THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY 04/3 December 2004 - March 2005 26th Year of Publication FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL EDITOR: SJEF HOEFSMIT ASSISTED BY: ROGER BOYES

Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Email: dems@skynet.be

DE2705a - A Second Practical Example

DEMS 04/3-49

See DEMS 04/2-49

For a second example of how the New DESOR can help add to our enjoyment of Duke's music, I've chosen East St Louis Toodle-Oo from early 1927. Like the 1942 Victor Perdido (Bulletin 04/2), this is one of the best known of all Ellington pieces. The title's spelling alone has been much debated, and the New DESOR plumps for Toodle-O. I have chosen Toodle-Oo, not because I prefer it over the other spellings; it is just the one I use without further thought. The structure is a little more complicated than that of Perdido, since it has two contrasting themes. I have chosen the version recorded on 22 March. This date takes us straight to page 3 of the New DESOR's Section One, the chronological listing of Sessions, where we find the date, the location of the recording session, New York City, and the fact that three titles were recorded for issue, under the name Duke Ellington and his Washingtonians. No studio location in New York is mentioned. From this, we may conclude that, at the time of publication, the specific studio was not known to Luciano and Giovanni. (There's a full discussion of studio locations for the early OKeh sessions in DEMS Bulletin 04/1 DEMS 8, though you will note that, although DE2705a and its session mates are usually considered part of the OKeh series of early Ellingtonia, as against the Victors and the Brunswicks, 22 March was actually a Columbia recording session.)
The session was Duke's fifth in 1927, so it is designated DE2705. Since East St Louis Toodle-Oo was the first of the three pieces to be recorded, its unique New DESOR number is DE2705a. Its two session-mates, Hop Head and Down In Our Alley Blues, are designated DE2705b and DE2705c respectively. Four releases of Toodle-Oo are listed, the original 78 on Columbia 953D, two LP issues, one on Columbia and a later one on CBS, and the French Masters of Jazz CD in the Média 7 complete Ellington series, sadly now discontinued. Turning to Part Two of the New DESOR and Section Three, Discs, we find on page 1333 that the Columbia LP, CL-2046, was Part 1 of the three-LP set 'The Ellington Era – volume one', issued in 1963. The other LP issue is a little more troublesome to find, since the CBS LPs are listed under the full CBS title, Columbia Broadcasting System, and the list of CBS entries precedes the Columbia list. You'll find CBS 67264 on page 1322, where it proves to be the first volume of Henri Renaud's magnificent series of 'Chronologique' double-LPs. When you come across this sort of problem while exploring the New DESOR, don't worry, keep looking, and the chances are you'll find the answer. Issued in 1973, CBS 67264 was the first LP to collect all three of the pieces recorded on 22 March 1927. You'll find the details of the 1991 CD issue by Média 7 on page 1381. As Luciano and Giovanni explain on page XXX of their introduction to Part Two of the New DESOR, Section Three, Discs, has no listing of 78-rpm issues. Turning back to the entry for East St Louis Toodle-Oo on page 3 of Part One of the discography, we can quickly see that the original 78 coupling was with Hop Head from the same 22 March session; also that the third title recorded, Down In Our Alley Blues wasn't issued until later. A look through other Ellington issues from the period offers no coupling on Columbia 1076-D for this third piece; presumably, it was coupled with a non-Ellington item falling outside the New DESOR's terms of reference.
Page 3 has two further pieces of information for DE2705a. One is the matrix number, W143705-3. Since the listing does not mention takes –1 or –2, we may assume that nothing of these has survived. Thus, we do not know whether they comprised rejected takes, incomplete takes or false starts. The second is the personnel listing for the 22 March session, and for this we are referred back to 2703, the 28 February session for Brunswick listed at the bottom of page 2. Here is a full listing by initials of the musicians involved with their instruments. If any of the initials puzzle you, simply look them up in the Key To Musicians starting on Page XI of the introductory Guide for Users, and the Key To Instruments on page VIII. (Luciano and Giovanni assume a basic understanding of the numbering system of Ancient Rome, but they are after all Italian, so we're not going to grumble about that, are we?) The two reed players who sat alongside Otto Hardwicke share the same initials, UN. You won't find either of them in the Key To Musicians, since they could not be identified with certainty at the time of publication. UN is listed as 'unidentified' in the List of Abbreviations on page VII.
