DUKE ELLINGTON MUSIC SOCIETY
04/1 April-July 2004
FOUNDER: BENNY AASLAND
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Wish You Areor Wish You Were
I was going through DEMS looking for any other reference to
Wish You Were Waiting for Me. I found a remark from
your hand in 02/2-26 (p91 and 1278). I find that I have
virtually paraphrased your suggestion in 03/1-27 (p91 and 1278).
Anita O'Day recorded the song Wish You Were Waiting For Me (Nov44) See Jasmine JASCD 367 - "First Lady of Swing with Stan Kenton and His Orchestra".
I agree with you. The announcer made a mistake on 30Nov44 with his title Wish You Are Waiting for Me.
What do these titles mean?
As Eric Townley's literary executor and the owner of his
copyrights, I don't have the smallest objection to the use made of
the Tell Your Story volumes in the new DEMS Bulletin. I am
sure Eric would have had no objection either. These
extracts are well within the concept of "fair
dealing". However, I would be grateful if you would tell
DEMS members that Tell Your Story No. 2 is NOT out of
print. I have plenty of copies and if anyone wants one,
they have only to contact me. Volume 1 is out of print.
Howard Rye; firstname.lastname@example.org; 20 Coppermill Lane, London, E17 7HB. Tel/FAX: +44 20 8521 1098.
Thank you for including some of my attempts at "What do these
titles mean?" These gave me a lot of fun. A couple of
28. Kickapoo Joy Juice
Lars-Erik Nygren mentions Bugaboos and Kickapoos as Indian tribes "coined by Edgar Allan Poe in his satiric tale The Man That Was Used Up." In my submission on this one I confirmed that Webster had such a definition for Kickapoos, but it remains silent as regards Bugaboos, so the expression "coined by" is probably very apt.
You may remember that a similar word crops up in the lyrics of Kissing Bug. I believe this refers to the trade name of an insect repellent, and was probably Bug-a-Boo. More trivia!
50. The B.O. of Traffic
Frank Dutton thinks that my suggestion of "Body Odor" from the Lifebuoy toilet soap advertisements is implausible because that campaign probably began back in the 1930s. I don't doubt that it did, but to my knowledge it continued into the 1950s by way of radio commercials or comic-strip style ads in newspapers and magazines. It was probably finally killed off by commercial television. I quote again from my 1966 Webster's. "2. (Informal) body odor." The expression "B.O." is ingrained into the collective memory of American and English people. I have no doubt that Duke would have remembered it when he recorded this title in 1967.
What about the asterisks after an author's name?
A [Blue] Rose by any other Name
With reference to section 19, published sheet music cites the
following titles: Dusk on the Desert, The Jeep Is
Jumpin', Boys from Harlem and Something to Live For.
Two lines in section 24 should be corrected to read: Fatstuff Serenade (rather than "Fat Stuff" Serenade) and Ridin' on a Blue Note (rather than Riding on a Blue Note).
When did Hodges lay down his soprano sax?
Sjef Hoefsmit cites "after 2Nov40." While this is the date of the
last known recording of Hodges playing soprano, he also played it in
1941 during the run of "Jump for Joy." George T. Simon's review of
that show for "Metronome" (Oct41, p20) notes that "Hodges came
through with some marvellous soprano saxing" on Shh! He's on the
Beat! (Simon's review is reprinted, without attribution, in Ken
Vail's "Duke's Diary Part One" on page 202.)
Eastwood Gardens in Detroit
Recent research done by Ken Steiner shows Ko-Ko as
first title on the 29Jul40 broadcast and
At a Dixie Roadside Diner as the second
title. Since Ko-Ko on Jazz Supreme 705 and
Orchids for Remembrance are linked on the acetate,
they cannot be part of the 29Jul broadcast!
The files show us the following titles (those of existing recordings are in bold):
Monday 29Jul40, 12:30 AM - 12:57 AM, NBC Red network
East St. Louis Toodle-Oo; Ko-Ko; At a Dixie Roadside Diner; Harlem Airshaft; I Don´t Mind; Me and You; Jack the Bear; Concerto for Cootie.
Cleared but not preformed: My Greatest Mistake; Date with a Memory.
Wednesday 31Jul40, 12:30 AM - 12:57 AM, NBC Red network
East St. Louis Toodle-Oo; The Sergeant Was Shy; You Think of Everything; Boy Meets Horn; I´m Checking Out-Goom Bye; Never No Lament; Rumpus in Richmond; Orchids for Remembrance; Rose of the Rio Grande; Warm Valley (nc).
