in that:
1. McHugh was in these years a partner at Mills Music, Inc., which firm published both his compositions and those of Duke Ellington. The Mills office often received advance pressings of records by Ellington.
2. McHugh composed the music for every Cotton Club revue between 4Dec27 and 1Mar30. The house band in those years was Duke Ellington and His Cotton Club Orchestra. As McHugh was a habitu, of the club in addition to being on its staff, exposure to Ellington's own repertoire, which was performed at the club nightly for dancing and broadcasts and in late 1929 and early 1930 likely included Oklahoma Stomp, was inescapable.
3. McHugh was a friend and associate of Duke Ellington, a devotee and booster of Ellington's music and he wasn't deaf.
Incredibly, the labels of the original issues of Oklahoma Stomp (Vocalion 1449) and its session-mate Goin' Nuts (Vocalion 15843) credit "Mills" as composer.
This is particularly unbelievable in the case of Oklahoma Stomp, because its secondary theme played by trumpet (16bars) followed by Duke's piano (16 bars) is Soda Fountain Rag, the first piece Ellington ever wrote, in Washington D.C. circa 1914. (The Soda Fountain Rag theme doesn't appear in Exactly Like You or Take the "A" Train.)
Irving Mills, Ellington's manager and co-publisher from 1926 to 1939, appended his name to dozens of Ellington's compositions. In the opinion of some knowledgeable associates, Mills had no aptitude for musical composition, and his contributions to Ellington's songs were limited to titles, lyrics, and publishing. Songs credited solely to Mills are rare; Ellington recorded just two of them (Oklahoma Stomp and Goin' Nuts) during the course of his long career. (Sharpie, recorded 2Aug38, was composed by Paul Mills, not Irving as shown in some works.) As the principals are no longer alive, the inside story of how Mills' name came to appear on Vocalion 1449 as the composer of Oklahoma Stomp will likely never be told. In any case, Oklahoma Stomp is a Duke Ellington composition copyrighted in 1962 according to ASCAP, and records released since then have credited Ellington, not Mills. Thus, barring a freak concurrence worthy of a "Twilight Zone" episode, Duke Ellington composed Oklahoma Stomp, which begat Fields and McHugh's Exactly Like You, which Strayhorn recast as Take the "A" Train in what may be regarded as an unconscious collaboration with Ellington many years and one song removed. Steven Lasker
See DEMS 01/3-10/1
Ted Kelly apparently had been mentioned as 3rd trombone in the pre-publicity and he may have been present at the tour's beginning. I am certain however that he was not in the band for (at least part of) the concerts at the Palais de Chaillot in Paris mid Apr50 and did not return for the rest of the tour. I attended some concerts in Paris and am convinced that I remember correctly the (only) two trombones Lawrence Brown and Quentin Jackson, as also for the final European appearance at the Salle Wagram in Paris on 20Jun50 (see DEMS 98/3-13 + 98/2-22). Reinhartz/Syman are right and Häallström's Stockholm photo also confirms: two-trombone section during (most of) the 1950 European tour. Jean Portier
See DEMS 01/3-5
Blue Serge. We have read carefully the discussions about the trumpet soloist. On the Standard Radio Transcription of 3Dec41 (4126f) it is Ray Nance indeed, but we confirm Rex Stewart on the earlier Victor recording of 15Feb41 (4105e) and in the Casa Mañana broadcast the next day 16Feb41 (4106i). Probably the sheets of music were made later, for the Standard Transcription recording. Luciano Massagli
See DEMS 01/3-13/1.
Many thanks to Steven Lasker for the reliable research made on the OKeh matrixes. At this point we cannot do anything but accept the date of 8Jan31 for the session 3018 and we will make the corrections in the New DESOR. Luciano Massagli
When I received the CD Togo Brava Suite (Storyville 8323, see DEMS 00/2-16/1), I noticed that Bjarne Busk, who wrote the liner notes, and the Smithsonian do not fully agree, when it comes to identifying tunes. They don't even agree on what parts belong to the suite. As we learned from your article in the latest Bulletin (01/2-25/2), Bjarne Busk had good reasons for his statements: the text on the cover of the tape box. But is not the Smithsonian cataloguing based on evidence too? At first glance it seems strange that numbers 2 & 4 of the Smithsonian are listed as two parts of the suite and at the same time are identified as the same tune (or two versions of one tune). This happens to numbers 5 & 6 on the Smithsonian list as well. But the listing of the Smithsonian is meant as a finding aid, and not as a decision on the number and the sequence of parts as planned by Duke Ellington.
The statements given by Bjarne Busk resp. the Smithsonian:
Togo Brava Suite (7 parts) (Ellington) rec. 28/29Jun71.
The CD includes:
1. Mkis (Soul Soothing Beach)
3. Togo or Yo-Yo (Naturellement)
4. Too Kee (Amour, Amour)
5. Buss (Right On Togo)
6. Soso; "This is the first recording of the piece, which later for unknown reasons has been mis-titled by discographers as Wood or Woods. The title Woods belongs to a complete different composition, also known as The Piano Player and has nothing to do with Soso." (From the liner notes by Bjarne Busk)
7. Toto (Afrique); "Toto was a re-use of a composition from the year before, called Afrique, and later to be used in 'The Afro-Eurasian Eclipse' (as was - by the way - a composition from 'The First Sacred Concert', Tell Me It's The Truth, which was re-titled True)." (From the liner notes by Bjarne Busk)
NMAH Archives Center, Duke Ellington Collection includes (in alphabetical
1. Buss a.k.a. Right On Togo
2. Goso s.a. Too Kee a.k.a. Amour, Amour
3. MKIS a.k.a. Soul Soothing Beach. MRIS see MKIS.
4. Too Kee s.a. Goso a.k.a. Amour, Amour
5. Toto s.a. Tugo a.k.a. Yoyo a.k.a. Naturellement s.a. Afro-Eurasian Eclipse
6. Tugo s.a. Toto a.k.a. Naturellement a.k.a. Yoyo s.a. Afro-Eurasian Eclipse
7. Truth s.a. Afro-Eurasian Eclipse s.a. Sacred Concert 1.
Does not include Tego. "Tego see Afro-Eurasian Eclipse".
Does not include Soso. "Soso (see Woods) see Afro-Eurasian Eclipse".
Does not include Afrique. "Afrique see Afro-Eurasian Eclipse".
"Naturellement see Tugo see Toto."
"Tego aka Limbo Jazz s.a. Virgin Island Suite".
"True a.k.a. Tell Me It's The Truth s.a. Afro-Eurasian Eclipse".
"Yoyo see Toto see Tugo."
By the way, Toto (Afrique), track 7 of the CD, is certainly not the Afrique as I know it from the "Afro Eurasian Eclipse" of Feb71. Toto is a free modal blues, Afrique is built in 8 or 16 bar structures. The free modal flow and the rhythmic approach of the tunes are somewhat similar, but that's all. Hans-Joachim Schmidt
In the Danish collection is a complete recording of the first recording session of "Togo Brava Suite" (28Jun71) and an incomplete recording (probably a dub with selected takes) from the second session (29Jun71).
It is important to realise that Duke very likely made his own choice for the dubs to take home. There were no other selections copied onto this "master tape" although there were another three selections recorded on the 29th and many more recordings from earlier sessions were dubbed on the 29th.