Turning now to Part Two of the New DESOR and Section Two, the chronological listing of Titles, we find the recording history of East St Louis Toodle-Oo on page 855. The entry tells us that the piece is a collaboration between Duke and Bubber Miley, and that it had an alternative title, Harlem Twist. On the right-hand side of the page the two-themed structure is outlined, the two themes being designated by the Roman numerals I and II (see the Guide for Users on page XXIX under HEADING). Theme I has a 32-bar AABA structure like Perdido's, i.e. an 8-bar section, A, played twice, followed by a release or bridge, B, also of 8 bars, and a return to A for the closing 8 bars. II is an 18-bar theme, ABAC. 18 bars seems an odd length for a theme in four sections, until you work out that what we are likely to have here is four sections of 4 bars each, one of them having a 2-bar extension. (4x4)+2=18. This turns out to be the case, with the 2-bar extension being added to C, at the end of the theme. Thus, ABAC adds up to 4+4+4+6=18 bars. Easy.
A glance down the chronological listing shows that, although there are not very many performances of East St Louis Toodle-Oo, the ones we have cover virtually the entire recording history of the band, from 1926 to 1972. Notice also a second listing, on the nextpage. This is a list of short 'theme' performances of Toodle-Oo, spanning the years down to 1940 when it was the Ellington Orchestra's signature tune. We can quickly identify our 22 March 1927 recording by its unique number, 2705a, early in the main listing of performances on page 855. Alongside 2705a we read simply, 'Same as 2605b', which points us back to the first Vocalion recording of East St Louis Toodle-Oo, cut on 29 November 1926. The intervening Brunswick version of 14 March has the same reference back. Only with the Victor version later in the year and Harlem Twist early in 1928 does Duke begin to make changes to the sequence of events in the piece. This sequence is:-
Int8BAND;1°IBM;2°IIJN;3°(nc)I16UN(cl.);4°/5°IIBAND;6°(nc)I8BM. Note how each chorus number in the sequence 1°, 2°, 3° etc., is followed by the Roman I or II to enable us to identify which of the two themes is the subject of each successive chorus.
Here's how the description translates. After an 8-bar introduction played by the band, Bubber Miley states the 32-bar first theme (which, it is generally agreed, is his own composition). The band accompanies Bubber's statement. A soloist's name following a chorus number in these descriptions doesn't necessarily mean that the soloist is playing with rhythm only. It may mean this but it often indicates that the soloist's is the dominant voice, with the ensemble in an accompanying role. Sometimes you might find BM&BAND after a chorus number. This would indicate a more prominent accompanying role for the ensemble than here. Or you might see BAND&BM, indicating an essentially orchestral chorus with Miley's solo voice flying over the ensemble. If you find this confusing, look up the familiar Victor Jack The Bear on page 960 (its unique number is 4005b), and note how the New DESOR deals firstly with Barney Bigard's role relative to the ensemble in 2°, and then with the other soloists throughout that wonderful recording. It must have been very difficult to ensure consistency throughout the whole book on this, and sometimes we are bound to take issue with Luciano's and Giovanni's decisions. This doesn't matter. The important thing is, they attempted it, and they succeeded triumphantly. Extraordinary!
Returning to East St Louis Toodle-Oo, we could quarrel with the description of the first 8 bars as an introduction, int8BAND, since they comprise the A section of Theme I. But their role at the very beginning is clearly introductory, and it would be confusing, I think, to describe them as an incomplete first chorus, 1°(nc)I8BAND, even though this is musically the same. 1° follows, featuring Bubber on Theme I. Next, with the usual semi-colon and the 2°, we move on to the second chorus, and 2°IIJN tells us that it features Tricky Sam stating the second, 18-bar theme, II. The bracketed (nc) after 3° tells us chorus 3 is incomplete, and the full description, 3°(nc)I16UN(cl.), shows us it features a clarinet for a half-chorus (16 bars) based on Theme I. The New DESOR doesn't tell us which half. For that, we must use our ears to compare it with 1° and work out that it is the first half, AA. The New DESOR does tell us that they are played by a clarinettist, UN, who hadn't been identified with certainty at the time of publication. You can use the corrections and additions to the New DESOR which have been proposed and agreed since publication, to find whether this situation has changed since then. Both Prince Robinson's and Rudy Jackson's names have been put forward at one time or another. Note that the clarinet itself is identified. Normally the New DESOR descriptions don't follow the initials of Duke's soloists with their instrument, unless it differs from their usual instrument as identified in Section Four of the discography, Musicians. Examples would be Hodges on soprano (Blue Goose 4008d), or Billy on celeste (Angu 6303c). But unidentified players are all indicated with the initials UN, as here in 3°, so the instrument played must also be mentioned.
Following half-chorus 3°, Duke returns to the 18-bar theme, II, and the description following the semi-colon here, 4°/5°IIBAND, tells us that we have two choruses of this theme, played by the band. It doesn't tell us that 4° spotlights the brass and 5° features the clarinets, since the New DESOR doesn't deal with issues of scoring. Finally, 6°(nc)I8BM sends us back to Bubber and Theme I for an incomplete closing sixth chorus, which lasts for only 8 bars. It is safe to assume that they will be a recapitulation of the A section of I, and this is indeed how this celebrated recording comes to its close.