Cleared but not preformed: Blue Goose; Tuxedo Junction; Sophisticated Lady; I´ll Never Smile Again; Pussy Willow.
These are the two NETWORK broadcasts done from Eastwood Gardens from this gig. LOCAL broadcasts over WWJ were preformed every night. The night it rained - 30Jul? - could be the date for the linked Ko-Ko and Orchids for Remebrance, but I will not speculate and thus show the date as "Jul40".
This is the announcement of Orchids of Remembrance: "In our introduction we announced this as music from under the stars. Let it be known here and now that rain has just been falling, almost in equal intensity with the beautiful sounds through our last ride. However this is music by Duke Ellington and his Orchestra and therefor these are Orchids for Remembrance."
I've had a chance to check The Detroit News for July 1940. The Ellington Orchestra was broadcast each night of the July 26 - 31 gig (except Sunday) over WWJ at 11:30 PM. I am unable to determine the time zone from the paper, so I am not sure if these match up to 12:30 AM, NBC broadcasts for the 29th and 31st.
Friday, July 26 does seem likely for the local broadcast we have where the rain falls. Scattered showers were predicted for the night, and the next day's paper does indicate that rain fell that day, but doesn't say exactly when.
I have more Detroit papers on order and maybe we can clear up the time zone issue. Othewise, I've got a nice ad to send you, and we did find out that in addition to the nightly performances, there was a matinee "Jam Session" on Sunday afternoon at 3:00 PM.
I would like to tell you something about Luther Henderson.
1°) I regret that the excerpt from the obituary did not mention his collaboration with Duke in the Reader's Digest sessions of September 1969.
2°) Some months ago, I found in a flea market a 10" LP of "Luther Henderson et son orchestre", the title of it being "Clap Hands". Label "Philips"; no. B 07.934 R (mono). No details at all: sidemen, recording dates neither on the cover nor in the Bruyninckx CD-ROM disco; I assume the release is from the period when the first stereo records came on the market i.e.: c.1960! In addition, the recording session took place in Paris. We hear a jazz orchestra with a string section on several tracks. The titles are, side one: Stay as Sweet as You Are; Three Little Words; Sometimes I'm Happy; Out of Nowhere; Clap Hands, Here Comes Charlie. Side two: On the Sunny Side of the Street; Let's Fall in Love; A-Two-At- A- Time; Lover Come Back to Me; I Love Paris.
I believe it is indeed Luther Henderson himself playing piano and celesta. There is a very good trombone section - with a bass trombone - and a very good saxophone section. Some titles are very interesting for jazz lovers, mainly 1-3, 2-2, and 1-5, 2-4. That is all I can tell you. I hope that there are some members who are able to give more information.
Blue Bells of Harlem(as the title was entered for copyright)
Thank you for the cassette.
The 10" LP on Palm Club under catalogue number 24 contains a version of "Blue Belles of Harlem" THAT PLAYS THE SAME (there is mild speed variation and a fast fade) AS THE JULY 7, 1945 VERSION.
If the insert to Palm Club #24 did state that the "Blue Belles of Harlem" was from January 23, 1943 (my copy has no insert), then that information is incorrect.
François Moulé's published statement that Palm Club #24's "Blue Belles of Harlem" equals the version on AFRS Downbeat #261 is correct; but his statement that Palm Club #24's "Blue Belles of Harlem" is unique and untraced is not. It is the same as the known July 7, 1945 version.
Your conjecture - that the use of small portions of 1/28/43's "Blue Belles of Harlem" on Prestige 34004 led to the more broad - and incorrect - thought that there is a complete substitution on Prestige 34004 of the 1/28/43 (Boston) "Blue Belles of Harlem" for the 1/23/43 (Carnegie) version - seems to be THE explanation.
How this all relates to the misdating of the 1/23/43 "Blue Belles of Harlem" as 1/28/43 on Edmund Anderson's acetate will remain a question, at least until his acetates resurface.