I am not convinced that the Smithsonian cataloguing is founded on trustworthy evidence. Errors were found earlier in other parts of the files and here again some titles are not correct. Toto is absolutely different from Naturellement and Naturellement has nothing to do with the "Afro Eurasian Eclipse". We know now that Soso and Woods are very different. See DEMS Bulletin 01/2-26.
The inclusion of Tego and Soso in the Afro Eurasian Eclipse is probably based on the listing in MIMM p.522.
The only available live recording of the "Afro Eurasian Eclipse" was made at Monterey on 18Sep70. Here Duke played in this sequence: Gong; Chinoiserie; Tang; True; Big Luv; Afrique; The Hard Way. Duke mentioned Chinoise after Chinoiserie and Django Django before Tang. Duke announced Afrique as Deep Forest and he talked about Didjeridoo between Afrique and The Hard Way. He described the didjeridoo as a one-note instrument, played by Harry Carney during the first selection (Gong). It is a pity that he did not give us more titles during this concert, but he may not have made up his mind yet. Mercer added Didjeridoo and Ocht O'Clock Rock and dropped Big Luv for the release in 1975 on Fantasy. I suggest that we only accept these nine selections as parts of the "Afro Eurasian Eclipse". Another argument is the fact that seven of the eight selections on the album were recorded on the same day, 17Feb71. Ocht O'Clock Rock was recorded on 14May71. It was previously recorded as Mich on 11Jul67 and released on volume 8 of the Private Collection. Big Luv is found in live recordings starting 20Jun70. A studio recording of 9Dec70 is in the Danish collection and was broadcast in bc # 32 (30Aug85). It has not yet been released.
That Tego is the same as Limbo Jazz, which is claimed to be the same as Island Virgin originates from an article by Erik Wiedemann in the Annual Review of Jazz Studies # 5 (1991) p.45. These three selections are somewhat similar, however in my opinion they are different.
I have listened to both versions of Afrique and I agree that they are quite different, still I have the feeling that they are based on the same 16 bars theme. If you follow the descrip-tions in the New DESOR p.722, you find only twice the theme complete in the "Afro Eurasian Eclipse" version and only once in Toto. All the rest is passages and incomplete choruses. See DESOR 7109t and 7136j. Sjef Hoefsmit
We have the out of print MusicMasters Duke Ellington box sets in stock. They are factory sealed and include "The Great London Concerts" (DEMS 97/2-13), "New York Concert" (95/1-6), "The Great Chicago Concerts" (94/2-4), "Cornell University Concert" & "Cornell University Second Set" (96/2-11). I have had these CDs in my personal collection since they were issued. All are of very high quality except Cornell Second Set. Price is $59.99 USD (for the entire box set of 6 CDs) + shipping/handling, which is $6.00 within the USA. I will be glad to forward a more thorough description to anyone who is interested.
We also have the RTE 29/30Jan65 2 CD set in stock for $9.99 USD. (See 94/1-4) Geff Ratcheson, P.O.Box 1650, Renton, WA 98057-1650, USA E-mail email@example.com
See DEMS 01/3-6/2.
You ask if I am sure that Duke was familiar with the instrument used by Harry Carney for Saddest Tale (12Sep34), which we know now from Harry's own words to have been an alto clarinet. The answer has to be, no. When I wrote 'it is no surprise that Duke was familiar with it', I meant I feel confident that he would have seen alto clarinets prior to 1934, and that he would have recognized the loaned instrument Harry plays on Saddest Tale as one. The 1923 photo supports this view. I would be greatly surprised to learn that, on seeing the instrument on loan from the Connecticut professor, Duke had reacted 'that's a funny looking instrument, some kind of clarinet, I guess; I wonder what it is.' I think it's much more likely that he thought, 'that looks like the big clarinet with the deep sound that Sweatman played.' Duke must already have been alive to the sound possibilities of different instruments in 1923 when the photo was taken, and so must have been interested in other musicians' instruments. Hence, he should have recognised this one with familiarity when it was offered in 1934, even if he thought of it as a 'mezzo' rather than an 'alto', as he evidently did in 1947; and even if it had special features.
I didn't mean to suggest that the alto clarinet was common in 1923. I said that it was commoner in those days, meaning simply that it became less common as the twentieth century progressed. For example, when I reread Mark Tucker on the musical scene in Washington during Ellington's youth, in Ellington the Early Years, Chapter 1, esp. pp.8-13, I find it hard to believe that there weren't alto clarinets in some of the ensembles mentioned. Anthony Baines describes the alto clarinet's function as 'a kind of wind viola for band transcriptions' (Woodwind Instruments and their History, Faber paper-back edition, p.129). It must have been present in just such a role in some of Washington's concert and military bands, possibly in theatrical pit bands, and maybe in school bands too.
I'm aware of what Duke went on to say in the 1947 Hot Corner interview. The identity of the Connecticut professor 'who invented some in between instruments', and the nature of his inventions, are the other questions Elaine and I raised which remain puzzling. I don't suppose we'll ever answer them, certainly not unless we learn who he was (bearing in mind that by 'professor' Duke may have simply meant a teacher, and not an eminent academic in a university, which is what the word means in my country, England). Many enthusiasts have incorporated modifications to clarinets to 'improve' them. These modifications usually involve extra keys or rings, and their purpose is either to make certain runs easier, particularly those crossing the 'break'; or to improve the notoriously thin 'throat' notes; or to extend the range of the instrument downward a semitone (and further in the case of the larger clarinets). There are always good reasons for these modifications, yet few clarinettists adopt them. They may make some fingerings easier, but they may also make other useful fingerings impossible. Also, any addition inevitably makes the instrument heavier. The one exception to the general unwillingness of clarinettists to adopt extra features is the extended lower register of the bass clarinet, which in recent years has become standard on the professional musician's instrument. Clarinets, like much else in life, are about the best compromise.
So it's possible to make intelligent guesses concerning the sort of modifications the 'professor' might have made to the instruments he loaned. But we'll probably never find out for sure, unless we find out who he was. In the case of this particular alto clarinet, the simple fact that it was pitched in F made it special; the E flat version is much commoner. What we can say for sure now, is that we have it on Harry's own authority that the instrument on which he played his solo chorus on the 12Sep34 recording we all know and love was an alto clarinet (though not the normal one); and not the bass clarinet it was assumed to be in the past. This is consistent with Duke's response to his 1947 interviewer, and with Harry's 1961 remarks to Stanley Dance. We can correct our discographical listings accordingly. Roger Boyes
See DEMS 01/2-16/4
I compared Bunny Hop Mambo from World Record Club TP-86 with The Bunny Hop
ARC Records ARC 021790, "The Golden Big Band Era, Volume 1." The latter is a
from the Capitol label of various big bands, the tune in question is drawn
from Capitol CDP
7912192, "The Hits of Ray Anthony." They are different (and obviously
different from Duke's
version of 26Apr54). My attempt to make a DESOR-description, would come out as
The muted trumpet, mentioned by Graham Peacock is in chorus 6° of the WRC recording. The composition is the same, the arrangement is different and it could have been the same band, but we still are not sure who played on WRC. Lance Travis
The track of Bunny Hop Mambo on the LP WRC TP-86 is definitely the Ray Anthony band recording. I remember hearing this thing over the radio time and time again because it was a big hit in North America at the time. Interestingly, there is no mention that I can find in Lord's discography at volume 1 under his name showing that he recorded it. Bill Morton
Only his brother Leroy had an entry in my old Jepsen. Ray's recordings were considered outside the scope of Jepsen's discography. It was announced that they would be included in "Jazz Discographies Unlimited". Sjef Hoefsmit
I found the 45 rpm Capitol EAP 1-605 titled "The Bunny Hop". It has four selections: 1. The Bunny Hop by Ray Anthony; 2. Bunny Hop Mambo by Duke Ellington; 3. Bunny Hop Boogie by Ray Anthony and 4. The Bunny Hop by Cliffie Stone. Comparison reveals that 1 is the same as ARC, just mentioned in my first message; 2 is indeed Duke Ellington, 26Apr54; 3 is the same as WRC TP-86 and 4 has nothing to do with the rest. It is the only vocal version. We know now who played on WRC. Lance Travis
Duke played on 16Feb63 two concerts in The Netherlands, scheduled for 8 o'clock in the Zoo in The Hague and at midnight in the Concertgebouw in Amsterdam. He started too late as usual. The concerts are confirmed in several Dutch newspapers of 18Feb63. Stratemann claimed Z_rich. That is wrong. Hans Kalter
The Ellington Orchestra appeared at Finnish Hall in Seattle on Monday 8Apr40 for the occasion of the first annual ball by the Musicians Local # 493 from the American Federation of Musicians. I have a photocopy of the advertisement in the edition of 5Apr40 from the Northwest Enterprise. I have spoken with a person who thinks he may have attended, and I have discussed it with Paul de Barros, author of "Jackson Street After Hours The Roots of Jazz in Seattle" who believes the gig really happened.