While on the subject of East St Louis Toodle-Oo, I'd like to look at Duke's much less familiar 1930 version. It is, I think, his first ever re-inspection of a previously recorded piece, and it illustrates well some other features of the New DESOR descriptions. Both the 1927 and 1930 recordings are on the 2CD OKeh Ellington compilation, COL 466964 2 in the Columbia Jazz Masterpieces series.
The entry on page 13 of Part One tells us that the 1930 version was part of a Columbia session in New York; that two takes were cut, along with two of The Mooche and one of the long unreleased and still deeply obscure Ragamuffin Romeo; also that Toodle-Oo was the last piece to be recorded. As this recording session was the fifth to take place in 1930, we arrive at the unique recording numbers DE3005d and DE3005e for the two takes. I'm no expert on record labels, particularly the obscure cheap ones for which the band undertook this session under the pseudonym Mills Ten Blackberries, but it's easy to see that takes two of The Mooche and the Toodle-Oo were coupled on one 78rpm issue, and that takes three were similarly coupled on another. . It took me longer to work out that takes two appeared on the Velvet Tone label, and longer still to track down the label for the takes 3 coupling, Diva. The problem is that neither label is included in the New DESOR's Key To Discs starting on page XXIII of the Introduction to Part One, and this problem is compounded by the fact that the Key ascribes the abbreviations Ve and Di respectively to Verve and to Discovery, LP labels which clearly don't relate to these ancient 78 rpm issues listed on page 13.
The LPs are easier to identify. CBS 88000 is volume three of the French 'Chronologique' series, and take 2 first appeared on LP at the end of the 1970s on an American label, Blu-Disc which appears to have been devoted to recordings the French series overlooked. I found this tricky, since the label is quite unfamiliar to me and its name and catalogue number clearly mimics the issues of some of the very earliest Ellington recordings from 1924. But you will find the details of the LP on page 1312 of Part Two, in Section Three, Discs. To obtain all five tracks recorded on 3 April 1930 on one disc, you must hunt down volume 10 of the French Masters of Jazz CD series. For the personnel involved on the 3 April session the entry directs us back to session 2911 of 29 July 1929.
Turning to the entry in Section Two on page 855, we see at once that the two takes are identical in their sequence of events, but that there are some significant changes from the early 1927 versions. For a start, Duke deploys his personnel very differently in 1930. The 8-bar introduction remains, but Bubber Miley has now been gone for more than a year, and two trumpeters, Arthur Whetsel and Freddie Jenkins, jointly take his role in 1°. They share the opening and closing 8-bar A sections, as the description AW-FJ suggests, but they step back as the ensemble takes over for the intervening 16 bars, AB. Or do they? You may think that the duetting continues through the second A; or even agree with Claude Carrière on the Masters of Jazz CD inlay that Cootie is involved. The second theme, II, is no longer introduced by Tricky Sam with the band, but by Ellington himself at the keyboard, allusively and with rhythm only. There's no clarinet half-chorus 3° based on Theme I; indeed, Theme I doesn't reappear at all until the final 8 bars. 3° is now a full 18-bar chorus based on II, and it's shared by Carney and Whetsol. The description has HC&AW, as against AW-FJ in 1°. In their explanations in Bulletin 04/1 DEMS 30 the discographers explain that soloists' initials separated by a dash indicates that they are playing the same line in unison or in harmony; where initials are separated by &, the players have distinctly different lines, i.e. they move more freely. (We're not told if the order the initials are given reflects the relative importance of the two players' contributions; we must use our ears to determine this, and at this level of detail differences of opinion among listeners are unavoidable. It's all part of the fun of working with this unique discographical tool). As in 1927, 4° and 5° are based on Theme II, though the description now differentiates the two, since 4° features Freddy Jenkins' trumpet and 5° turns the spotlight on Barney's solo clarinet. Only with the incomplete closing chorus 6°(nc) do we return to Theme I, as Whetsel and Jenkins return once more in Bubber's old role. So we have:- int8BAND; 1°I8AW-FJ,16BAND,8AW-FJ;2°IIDE;3°IIHC&AW;4°IIFJ;5°IIBB;6°(nc)I8AW-FJ.
This brief and partial return of I, only at the very end of the piece, makes the 1930 version less satisfactory overall than the earlier ones. The magisterial opening statement of I leads simply to a sequence of solos based on II (which however is itself never directly stated). The brief return to Theme I only at the end seems perfunctory, almost an afterthought, and the tighter overall coherence of the original versions is lost. Bubber is sorely missed too. But these are not discographical issues. They are value judgements for which we need Eddie Lambert's Listener's Guide or the inlay notes of the better reissues, though we can confidently use the New DESOR descriptions to help us reach such judgements for ourselves.
Roger Boyes