The acetate from the Edmund Anderson estate has surfaced. Steven Lasker made me a copy on CD and he wrote: "Edmund Anderson's set is found on fourteen 12-inch sides contained on seven discs. These are dubbed circa 1949 from the 16 inch originals that were cut at the concert for Mike Levin, the editor of Down Beat. The side you ask about has Jack the Bear followed by what the label shows as Blue Bells of Harlem parts one and two. I suppose that the gap between both parts corresponds to the change of the 16 inch sides; this would account for any overlap". Steven's CD contains exactly the same recording as the tape of which Luciano wrote in DEMS 97/1-3: "On the tape copy of the original acetates, the piece is complete with the original coda, but the 4° chorus of the III theme, played by Ellington is erroneously repeated." The coda on Edmund's acetate, which is indeed different from Prestige and different from the Boston tape seems however to have been edited to the end of the piece. This seems rather odd. An explanation could be that something happened with the original 16 inch acetate before the piece ended and that the coda for Edmund's acetate had to be taken from the twin recorded acetate, which started somewhat later (a normal procedure to make sure that nothing is missed). Without original 16 inch twin acetates, an overlap in the dub would not be possible. This explains at the same time why there was an incomplete version circulating, which needed to be completed at the end. This has been done much more successfully on Prestige (with the coda from Boston) than on the Anderson acetate (with the Carnegie coda from the twin acetate). It puzzled me however why this 16 inch twin acetate was not used to copy the whole second part of the piece on Edmund's 12 inch dub, starting with the 4° chorus and including the original coda. Now we find two "joints" on Edmund's dub. Only one joint would have been required if my theory is correct.
I don't know the reason why the coda from the Boston concert was used instead of the Carnegie version. This wasn't neccesarily done because a disc was missing; it could as easily have been occasioned by damage to the 16" disc.
The Giddy-Bug Galop
Perhaps I can help Steven Lasker with regard to the word "Galop",
which although French in origin appears in both my Oxford (1934!) and
Webster's (1996) Dictionaries. The fullest definition,
however, can be found in the New Oxford Companion to Music and was
provided by none other than Peter Gammond: "A fast and lively
ballroom dance in 2/4 time, which became popular in Paris and Vienna
in the 1820s. It derived from an earlier German dance, the
Hopser, and was popular in England in the mid-Victorian era, either
as an individual dance or as a quadrille movement." Peter edited the
Jazz Book Club publication "Duke Ellington - His Life and Music" back
Takes Incorrectly Identified in Discographies
I made a mistake in my piece on "Takes Incorrectly Identified in
Discographies" in the last Bulletin. In discussing
Ellington's Pathé/Perfect sessions, I mentioned that master
numbers 106250/1 were prefaced by an "n," and this is so; I was
mistaken in stating that 106729/30 are similarly
prefaced. In point of fact, the company had dropped the
"n" prefix by the time of this second session.
No Auditorium in Troy
Just got the last printed edition of DEMS. It is
with some degree of sorrow but nice to know it will be available on
the Internet. In the meantime, please send me cassette
31. I know that I have part of it but definitely need
the rest. I did some checking and you are
right. Troy, NY did and does not have an
Auditorium. The Armory did fulfil that
function. Some of the RPI students, including the late
Phil Bailey laughingly referred to it as the
Troy Auditorium, but to be truly correct the concert venue was
indeed at the Armory.
The European tour in 1950
Wolfram Knauer gave me your address. I trust you are
able to clarify for me a couple of points about Duke's European tour
in 1950 as follows:
1. The tour started with a concert at the Palais de Chaillot in Paris on 3Apr50.
2. Can you give me dates and locations for further concerts in France (4-27Apr)?
3. I have the band on 28-30Apr in the Hague, Antwerp and Amsterdam and on 2-4May in Zürich, Genève and Lausanne. Where was the band from 5-26May?
4. I have the band on 27-29May in Frankfurt, Hannover and Hamburg. Where and when did the remaining concerts of this tour take place?
5. Did the last concert of the tour take place in Paris at the Salle Wagram on 20Jun? I have info that the orchestra played at the Stadttheater in Basel on 16Jun and at the Casino in Berne on 26Jun. Can you confirm these dates and fill in the missing dates including the Italian and Scandinavian stretch of the tour?
6. According to my info Ted Kelly left the band already during the Paris engagement in April and was not replaced. Is that correct?
7. Don Byas played at least in Hamburg, probably replacing Charlie Rouse. When did Don Byas join the orchestra and for how long? Was he added or did he indeed replace Charlie Rouse?
1. No. Duke arrived in Le Havre on 4Apr50 on the Ile de France.