I have also an advertisement and showtime listing from the Daily Oklahoman of Saturday 1Feb36, for Ellington's appearance at the Warner Theater in Oklahoma City on Saturday and Sunday 1&2Feb36. Duke played five sets starting on 2:46, 5:02, 7:18, 9:34 and 11:50, prior to the screening of the movie "Her Master's Voice". Ken Steiner
I have a Gotham LP with two Ellington tracks. On the front of the cover:
from Gotham Recording Corporation". On the back of the cover: "Mastered Works
Gotham Recording Corporation". The LP label reads "Mastered Works of 1951".
Track 5 is
Sophisticated Lady and track 7 is The Hawk Talks. The liner-notes give this
information: track 5
is "broadcast on U.S. Army Stars on Parade" and track 7: "Fred Robbins and the
carry on the informal chatter (Stars on Parade)". Etched in the run-out groove
area on the
GRC-644-B/L-2178/SFT-1-AU-121251. On the other side:
GRC-644-A/L-2175/SFT-1-AU-121251. No catalog number on jacket, which notes "Not to be sold, broadcast or copied".
Do you know about this issue, which is not found in Valburn's directory? Do you know this version of Sophisticated Lady? [FN-2}
Do you know the contents of the other two Gotham LPs with Duke that are listed in Valburn's directory? They are: GRC DE 1/2 "Duke Ellington and his Orchestra" [FN-1] and GRC 3979-B3 "Basically Sound". [FN-4]
The third Gotham LP in Valburn's directory is in front of me. The front cover is blank. On the back cover: "One Good Turn Deserves Another". The LP label reads: "Holiday Greetings from Gotham Recording Corporation". Cut 1 is Duet and cut 2 is Threesome. Other tracks are not of jazz interest. Etched in the run-out groove: GRC-2873-A/L-3990. The non Ellington side has GRC-2873-B/L-3991. This disc has also a track from the soundtrack of the 1953 film, "The Joe Louis Story". On jacket again: "Not to be sold, broadcast or copied". [FN-3] Steven Lasker
1. I have a note that the only complete Ellington LP GRC DE1-R and GRC-DE2-R has as common number LPDVB Gotham Ac SFT-1 L1220R. This LP contains original recordings, made on 19Aug51. Titles on side 1 are Fancy Dan; The Hawk Talks; Ol' Man River; C-Jam Blues; Caravan; Mood Indigo; Ad Lib Blues; Tea for Two. On side 2: Monologue; Duet; V.I.P.'s Boogie; Jam with Sam; Primpin' at the Prom; Moonlight Fiesta; Sophisticated Lady. This session can be found in the New DESOR p.177, session 5124. Some corrections in the New DESOR are required. The five unissued selections are actually issued on this LP and the last group of three titles should be added at the end of this session. Primpin' at the Prom and Moonlight Fiesta have been compared with all the other recordings in the New DESOR. They are different. Sophisticated Lady has not been compared. No description in the New DESOR fits, with Willie Smith as soloist after a complete chorus by Duke.
2. I compared Sophisticated Lady and The Hawk Talks from your audio copy with the 19Aug51 recordings. They are identical, including the chat with Fred Robbins.
3. I compared Duet and Threesome from your audio copy with the 19Aug51 recordings. They are identical. This is acknowledged in the New DESOR. I suggest only to mention in the New DESOR the number L-3990 as being the only side of the LP carrying these two (or three) selections. Maybe it is better to mention the number GRC-2873.
4. No, I am sorry. I asked Jerry Valburn and Richard Ehrenzeller, but they couldn't help us. Maybe somebody else? If that is the case, please let us know! Sjef Hoefsmit
See DEMS 00/1-19/4.
The liner-notes by Sally-Ann Worsfold are not without factual errors, some spelling errors and the personnel listings need to be revised. At least such "basics" as the year of Ivie's death should be correct! Carl Hällström
See DEMS 01/3-10/3
Swaggie S7 and S8 weren't pressed "from original masters," but from parts created at Decca Records in the mid-1940s by dubbing from copies of the Vocalion 78s. This is established by the omission of these masters from Brunswick's 1931 inventory of metal parts, by a 1944 Decca inner-office memorandum, and by reference to the Vocalion and Swaggie 78s in question. Steven Lasker
See DEMS 01/3-12/1
Over the years, I've encountered two copies (one of them now in my own collection) of Pussy Willow from "5/28/39" on 78 r.p.m. cut seven-inch acetate discs, both paired with an unidentified tune by Charlie Barnes [sic] and His Orchestra from the same broadcast. Both copies are second-generation dubs. I suspect that the copy in the Valburn collection at the LoC (also seven-inch, this according to an inventory list Jerry sent me years ago) is yet another dub from the same batch. I don't know who cut these dubs, or when (surely they predate the Bandstand LP?), and I have never encountered the original undubbed source. The announcer doesn't mention anything about a President's Birthday Ball, but note what was typed on the label. The New York Times radio schedule for 28May39 doesn't list a "President's Birthday Ball" broadcast, and Ellington wasn't listed on any program scheduled for this date. Steven Lasker
Has the following 16-inch, 33 r.p.m. ET ever been documented? American Cancer Society 1957 Cancer Crusade Quarter Hour Music Show Platter 4: "Listening to Jazz with Ernie Kovacs" (backed with a program that features country artist Faron Young).
Kovacs introduces and plays three complete jazz records (a short excerpt
of a record of Max
Kaminsky playing the blues opens and closes the program; a few seconds of a
record is also heard):
a. Bunk Johnson and Sidney Bechet: Up in Sidney's Flat (Blue Note/10Mar45)
b. Django Reinhardt: I'll See You in My Dreams (Swing/30Jun39)
c. Cootie Williams and His Rug Cutters: Delta Mood (Vocalion/21Dec38)
The only reference I could find is in Jerry Valburn's Directory on page 5-10 where I see three releases for the Cancer Crusade in 1957, 1958 and 1959 respectively. The one for 1957 has these specifications: PL 5/6 (101848/9). The number fits with your label. I suspect that Jerry had Platter 5 and 6 in his hands.