We remind you that these corrections are merely suggestions. They are not (yet) accepted by the authors of the New DESOR. Unsigned suggestions were brought in by Hoefsmit.
DEMS**

DEMS 04/3-50

Page 65. Session 4231, 19Nov42. The correct number of this broadcast is "Coca Cola Spotlight Bands No 52".
Jerry Valburn

See DEMS 03/3-11. We have asked Jerry for confirmation, see above.
DEMS

Page 141. Session 4647, 10Nov46. In the old Desor you gave the title Chaugogagog Maushaugagog Chaubunagunggamaug for the first movement of "The Beautiful Indians" (407s). In the New DESOR you have dropped that title and replaced it with Good Fishin' (4647s). Where did you find the first full title? On the Prima LP are three parts of "The Beautiful Indians": Chaugogogog Maushaugagog; Minnehaha and Hiawatha. Why have you changed the title and put it before and outside the Suite?
Sjef Hoefsmit

In the Italian magazine Musica Jazz of March 1947 was written that "in a concert in Chicago DE played a tune with the Indian title Chaugogagog Maushaugagog Chaubunagungamaug with T. Jordan as soloist". We thought that this was the title of the tune that preceded Minnehaha .
LP-Prima copied this title from our Old Desor.
In DEMS Bulletin 84/3-9 we found the correct sequence of the concert and that the title played before Minnehaha was Good Fishin'.
In MIMM (p190) DE talks of "The Beautiful Indians" as Minnehaha and Hiawatha . Also on page 506, on the list of compositions, only these two titles are mentioned as parts of the suite.
I remember another source of information that says that on LP-Prima we have the afternoon concert and that before "The Beautiful Indians" was played Good Fishin'. I spent two days in search of this source but I was not able to find it.
Luciano Massagli

Don't you think you should put Chaugogagog Maushaugagog between parentheses after the title Good Fishin' and include it in the list of sub-titles on page XXXIV?
Sjef Hoefsmit

Page 237. It has always puzzled me - the All Star Road Band was recorded at a dance in Carroltown, Pa in June 1957, but the exact date isn't shown in Stratemann or the New DESOR (5722), nor in the liner notes for the Zillion CD from a few years ago.
Timner shows 1Jun57 which makes sense, being a Saturday.
Has anyone checked into this?
David Palmquist

According to the Duke Ellington Itinerary of Joe Igo, the Ebensburg Mountaineer-Herald of 10Aug88 confirms the date of 1Jun57. This has been accepted by Willie Timner and by Ken Vail. Can anybody check this newspaper and see what it says?
By the way, we believe Carrolltown should not be spelled as Carroltown.
DEMS

Pages 248 and 249. Session 5809, 4Mar58. 5809ag is not Wailing Interval but an encore of One O'Clock Jump.
There are a few corrections to be made concerning session 5810, 5Mar58. The end of the last selection in the New DESOR, 5810ag, Dancing in the Dark, is very clearly connected (on my tape) with the beginning of the first selection, 5810a, Where or When. I also believe that the preceding Take the "A" Train, 5810af is the first selection of the programme. The connection with Dancing in the Dark is not totally convincing, but Take the "A" Train starts without drums and at the beginning some of the horn-players are tuning up their instruments. It sounds very much like the start of the dance-date with a partly empty stage.
On the SAJA CD of the Private Collection Volume 6 we have found a short rendition of Mood Indigo during which Duke invites his audience to take a coffee-break. It is between track 8, C-Jam Blues, 5810j, and track 9, Blues in Orbit, 5809k. It cannot be following C-Jam Blues, because that is clearly connected with All Heart. I have put it after All Heart, 5810k, and before I Let a Song Go Out of My Heart, 5810l. A position near the end of the programme is not very likely since Duke said he would be back in a short while.

Page 283. Session 5938, 3Dec59. The personnel listing suggest that Duke and Billy both played the piano in Smada. I hear only Billy.

Page 289. Session 6016, 26Jun60. To give a correct answer on the Duke-Lym list, I watched the video recording of this session and I noticed that Juan Tizol was not sitting in the trombone section although a fourth chair and music-stand were there. I do not have a contract of the American Federation of Musicians of this date to check his presence.

Pages 509 and 1179. I was lucky to find a copy on two CDs of the 11Sep68 Montevideo concert. I detected one selection which is not mentioned in the New DESOR. Between the Medley (6847l) and Kinda Dukish (6847m) the band played the theme of Take the "A" Train at the start of the second half of the programme while waiting for Duke to appear. The structure should read: 1°%,28BAND;2°(nc)31BAND.
Morris Hodara**

Pages 611 and 967. The two recordings of Jig Walk, 3817b and 4025a, are indeed the same tune, but they have little or nothing to do with the piano-roll Jig Walk. I know that 4025a has been properly announced in the broadcast as Jig Walk but that doesn't make it the same as the piano-roll piece. The three other recordings are indeed the same as the piano-roll piece. The genuine Jig Walk of 7132i starts not earlier than with the first chorus. The preceding 34 bars are not Jig Walk but A Blue Mural from Two Perspectives. Between 7132h and j are in fact three melodies and not one or two: A Blue Mural from Two Perspectives, Jig Walk and Spanish Flea (not complete).
Sjef Hoefsmit

See about Jig Walk in this Bulletin 04/3-23.
DEMS**

We listened carefully to all the editions of Jig Walk. In our opinion 3817b and 4025a are a reworking of this item (see also Mark Tucker, page 135 of "The Early Years"). Your discovery about 7132i is very fine: before Jig Walk Duke does indeed play A Blue Mural from Two Perspectives and after Jig Walk is a short part of Spanish Flea. We'll make the consequent corrections.
Luciano Massagli

Page XXXIV. For years I have been aware that there's an alternative title to Rumpus in Richmond, Brassiere . Annie's marvellous notes for the Fargo 60th Anniversary Edition give the title as Brasserie.
Roger Boyes

Here's what a found in my French dictionary:
"brasserie" (fr. spelling) —a brewery, a public house,
"brassière " (fr. spelling) — a baby's vest, or a shoulder strap. It appears Annie's notation is correct.
Jo Ann Sterling**

The title on the original parts is Brassiere.
David Berger**

Page 875. "G" for Groove. Ellington was constantly quoting himself, often in written music, so we know that it was conscious and planned. And what of that lick that he used to play every single time behind Harry Carney's long note on Sophisticated Lady - which he recorded as "G" for Groove in the Private Collection, but which is actually from trombonist Matthew Gee and recorded by him as Oh Gee.
Brian Priestley