There is another release known to exist, for the Cancer Crusade in 1960. The only one which made it into the old Desor discography for early 1960, entry 753a. This turned out later to be the beginning and the end of Dancing in the Dark, taken from the Columbia recording of 1oct57. Duke spoke two Bond promo's for that 1960 release. These have found a place in the New DESOR, still as early 1960, in "session" 6001 on p.285. I do not know whether or not he did some talking on the other Cancer Crusade releases. If so, it would be consistent to include these talks in the New DESOR. Sjef Hoefsmit
Platter 4 is a 16" ET, and thus belongs in section 2 of Valburn's directory. You refer to platter 5 (an LP) found in section 5 of Valburn's directory. These are different formats. Steven Lasker**
See DEMS 01/3-12/1.
I have in my collection tapes from the Library of Congress NBC acetates. While the date (claimed by LoC to be 18Jun43) may be incorrect, the acetates are from the rehearsal which took place on the SAME day as the broadcast (claimed by Aasland and DESOR to be 19Jun43). Duke is definitely there. He performs and talks on this show. Networks, at that time, could not afford to have a rehearsal on one day and the actual broadcast on a different one. Musicians and guests had to be paid. Jerry Valburn
What is the meaning of "boola" (bula)? Roger Boyes mentions it in DEMS Bulletin 01/2-22/2. All I know is that when Duke Ellington uses the word, it has to do with color.
I have in my ear Duke's voice saying "bula-black", accentuating it in a way that "black" must be understood as an explanation of "bula". But I am not able to locate it now. There is a tune "Bula-beige" by Tadd Dameron. Hans-Joachim Schmidt
Mark Tucker wrote in Black Music Research Journal, Fall 1993, page 68: During these years, however, [more than a decade before Ellington wrote Black, Brown and Beige] Ellington had worked on other projects that paved the way for Black, Brown and Beige: the Paramount film short Symphony in Black (shot in 1934, released in 1935), the socially conscious, race-proud musical Jump for Joy (1941), and, most important, the opera Boola, a work often cited in the Ellington literature but long shrouded in mystery.
On page 75, Mark quotes Alfred Frankenstein who wrote in the San Francisco Chronicle of 9Nov41: "Boola," says Ellington, "is the name Negro historians use to symbolize their race. If they want to tell you that Negroes took part in this or that event, they will say 'Boola was there.' My opera traces Boola's whole history in four scenes. The first scene is laid in Africa. The music there is mostly imaginary, because no one today knows what African Negro music was like in these days of the early slave trades. The second scene is Negro life in slave times, the third, Negro life in the period after the Civil war, and the fourth, Negro life today. There isn't any continuous plot, but there is one symbolic figure Boola himself who appears throughout."
Note 9 on the same page (75) of Mark's article reads: The "Boola was there" quote also appeared in Irving Kolodin's annotation for Black, Brown and Beige in the 23Jan43 Carnegie Hall program: "Boola" is the term Negroes use to symbolize the perpetual spirit of the race through time. Thus when a discussion of some important phase of American history is under way Valley Forge, for example one of the group is sure to say: "Yes, 'Boola' was there all right" referring to some heroic Negro little known to the white man who made a valiant contribution to the Revolutionary cause. (Quotations selected by Sjef Hoefsmit)
The Random House Historical Dictionary of American Slang: "cop-out n. 2. [...] Orig. Jazz & Und. a pretext or means of evading or backing down; excuse. ...[Gained nationwide currency ca 1965-68.] ...1956 in Ellington Music Is My Mistress [sic] 507: Cop-Out."
I prefer MIMM p.28, as it explains itself: "... when I found that something I wanted to do was a little too difficult for the yearling that I was then, I would cop-out with something appropriate to my limitations." Hans-Joachim Schmidt
See DEMS 01/2-31
The DETS Volume 3 CD, as is rightly mentioned, does not have 4587a, Take the "A" Train on the label, neither is the music on the disc. Was it ever there? Lance Travis
There is also some confusion about the bass-players. We have on the Oct/Nov45 Magic Carpet # 172 broadcast (New DESOR 4587) Junior Raglin and not Lloyd Trotman. We have on the 12May45 Treasury broadcast (New DESOR 4530) Bob Haggart and not Junior Raglin. (See also Comments on Timner p.15 concerning Timner 4th ed. p.70.)
We have on the Nov45 Magic Carpet # 180 broadcast (New DESOR 4592) Oscar Pettiford without a question-mark. DEMS
In the liner notes to The Indispensable D.E. Vol. 5/6 by Claude Carrière from 1982, I find: "Ko-Ko, listed on the session sheet as Kalina." Did you ever hear of it? Can you confirm it? Hans-Joachim Schmidt
I have heard of it. I have a note in my files. This note is from a time when I did not think of ever having to mention my source. It was only for myself, to help me if I should encounter this sub-title and didn't recognise what it was. It is more or less confirmed in Timner and in the New DESOR.
Timner has Kaline is Silk Lace and Kalina is Ko-Ko.
DESOR has Caline is Silk Lace and Kalina is Ko-Ko.
I have Kalin, is Silk Lace and Kaline is Ko-Ko. Sjef Hoefsmit
On Pablo 2308-247 "In the Uncommon Market" (German issue), I have on Stanley Dance's liner notes "Silk Lace, originally entitled Caliné", i.e. with C and acute e. Roger Boyes
Claude CarriSre names the session sheet as his source: "Ko-Ko, listed on the session sheet as Kalina." But there is no Kalina in the earliest written music for Ko-Ko (the parts written by Juan Tizol), only the stamp KO-KO. That means, that the parts were written after the recording and after completing the session sheet. And that throws some light upon the making of Ko-Ko. There is that myth of the opera "Bula" or "Boola" which Ko-Ko is said to be a fragment of. The available materials do not confirm this. But my doubts should not bother you, I am in an early stage of investigation.
NMAH Archives confirm your version: Ko-Ko same as Subseries 1C aka Kaline. 1C has the sidemen's books, and one would have to go through all of them to find what one needs.
There is a photocopy of RCA's recording schedule in Benny Aasland's "Wax Works" of Duke Ellington. The most reliable source one could expect. I don't have it, but I found the hint in Ken Rattenbury's Duke Ellington - Jazz Composer. Kalina in typescript was altered to Ko-Ko in longhand. Hans-Joachim Schmidt
I thought you would enjoy an excerpt of the following posting from an astute researcher of jazz repertoire. Andrew Homzy
"Borrowing" in jazz is a common practice, and it's rare when it's real "robbery", complete "plagiarism", because there is very often something changed. It started before the Original Dixieland Jazz Band copying Joe Jordan's "That Teasing Rag" for their "Original Dixieland One Step". W. C. Handy did it, Clarence Williams was a specialist, as were a lot of publishers. (Irving Mills put his name as composer or lyricist on about 50 jazz standards!) A lot of bandleaders do it, like Benny Goodman, Count Basie, Duke Ellington, and so on.
Duke is often mentioned for that, but he changed the tunes or the portions of tunes he borrowed so perfectly, that we are tempted to tell him, "Mr. Duke more borrowing, please".
I'm amazed by the way he composed What Am I Here For? The first eight bars were taken from the introduction played by Charlie Irvis in Bull Blues, recorded by Thomas Morris in 1923 (with Bubber Miley as second cornet) ! Not long after, Irvis and Miley joined Ellington's band.
Duke composed What Am I Here For? 19 years later, after Charlie Irvis's death! and it's no doubt a real Ellington compo-sition, inspired by a motif played once by one of his musicians.
What jazz musician never dreamed to have one of his compositions stolen by Miles Davis or Duke Ellington? What a consecration! Philippe Baudoin from Paris
Recent research by Ken Steiner corrects and expands Dr. Stratemann's write-up of the Duke's opening night broadcast from the Congress Hotel in Chicago on Friday, 8May36 (page 134 in DE - Day by Day).
NBC s Blue Network, heard over Station WJZ in New York City, 11:30 - 12:00 midnight EST:
Duke Ellington, Congress Hotel: 11:30:00 - 11:34:55
East St. Louis Toodle-Oo (theme)
Switch to the Rainbow Room at the top of the RCA Building (Rockefeller
York City and Glen Gray and the Casa Loma Orchestra: 11:34:55 - 11:41:20
Smoke Rings (theme)
We'll Rest at the End of the Trail (vcl Kenny Sargent)
Shades of Hades
Smoke Rings (closing theme)
Back to the Congress Hotel: 11:41:20 - 11:50:00
Merry-Go-Round (featuring Rex Stewart)
Echoes of Harlem (featuring Cootie Williams)
Switch to the Hotel St. Francis, San Francisco, and Carl Ravazza and his
Haunting Me (theme)
The State of My Heart (vocal by ?)
Back to the Congress Hotel: 11:55:50 - 12:00:00
Oh Babe, Maybe Someday (vcl Ivie Anderson)
The following tunes were also cleared for the broadcast but not performed:
DE: Stompy Jones; In a Sentimental Mood.
Carl Ravazza: In A Sentimental Mood; Love Is Like a Cigarette. Carl Hällström
Recordings of two broadcasts from the four weeks stay at the Congress Hotel have survived. The dates are assumed to be 9May and 26May36. I hope you and Ken Steiner will be able to unveil one day the correct dates for both broadcasts. Sjef Hoefsmit
See DEMS 01/3-20/Q5
The original 12" single-sided acetate disc cut by A.R.C. that contains the rehearsal takes of Echoes of Harlem found its way to my collection in 1987, purchased from Robert Altshuler who in turn had obtained it from Ted Shell.
While undated, the acetate is unlikely to date from 27Feb36, when the band first recorded Echoes of Harlem, as A.R.C.'s New York studios were then still cutting on wax masters. By the time of Ellington's session of 17Jul36, the studio had switched to cutting on acetate discs (which, like wax masters, became metal masters following a process of electroplating), this fact is evidenced by the outline of a small circle visible "under the label," an inch away from the center hole on "flush" label master pressings. This mark is a vestige of a second spindle hole drilled into (or punched out of) the acetate blank during the manufacturing process; such a mark is never seen on parts or pressings that derive from wax masters.
Moreover, while the 27Feb36 Echoes of Harlem features the full orchestra, fewer players are heard on the rehearsal disc: Williams, Nanton (brief blowing unrelated to the arrangement), Ellington, Taylor, Greer and an unidentified vibraphonist who noodles amateurishly behind the conversation. When Ellington is asked (by Nanton?): "What about the brass part, Duke?" he replies: "There is no brass part." On takes M729-1 and M729-2 from 19Jan38, I hear Williams, Hodges (as), Bigard (ts), Carney (bar), Ellington, Taylor and Greer thus no second brass part, at least not to my ears (the DESOR team errs, I believe, by adding Nanton plus Guy to M729, also by listing Bigard as playing clarinet rather than tenor on this title).
Considering the evidence, one may reasonably conclude that the Echoes of Harlem rehearsal acetate was cut on 19Jan38. Steven Lasker
See DEMS 01/3-16/5.
This 2 CD set, which is identical to the original Columbia 2 LP set, was released first in Japan on Sony SME (Sony Music Entertainment) SRCS 9619/9620. The European release as mentioned in DEMS Bulletin was released after the Japanese issue. It has not been released by Sony in the United States. Jerry Valburn
See DEMS 01/2-16/2
We found this correction in the Bulletin # 3 - 2001, of the Duke Ellington Society of Sweden.
"DEMS (Holland) stated this spring that there exists an interview with Ivie Anderson that has not been published. This interview is said to have been executed by Bill Hill, president emeritus of the Duke Ellington Society Southern California Chapter in 1947. In reality this interview was made in October 1948, it is 34 minutes long, and it has been published in our Bulletin # 4 - 1997, translated into Swedish."
DEMS is international. It has nothing to do with Holland. DEMS
Is there anybody out there who could help me to find the two editions of Benny Aasland's Wax Works from 78 and 79? The first volume covered the RCA Victor Period from 6Mar40 until 30Jul42. The second volume covered the Recording Ban Period from 31Jul42 until 11Nov44. You can write to me: P.O.Box 60, Rooigrond, 2743, South Africa or e-mail firstname.lastname@example.org. Lance Travis
See Comments on Timner p.8 & p.11, # 26, 12Jun37.
The personnel for the Duke s little jam band was already given by Robert Inman from his scrapbook notes in DEMS 93/4-6 as follows: Cootie Williams, Juan Tizol, Barney Bigard, Harry Carney, Duke Ellington, Hayes Alvis.
You still give the OK-nod to Mr. Timner when he shows: CW, JT, BB, HC, DE, Lou Shoobe (b.), Johnny Williams (d).
Yes, there IS a drummer present, so why should it not have been Sonny Greer? There is nothing to suggest otherwise apart from what Dr. Stratemann wrote in his book.
Johnny Williams was not announced as the drummer. Surely such a thing would have been pointed out when most of the Duke's personnel was announced twice at the beginning of the broadcast.
What kind of info does Steven Lasker have? He was wrong regarding the bass player. Robert Inman was there, Stephen Lasker wasn t. Carl Hällström
See the photocopy of Down Beat Jul37 page 8, where Lou Shoobe is mentioned, although with a wrongly spelled name (Schoobe) in the 2nd column, 3rd line. Steven Lasker
Carl Hällström wrote in DEMS 93/3-6: "Note that Duke Ellington is replaced by Dave Bowman (of Bobby Hacket's band) as pianist on the June 25, 1938 show!" What is the source of this data? (The scrapbooks of Robert E. Inman, referred to in DEMS 93/4-6, perhaps?) Steven Lasker**
See DEMS 01/2-22/2
Suave Swing is the correct title for a composition that was part of the band-book during the 1939 concert tour in Europe. It appears on the printed programs of the period, as for instance Paris 3&4Apr39.
Suave Swing possibly is an alternate title for another composition and very probably must be understood as a synonym for smooth, polished, unctuous etc. If there had been any link to "zouave", Duke certainly would not have failed to emphazise this "exotic" aspect. Jean Portier
In a report from the concert in The Hague J.P.van Blarkom mentioned the title of the encore as Swamp Swing. He considered it the best tune of the evening! He probably misunderstood the title. He claimed the concert to be from the evening of 8Apr39. DEMS
See DEMS 01/2-16/2
I checked the recording of Ivie Anderson's Stormy Weather as heard on JUBILEE # 21 and I agree with Steven Lasker. This program will soon be reissued on Mr. Knudsen's JUBILEE-series. While the comedy stuff with Satchmo, Jack Benny and Rochester appears to be recorded live in front of an audience of servicemen at NBC in Hollywood on Monday evening of 19Apr43, Ivie's song clearly originates from the Jubilee "stock-pile archives", the applause heard at the end of the tune is "canned".