Page 1487. Evelyn Preer
Born 16 July 1896 in Vicksburg, Mississippi, USA.
Died 19 November 1932, in Los Angeles, California, USA of double pneumonia.
Married actor Edward Thompson in 1924; daughter, Edeve Thompson, born Apr32.
The source is a biography written by Joseph Worrell, who in turn mentioned as his sources: Bowser, Pearl. Oscar Micheaux, His Silent Films and His Circle: African-American Filmmaking and Race Cinema of the Silent Era. Bloomington, Indiana.: Indiana University Press, 2001, pp. 19-33; and
Cripps, Thomas. Slow Fade to Black: The Negro in American Film, 1900-1942. New York, New York: Oxford University Press, 1977, pp. 324-25.
Carl Hällström

The Mainspring Rust says:
Evelyn Preer. This artist, whose real surname was Peer, is thought to be the same person as Evelyn Thompson, q.v. for Brunswick records issued under that name.
Stephen ??

These corrections are authorised by Luciano Massagli and Giovanni Volonté.
DEMS**

DEMS 04/3-51

DESOR small corrections 5009

Volume 1 (Corrections December 2004)

XI – Delete: ALa … Aziz Lateef … cg. (04/2-50 p473)

XIV – EAR … Emmanuel Abdul-Rahim … cg. (04/2-50 p473)

XVI – Delete: JA … Juan Amalbert … cg. (04/2-50 p473)

XXIII – DRC … Dooji Record Club (02/3-2/5)

XXV – LSR … Lost Secret Records (03/1-15/1)

45 – Session 3922. The correct date is: November 2, 1939. Delete: MBS; add: CBS. (04/2-50 p45)

46 – Session 4001. The correct date is: January 12, 1940. (04/2-50 p46)

97 – Session 4526. The correct date is: May 4, 1945. (04/2-42)
Delete: MBS; add: CBS. (Liner-notes DETS 10)

153 - Session 4735, 24Dec47. Add an alternate recording of Dance 5 of The Liberian Suite. Correction-sheet 1069. (04/2-30)

169 – Session 5017. The location is : 30th Street Columbia Studio.
Liner-notes "Masterpieces by Ellington")

176 – Session 5123. The location is : 30th Street Columbia Studio.
(Liner-notes "Masterpieces by Ellington")

177 – Session 5127. The location is : 30th Street Columbia Studio.
(Liner-notes "Ellington Uptown")

178 – Session 5128. The location is : 30th Street Columbia Studio.
(Liner-notes "Ellington Uptown")

179 – Add session 9044 on 29Feb52 in Fresno with one recorded title: Skin Deep. Correction-sheet 1068. (03/3-20/4)

182 – Session 5210. The location is : 30th Street Columbia Studio.
(Liner-notes "Ellington Uptown")

182 – Session 5211. The location is : 30th Street Columbia Studio.
(Liner-notes "Ellington Uptown")

184 – Session 5220. Delete 5220a, delete the NOTE. (04/2-50 p184)

247 – Session 5804. 5804xp delete unissued; add FMRS (FM-4001/02).
5804a delete FMRS (FM-4001/02) (04/3-30)

266 – Session 5856. Add, after 5856q,Violet Blue: Multicolored Blue between parentheses. (04/2-50 p266)

268 – Session 5861. Add, after 5861c,Violet Blue: Multicolored Blue between parentheses. (04/2-50 p268)

268 – Session 5901. Add, after 5901b,Violet Blue: Multicolored Blue between parentheses. (04/2-50 p268)

350 – Session 6362. EAR instead of JA. (04/2-50 p473)

380 – Add session 9046, an interview with Duke, Harry and Billy on 29Jun64 in Tokyo between 6447 and 6448. Correction-sheet 1068. (04/1-31)

423 – Session 6626. This was the 2nd concert at the Free Trade Hall in Manchester, Add 3 selections. Correction-sheet 1065. (04/1-31)

423 – Session 6627. This was the 1st concert. Add 3 selections.
Correction-sheet 1065. (04/1-31)

426 – Session 6636. 6636f is issued on Sv 1018390;
6636h is issued on (Sv 1018390) (04/2-39)

441 – Session 6668. The correct date is: August 25, 1966. (04/1-31 p441)

445 – Session 6678. Add two selections at the beginning of the Medley 6678i.
Correction-sheet 1066. (04/1-31)

473 – Session 6742. EAR (cg.) instead of UN (cg.). (04/2-50 p473)

474 – Session 6747. EAR (cg.) instead of UN (cg.). (04/2-50 p473)

477 – Session 6759. 6759u, 6759aa, 6759ac, 6759ad, 6759ae, 6759af are issued on Sv 1018390. (04/2-39)

563 – Add session 9045 in Auckland on 10Feb70. Correction-sheet 1068. (04/2-14)

611 – Session 7132. Add before Jig Walk, 7132i: A Blue Mural from Two Perspectives, 7132ax. Add after Jig Walk: Spanish Flea, 7132bx.
Correction-sheet 1067. (04/3-50 p611)

665 – Session 7239. EAR (cg.) instead of ALa (cg.). (04/2-50 p473)

665 – Session 7240. EAR (cg.) instead of ALa (cg.). (04/2-50 p473)

666 – Session 7241. EAR (cg.) instead of ALa (cg.). Two corrections. (04/2-50 p473)

675 – Session 7305. Add before 7305a, Cotton Tail, take –2:
7305xa, Cotton Tail, take –1 unissued. Correction-sheet 1068. (04/2-10)

686 – Session 7329. EAR (cg.) instead of ALa (cg.). (04/2-50 p473)

688 – Session 7333. EAR (cg.) instead of ALa (cg.). (04/2-50 p473)

690 – Session 7336. EAR (cg.) instead of ALa (cg.). (04/2-50 p473)

693 – Session 7343. EAR (cg.) instead of ALa (cg.). (04/2-50 p473)

Volume 2 (Corrections December 2004)

XXXIV – Delete: Cotton Head … Cotton Tail (04/2-50)

XXXV – Add: # after How Blue Can You Get. (04/2-50)

737 – At Your Back and Call, 3813b. int8DE instead of int4DE. (04/1-22)

791 – Caravan, 7343g. EAR instead of ALa. (04/2-50 p473)

812 – Cotton Tail. Delete the subtitle Cotton Head. (04/2-50 pXXXIV)

854 – Duke talking about Field Enterprises, 6658n. Time 4'19" instead of 1'50".
(04/1-31 p436)

856 – Echoes of Harlem, 3816d. int4DE instead of int%,1DE. (04/1-22)

883 – Guitar Amour, 6364g. EAR instead of JA. (04/2-50 p473)

926 – If Dream Come True, 3816a. int6DE,4BAND instead of int2DE,4BAND. (04/1-22)

956 – It Don't Mean a Thing. Add, in the NOTE: 6010a arranged by Bill Mathieu.
(Liner-notes of "Piano in the Background", 04/3-31)

959 – It's the Dreamer in Me, 3816e. int4DE,8BAND instead of int2DE,8BAND.
(04/1-22)

967 – Jig Walk, 7132i. Delete the description and add: 1°DE;2°(nc)24DE;3°(nc)16DE;4°(nc)24DE&NT(f.);5°/6°DE&NT(f.);
7°24DE&NT(f.),8BAND&NT(f.);8°(nc)7BAND&NT(f.). (04/3-50 p611)

1056 – On the Sunny Side of the Street, 3811e. int8DE instead of int3DE. (04/1-22)

1074 – Piano Tinkle. Replace this title with the correction-sheet 2005.