The so-far undocumented JUBILEE # 10 show should have at least one more song by Ivie, probably acc. by the very same "unknown" band. The recording session probably took place at NBC in Hollywood in Jan43. Carl Hällström
The show "Duke Ellington, We Love You Madly" was recorded on 10 and 11Jan73 at the Shubert theatre in Los Angeles. Some of the participants were members of the group "Chicago". They performed Jump for Joy. This performance is edited out for the telecast on Dutch television, from which I made a video recording and recently a copy for Paul Millard. Paul is wondering if anybody could supply him with a video recording of this excerpt [FN-1]. He is very interested in this group and he has sent us the following attractive article:
"Chicago" moved on to a new project, embracing an idea put forward by record executive John Kalodner, and recording "Night & Day" (Big Band), released in May95 on Giant Records 924615-2. The album features standards associated with Glenn Miller (In The Mood) and Duke Ellington (Caravan; Sophisticated Lady; Don't Get Around Much Anymore and Take the "A" Train) among other non Ellington tunes.
The association with Ellington helped convince band members to try the project, since it seemed to pay back a musical debt to the Duke. Back in the early '70's, Ellington had asked to have "Chicago" appear on his TV special, "Duke Ellington: We Love You Madly", along with such august company as Sarah Vaughan, Ray Charles, Peggy Lee, and Count Basie.
After the show, Parazaider and Pankow went to meet Ellington, who was near the end of his illustrious career. "I said, 'Mr. Ellington, it really was an honor to be asked to be on your show'," Parazaider recalls, "and he looked at Jimmy and me, and he said, 'On the contrary young men, the honor is all mine because you're the next Duke Ellingtons.' Jimmy and I were gassed to meet him and that he said that. We were going away, and I said, 'Yeah, right, now if we can make another hit record to pay the rent we'll be happy,' not thinking about the long haul. When the idea for the big band album presented itself, at first it got a lukewarm reaction by the band. Then Jimmy and I remembered this, and I thought, maybe this is what we were supposed to do in the scheme of our musical life. So, that was one of the reasons that we warmed up to the idea of it."
"It was a great musical experience, and that's what it's all about, in my mind," Loughnane concludes. "I think it should have been more popular than it has become, but it's still a great piece of music as far as I'm concerned, and I'll take that to the grave with me. I know we put everything we had into it, and it came out sounding great."
1. If you can help Paul, I will be happy to give you his address. Sjef Hoefsmit
See DEMS 01/2-17
I have found an LP "Al Hibbler ... Early One Morning" with the recording of I Can t Put My Arms Around a Memory. It is from Ember, Nr 5020. Behind Al is the Sir Roland Hanna Trio as Richard Ehrenzeller said. Göran Wallén
See DEMS 01/2-25/1
Several DEMS members have tried to contact the distributor of Masters of Jazz by e-mail. The address we gave you seems to be wrong. You have a better chance if you send your message to email@example.com
The home address, telephone and fax numbers we gave you, are OK. DEMS
See DEMS 01/2-16/3
Statement by Richard Ehrenzeller: The recording in 1947 with Cee Pee Johnson Orchestra, Play Me the Blues, was used for Jubilee broadcast # 60 and can be found on the CD, "The Best of AFRS Jubilee Vol. 4 - No. 60 & 77".
I thought this matter was settled many years ago.
Rainer Lotz' Jubilee-disco, published in 1985 lists this program as being mastered on 10Jan44 (source: the AFRS ledgers), location is NBC in Hollywood, recording date "ca Dec43", original broadcast with Ivie acc. by the Cee Pee Johnson orchestra (Rainer's idea of the personnel is listed) and Ivie says the following as intro: "I'd like to sing my latest recording, soon to be released, written by Leon Rene".
A quick check in Erik Raben's Jazz Records 1942-80, part 1, page 209: Same info as above re. the Jubilee # 60 program.
The studio date for Exelsior 101 [FN-1], Play Me the Blues with Ivie acc. by Ceele Burke's orchestra is dated "ca 1943/44".
The record label which has reissued Jubilee # 60 & # 77 on CD is RST Records [FN-2] and the catalogue number is JUBCD 1004 2. And the booklet reprints the info for both shows from Rainer Lotz' disco!
After playing Jubilee # 60 a couple of times, as presented on RST Records the sound is distorted beyond belief and the program runs at the wrong speed, too fast I am inclined to agree with Rainer Lotz (who penned the discography) that it is the Cee Pee Johnson big band behind Ivie. The instrumentation listed appears to be more or less correct and I believe that Teddy Buckner is the grandstanding trumpet player.
The program was recorded in front of an audience at the NBC studios in Hollywood on Monday evening, 10Jan44 and not "ca Dec43" as mentioned by Rainier Lotz.
I wonder where Göran Wallén picked up the personnel for the 1947 "radio programme" with Cee Pee Johnson (see DEMS 01/1-14/2). Has Göran actually heard the recording ? If "yes", then he should have noted that it was a much larger orchestra than listed in his article. At least 2 trumpets (Teddy Buckner and Karl George), no trombone is heard, a reed section of at least 4 players including one baritone sax, Ed "Popeye" Hale on alto sax, Buddy Banks on tenor sax, the piano player is Joe Liggins, rhythm section is also different then shown. Note that Cee Pee played tom-toms and also had a "regular" drummer. Carl Hällström
1. Excelsior 101, Exclusive no # and Excellent 3114 all contained the same recording with matrix-number 3114A. See DEMS 01/1-14/2 and 01/2-16/2.
2. We are sure that Richard and Carl have the same CD in their hands. DEMS
In my newspaper "Stuttgarter Zeitung" I found this report on the death of the singer Angele Durand. At the beginning of the second paragraph you can read (I translate) "Duke Ellington engaged Angele Durand as a bandsinger for his European Tour 1950".
Can you confirm this? In which concerts did she sing? In my books and discographies I didn't find any reference to this engagement. Helmut Kirch
Neither can I and what says more: her name is indeed not mentioned in Klaus Stratemann's book. Klaus spent years going through all the magazines and newspapers to collect his information and he would undoubtedly have mentioned her name if he had found a single mention. Sjef Hoefsmit
See DEMS 97/4-8 (first mentioning of this subject) and if you want to follow the whole string of discussions you should start at 00/3-10 and work your way back.
We wondered why there are 7 LPs in a box from which only 13 sides are used. LP 7 is blank on one side in each box. Rob Bamberger provided the answer:
I would guess that the reason why there are thirteen shows per box is that it has often been the practice to provide syndicated or transcribed programming in calendar quarters. Thirteen shows per quarter, 52 shows per year. Rob Bamberger
In DEMS 00/3-10/1 we explained that there are two different sets of these pre-recorded radio broadcasts. There is a set (# 1 - # 24) with Duke participating in the comments before and after the playing of the commercially available records and there is another set (# 1 - # 117 or # 130) hosted by other musicians. I was involved in a discussion on the Duke-Lym list on the internet about the date of assembling of the first set. Was it done before or after Duke died? Was Duke actually involved in these transcriptions or were his comments taken from earlier recorded interviews? I asked Anders Asplund for a copy of one of the Old Time Radio cassettes. He very kindly sent me RMU-3702, which contains 4 programmes from the Ellington set.