1126 – Skin Deep. Replace 5220a with 9044a.( 03/3-20/4)

1154 – Star, 6742p. Delete, in the description: /2°. (04/2-39)

1183 – Take the "A" Train (theme),
4415a. Delete: 1°%,8DE; and add: Same as 4329k.
4415g. Add: int4DE;1°9BAND,%. (04/2-44)

1198 – T.G.T.T., 6742l. The actual description is: int8DE;1°(nc)8BAND+2BAND,8BAND;cod8BAND. (04/2-39)

1200 – The Biggest, 6747b. Between pas10BAND and 3°IBAND, insert: IIBAND.
(04/2-39)
6747b and 6747q: EAR instead of UN. (04/2-50)

1203 – The B.O. of Traffic, 6742aa. The last portion should be read as follows: pas36BAND,4PER,46BAND;cod6PER. (04/2-39)

1249 – Traffic Extension, 6742n. The last portion should be read as follows: 21°/26°;pas2BAND;27°BAND;cod4BAND,52PER. (04/2-39)

1329 – Columbia CK-40836. Track 007: The reference number is 9044a instead of 5220a (03/3-20/4)

1329 – Columbia CK-40836. Track 007: The reference number is 9044a instead of 5220a (03/3-20/4)

1329 – Add: 0877 CD. Columbia CK-87066.
Correction-sheet 3020. (04/2-30)

1329 – Add: 0884 CD. Columbia CK-87041.
Correction-sheet 3022. (04/2-31)

1329 – Add: 0885 CD. Columbia CK-87107.
Correction-sheet 3021. (04/3-31)

1334 – Columbia CL-830. Track A01: The reference number is 9044a instead of 5220a (03/3-20/4)

1337 – Columbia ML-4639. Track A01: The reference number is 9044a instead of 5220a (03/3-20/4)
In the NOTE: 23th instead of 19th; 24th instead of 20th. (04/2-50 p177)

1349 – Add: 0878 CD. D.E.T.S. 9039010.
Correction-sheet 3020. (04/2-42)

1352 – Add: 0879 CD. Dooji Record Club DE-2.
Correction-sheet 3020. (04/1-24)

1352 – Add: 0880 CD. Dooji Record Club DE-3.
Correction-sheet 3020. (04/2-44)

1360 – Franklin Mint (FM-4001/02). Track C05: Delete 5804a; add 5804xp. Underline the title Track 360.

1377 – Add: 0886 CD. Lost Secret Records LSR-001.
Correction-sheet 3021. (03/1-15-1)

1396 – Add: 0882 DVD. Quantum Leap QLDVD-0246.
Correction-sheet 3021. (03/2-4)

1396 – Add: 0883 DVD. Quantum Leap QLDVD-0249.
Correction-sheet 3021. (01/2-10)

1419 – Add: 0881 CD. Storyville 1018390.
Correction-sheet 3021. (04/2-39)

1439 – Delete: Amalbert, Juan. (04/2-50 p473)

1445 – Blanton, "Jimmy" James. Stay in the band. Delete: late October 1939; add: November 2, 1939. (04/2-22)

1446 – Brookshire, Nell. Sep 26, 1939 – Dec 27, 2003. (04/2-25)

1468 – Henderson, "Rick" Richard Andrew. Apr 25, 1928 – May 21, 2004. (04/2-2)

1474 – Jones, Elvin Ray. Sep 9, 1927 – May 18, 2004. (04/2-1)

1476 – Delete: Lateef, Aziz. (04/2-50 p473)

Correction-sheet 1007. Session 5804. 5804xp delete unissued; add FMRS (FM-4001/02). 5804a delete FMRS (FM-4001/02)

Correction-sheet 3018 – item 0871. See the small corrections at the end of the list in 04/2-51. On the case of the Quantum Leap DVD is written:QLDVD, but the correct number on the disk is indeed QLDUK 0235. The correction is 04/2-51 can be deleted.

4001 – Richardson, Jerome               6636   04/1-31 p426
       Latif, Aziz       6364g, 6747q, 7343g   04/2-50 p473
Correction-sheet 4001 is waiting for more corrections.

See for older Correction–sheets: DEMS 04/1–33.
DEMS**

DEMS 04/3-53

We have found a very "old" typing error in DEMS 99/4-9/1.
The LP had the number RCA 741.029 and not 741.027.

Not a typing error but still an error: 04/2-42, CD 2, broadcast 4May45: station was CBS and not MBS, see liner-notes of DETS 10. [Correction made online. pm 7dec04]

In the Small Corrections 5009 see 04/2-51 pagenumber 1423 should read 1432. [Correction made online. pm 7dec04]