There is no possible doubt . Duke was actually making these comments for these weekly Social Security Administration broadcasts together with Hal Jackson. Just before playing Don't Get Around Much Anymore Duke said "we played this last year in 46 countries". Not in any of the calendar years 1971, 1972 or 1973 did he travel that much, but he did visit exactly 46 countries between Sep71 and Mar72 during two major tours. Only a few countries, like Japan, Taiwan and the Philippines, were visited on both tours, which makes them appear twice in the list of 46.
I gather that these talks were recorded early in 1973.
I took advantage of this copy to identify the selections.
RMU-3702 Side 1 pgms # 05 / # 06
I'm Just a Lucky So and So RCA 26Nov45; Warm Valley Yale Concert Feb68 [FN-1]; Things Ain't What They Used To Be Concert in the Virgin Islands 17Mar65//Star-Crossed Lovers The Great Paris Concert 1Feb63; Dancers in Love RCA 30Jul45; Black and Tan Fantasy Capitol 29Dec53.
Side 2 pgms # 07 / # 08
It Don't Mean a Thing RCA 2Feb32; Don't Get Around Much Anymore RCA 4May40; Latin American Sunshine Latin American Suite 5Nov68//Creole Love Call Brunswick 11Feb32; Ring Dem Bells Victor take -3, 20Aug30; Chromatic Love Affair Yale Concert Feb68 1.
At the start and the end of the broadcasts segments of Take the "A" Train from The 70th Birthday Concert 26Nov69 were used.
1. See my comment on the correct date of the Yale Concert in the column DESOR Corrections under Page 493 in DEMS 01/3-26. Sjef Hoefsmit
The Social Security programs were initiated by the U.S. Social Security Administration and were broadcast throughout the country. The set of recordings was provided to each local Social Security District Office (600+ at the time) and the manager of each of those offices was responsible for placing (arranging for air time) the series with any radio station in that district. These particular programs were very popular among station managers and listeners. So popular that radio stations insisted on having them for replay once the series had its initial run. There is no way of knowing how many times the series was played across the country. Bill Jadlos
The programs were used. I was on the radio in the 70s here in Savannah. I remember seeing the albums. I can see in my mind the label with Duke's picture on it. They would be recorded onto carts for playing the individual tracks. Wish I'd kept those things after we were done with them. Skip Jennings
Do you by any chance know if the recordings Duke made for Reader's Digest in Sep69 are available on CD? I don't have them, and have listened only to a wonderful version of Misty. Lars-Erik Nygren
As far as we can check it, there are three selections, Misty; A Taste of Honey and Alfie issued on discs 3 and 4 of a 4 CD set called Big Band Memories, Readers Digest 833C. This info courtesy Jerry Valburn. DEMS
See DEMS 01/3-13/3
There is one more "Adler - Ellington connection" and an "Adelaide Hall connection":
On 12Jun74 Larry Adler played Mood Indigo in the church of St. Martin in the Fields in London. The BBC broadcast this "In Memoriam Duke Ellington - concert".
Adelaide Hall sang "her" Creole Love Call, after more than 40 years.
At that service (not a concert) there were: Pastor Austin Williams, Gerald Lascelles, Derek Jewell. The musicians: Humphrey Lyttelton, Danny Moss, Mike Gibbs, Johnny Dankworth, Stan Tracey, Tommy Whittle, Mike Page, Larry Adler, Tony Crombie, Lennie Bush and Chris Barber.
The vocalists: Adelaide Hall and Cleo Laine. A Choir conducted by Ian Hall.
Duke's music: Come Sunday; In a Mellow Tone; Creole Love Call; Sophisticated Lady; Mood Indigo; Don't Get Around Much Anymore and Take the "A" Train.
It was an impressive service on that day in Jun74. I have a tape of this BBC broadcast (taped from the radio in England). If DEMS members would like to have a copy, please let me know. I can send you a copy on CD. Maybe we can make an exchange. John van Waes, Noorderbaan 86, 4386 CB, West Souburg, The Netherlands
The Nielsen disco, page 6:
NBC Blue broadcast, Detroit, MI, 25Dec42
The Ellington band may have played "from some Army camp near Detroit" (Nielsen) and may even have done a broadcast. But if they did, it was not part of the "Uncle Sam's Christmas Tree of Spotlight Bands," which is the correct title of the program.
The only colored bands heard on this 12:00 Noon to 12:00 Midnight broadcast were Fletcher Henderson from Fort Snelling, Minnesota (2:15-2:30), Louis Armstrong from Fort Benning, Georgia (3:00-3:15), Earl Hines from US Naval Training School, Noroton Heights, CT, (4:45-5:00) and Les Hite from Fort Huachua, Arizona (10:45-11:00).
For more info about this broadcast, please turn to page 238 in Dr. Stratemann's book, where you also should correct the name of the network to read "ABC Blue" instead of "NBC Blue" and delete the statement that Ellington was part of the broadcast. Carl Hällström
I found this rather ancient LP. The cover states "Made in West Germany", while on the record label, it is noted, "Made in Holland." It was distributed by Music Distributor in Roermond in Holland (=The Netherlands). Can you help me identify the selections? Lance Travis
I have not found any reference to this LP in DEMS Bulletin. It is possible that the LP is from before 1979. I have checked your cassette copy and here are the results: 22Mar27: East St. Louis Toodle-O. 26oct27: Black and Tan Fantasy; Creole Love Call. 30oct28: The Mooche. 10Dec30: Mood Indigo. 16Jan31: Rockin' in Rhythm (-1). 16Jun31: Echoes of the Jungle. 15Aug33: Harlem Speaks. 14May37: Caravan. 15Mar40: Conga Brava. 4May40: Cotton Tail. 15Feb41: Take the "A" Train. 21Mar28: Black Beauty (E 27094). 10Dec29: Sweet Mama. 20Jan30: When You're Smiling (-1). 20Mar30: Admiration. 22Apr30: Accordeon Joe (-A). 27oct30: Home Again Blues. 2Feb32: Moon Over Dixie. 4Feb32: Baby, When You Ain't There. Sjef Hoefsmit
I won in an auction two 12 inch 33 rpm transcriptions by Duke Ellington. One is "Voices of Vista" # 3, which is well known (see the New DESOR 6546). On the other are two programmes, presented by Skitch Henderson, which I have not been able to locate in Klaus Stratemann's "Day by Day Film by Film". I send you audiocassettes with copies of these transcriptions and photocopies of the labels.
In one of the Henderson programmes, I hear that the interview is made in the National Hotel in Las Vegas, in a room with "cerise" wallpaper. Maybe these interviews are made during 1973? Jordi Navas Ferrer
During the "Voices of Vista" programme, hosted by Willis Conover, four Reprise recordings are heard: 21Jan65, Ellington '66; 19May64, I Can't Stop Loving You; 19Jan65, Day of Wine and Roses and 21Jan65, I Want To Hold Your Hand.
Willis made the remark about Ellington '66 that Duke was always a year ahead. This indicates a date some time in 1965, after the release of Duke's Reprise album with the same title. The New DESOR puts the date of the "Voices of Vista" programme in Jul or Aug65. Timner gives probably Jan65. That seems a bit too early.
The two radio programmes "Skitch and Company" were unknown to me. In # 109 Duke mentioned again that he played in 46 countries last year. He made the same remark to Hal Jackson in the programme "The Genius of Duke" # 7, see 02/1-14/1. In # 110 Duke mentioned that he had spent four weeks in Las Vegas in November and that he was now back for two weeks. These two weeks run from 21Feb until 5Mar73. Duke stayed at the International Hilton Hotel where he performed at the Casino lounge. The two programmes were made to promote the United States Army Reserve.
Programme # 109 was scheduled for the week of 27May73 and contained the following recordings: 31May60, I'm Beginning To See the Light; 19Jan65, Satin Doll and 31May60, Perdido (not complete).
Programme # 110 was scheduled for the week of 3Jun73 and contained 29Dec62, Don't Get Around Much Anymore with the first 8 bars of chorus 2° missing; 9Sep57, Mood Indigo; 23Feb63, 2nd concert, Things Ain't What They Used To Be with a part of 3°, the whole 4° and a part of 5° missing. It ends with a not complete version of Take the "A" Train, which I have not been able to identify. It took too much time. Sjef Hoefsmit
Some time ago, I showed to a visiting DEMS member the documentary "Memories of Duke". In all the shots, we saw Jeff Castleman on bass, but we saw an unknown bassist with a red shirt, black tie and a moustache during Things Ain't What It Used To Be". We heard Jeff! Who could his replacement have been?Sjef Hoefsmit
See DEMS 01/3-16/6.
In your e-mail to me dated 4Jul01, you corrected the date of Mr Gentle and Mr Cool from the 1st concert at Göteborg, to the session of 20May62, take -2. Lance Travis
My e-mail was correct. My comment in DEMS 01/3-16/6 was wrong. I consulted the listing in DEMS 98/4-3 and I apparently looked at the date of another title.
Here is your question again and now with the correct answer. I am sorry for the confusion.
I am assuming that Jazz Hour JHR 73504 carries the same tunes as "Satin Doll" (Jazztime JTM 8107) with the addition of Diminuendo and Crescendo In Blue and Mr Gentle And Mr Cool. Can you give me the dates and locations where these two tunes were recorded please? Lance Travis
Indeed Jazztime 8107 (DEMS 00/3-18/3) is the same as Jazz Hour 73504 (DEMS 90/1-2) with the exception of two selections which are missing on Jazztime. Diminuendo and Crescendo In Blue was recorded during the first concert in Göteborg on 6Nov58 and Mr Gentle and Mr Cool was recorded at the Bell studio in NYC on 20May62. (DEMS 98/4-3) Sjef Hoefsmit
See DEMS 00/2-12/1
The Crabapple cassette RBB-0197 as mentioned by Dennis Askey, contains a broadcast from the Cotton Club, 18Mar37, DESOR 3704. 3704h is not complete, it ends at 4:07 and 3704i is omitted. 3704a is now released for the first time. Why isn't it included in the New DESOR corrections as an addition? The same can be asked for 4209a,b&c and 4210a,c&d (14&15Jul42), also released for the first time on this Crabapple cassette. Lance Travis
Maybe because the New DESOR does not contain cassettes or reel to reel tapes even if they are or were commercially available. Sjef Hoefsmit
The Crabapple cassettes are also available on CD (see Christian Dangleterre in DEMS 00/1-13/1). There is no doubt at all that they are not mass produced, for the number, and content details are hand written on the disc. I bought mine not being aware at that time that the DETS series was to be brought out by Storyville (00/2-12/1). I can say without fear of contradiction that the official releases have far superior sound. Lance Travis
You are right, however it is up to Luciano Massagli, Giovanni Volonté, and to Jerry Valburn, to decide whether or not to include these "productions" in their publications. Sjef Hoefsmit
This very rare recording is now available on Gennett Records Greatest Hits, Volume 2. It sells for US$ 11.95 and can be ordered from www.starrgennett.org or firstname.lastname@example.org.
It has never been established if Ellington was indeed the piano-player on this Wilbur Sweatman session. It is discussed in DEMS Bulletins 86/2-10; 89/2-8 and 89/4-2. It was the banjo-player Mike Danzi, who wrote in his book that although he did not remember the names of the other musicians, he was sure that Duke played the piano. In 1960, Len Kundstadt did extensive interviews with Sweatman, who told him that Duke never recorded for him.
We are anxious to hear the reports of those who have listened to this recording. DEMS
Since the hot tenor sax solo that opens Hot Feet (7Mar29) has universally been credited to Barney Bigard, you may imagine my surprise when, in 1999, Brooks Kerr related a conversation on the subject held with Harry Carney long ago in which Carney recalled that it was his solo and that he played it on Bigard's tenor sax! After pointing out a signature trill heard during the course of the solo, Carney mentioned that he had earlier played tenor while with Henri Saparo's band, and added that Bigard's tenor style tended to be sweet, as on King Oliver's Someday Sweetheart (Vocalion 1059), not hot. I found Carney's assertion both instantly credible and perfectly obvious, since Hot Feet's opening solo exhibits a blistering attack and propulsive drive absent from Bigard's other recorded solos of the period. In retrospect, it did seem strange to me that the dynamic saxophone soloist heard on Hot Feet was so seldom featured on Ellington's recordings (and to this potent an effect on no other title), for the maestro was not one to overlook talent, ability or the materials at hand. Steven Lasker
The following might be "fresh" info.
The first of five bibliographic records for this concert is found on shelf RGA 0012 (RWD 4973) in the Voice of America Music Collection at the Library of Congress. It is a digital sound cassette (polyester) and contains a concert, recorded on Thursday evening 4Jul58 and given by Rex Stewart, Cootie Williams, Tyree Glenn, Hilton Jefferson, Ben Webster, Billy Strayhorn, Oscar Pettiford and Sonny Greer. These are the selections: East St. Louis Toodle-O; Rockin' in Rhythm; Concerto for Cootie; C-Jam Blues; Boy Meets Horn; Chelsea Bridge; La Grande Romp; In A Sentimental Mood and Perdido. Carl Hällström
Some tape collectors have a tape in their collection without Boy Meets Horn; In A Sentimental Mood and Perdido. They have an unknown title, which might be La Grande Romp. Another selection seems to be missing on both recordings: The Jeep Is Jumpin'.
Chelsea Bridge and C-Jam Blues are issued on double LP CBS 38262. (See DEMS 83/2-3)
The date of the concert is in my files 3Jul58. 4Jul58 was a Friday and not a Thursday. Sjef Hoefsmit
DEMS member Hans-Joachim Schmidt reports that he went online with a new Oscar Pettiford homepage. He has not copied Coover Gazdar but he has built the homepage around his own collection.
Additions, corrections and discussions are welcome. home.t-online.de/home/themenschmidt/don.htm DEMS
I received the two Azure cassettes a couple of days ago, and am much enjoying the music. Haven't had time to listen to the whole tape yet, as the weekend was very busy - two gigs (I'm a piano player) and a radio broadcast, on which I played Concerto For Klinkers from your tape; thanks to you, a lot of Sydney jazz enthusiasts have/will be hearing DE works that they would never have heard otherwise. I feel so fortunate, living at a time when so much marvellous music is available so cheaply. Imagine how tough it would have been in Bach's day (and later) when you would have to travel for days just to hear a single concert. Thank you again. David Stevens