DUKE ELLINGTON MUSIC SOCIETY
04/1 April-July 2004
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
Part 4. New Desor Explanations & Corrections
The New DESOR
04/1 DEMS 30
In the past few years, we have noticed that some people,
who had not used the old Desor volumes, were experiencing some
difficulties in understanding the rules and signs in the New
DESOR. We asked Luciano and Giovanni to write a few
explanations which would be helpful for DEMS members to better
understand the New DESOR. Here is their response.
In "Section One - Sessions" (Volume One) we give a
chronological survey of all the recordings made by Ellington with or
without his orchestra, to which we either have listened, or (in the
case of those to which we were unable to listen) of whose existence
we are convinced. In order to compose a chronological list
of all the performances of the same piece in "Section Two - Titles"
(Volume Two), we had to give only one title to each piece of
music. We have opted for the most generally known title,
not necessarily the title of the first recording. If on a
release or in a session another title was used, we give that other
title between parentheses like this: Don't Get Around Much Anymore
(Never No Lament). These alternate titles are brought
together alphabetically in a list on page XXXIII.
Each recorded piece is followed by the labels and numbers of the
first release and of important later releases on LP and/or
CD. These for collectors important LP and CD releases are
brought together in "Section Three - Discs". Previously
unissued recordings are underlined. The abbreviations of
the label names can be found on page XXIII.
The last number after the recording (if any) at the end of its line
is the matrix-number of the recording and/or the take number or
occasionally the track number in the recording session.
If the recording is only a little fragment that was used to complete
the main recording, the number of the release is placed between
parentheses. That means that only the minor portion of the
tune (like an insert) is between parentheses.
Our aim was to describe in "Section Two - Titles" the
recordings in a way which is understandable to people not able to
read music. On the first line you find the title at the
left side, the names of composer/lyricist in the middle and the
structure of the piece at the right side.
Under the title we have put occasional
sub-titles. Sometimes a sub-title also exists as the main
title of a complete other composition. If that is the
case, we added to the sub-title this sign: #.
To achieve our objective we decided to subdivide each piece of music
into a succession of choruses, numbered progressively (1°;
2°, and so on). Each chorus number is followed by the
initials of the musicians (see page XI and following pages) who
performed that chorus, or it is followed by BAND if the whole band or
a great part of the band was involved, like this:
Numbered choruses are separated by semi-colons [;]. The number of
bars is not repeated in the description, if the chorus is completely
and entirely performed by the same musician(s). If on the
other hand only a part of the chorus is performed by the same
musician(s), we break down the description of the chorus to show the
number of bars performed by each player (or by the band), followed by
the initials of the performer (or by BAND), like this:
If only a part of the chorus is played we give the symbol (nc) after
the chorus number like this: 1°(nc). This is followed
by the number of bars that are actually performed in the non-complete
chorus like this: 1°(nc)16. This is again followed by
initials before we give the closing sign [;] and start the
description of the following chorus like this: 1°(nc)16DE;
If a musician or the band plays for more than one chorus without
interruption we write: 1°/2° or 4°/12°, and so on
like this: 2°/6°DE;
If the piece contains more than one theme, as shown in the
description of the structure of the piece at the right side of the
first line, the chorus number is followed by a Roman numeral (1°
I; 2° II, and so on) that shows which theme is being played in
The sequence of choruses may be interrupted by other musical
episodes. These are indicated with an abbreviation (see
page VII) followed by the number of bars performed. The
symbols for such episodes are: int (introduction); pas (passage); cod
(coda); lib (ad libitum, when a soloist improvises freely out of the
scheme of the theme structure).
Where a soloist does not play his usual instrument the abbreviation
of the unusual instrument being played (see page VIII) is shown in
parentheses after the soloist's initials like this: cod8OP(ce.)
If the initials of two or three performers are linked together with
& (for instance: Fugueaditty: 3° LB & HC
&JHa) you can hear each of them playing a distinctly different
line. If the performers play in unison (or in harmony)
they are linked by a dash (for instance: Indigo Echoes:
Other symbols are: PER (percussion), CHO (choir), AUD (audience).
All the performances of each piece are listed and described in
chronological order. Where there is no difference from
another description we write "Same as", followed by the reference
number of that other description. If the description is
like a previous one but differs in some detail we write "Same as.....
but", followed by the different portion of the
description. If the description differs only because there
is another soloist we write "Same as...., but..... instead
of.....". For instance: Crescendo In Blue: Same as
5743 ae, but JHa instead of JH.
If the recording we have described is not complete, because a portion
is simply missing, we indicate that with this sign: %.
Luciano Massagli and Giovanni Volonté
I have taken the opportunity to remind you (or maybe tell you for the
first time) what the next sections in the Bulletin contain.
The New DESOR corrections are suggestions from anybody
for the authors of the New DESOR to add or correct
anything. The authors have not yet accepted these
corrections or additions. Everybody is invited to make his
comments or send in his own corrections or additions.
DESOR small corrections are corrections, which have
been accepted and which could easily be written in the
books. References to earlier DEMS Bulletins are between
parentheses, to help you find the background information about these
corrections. The corrections are printed on sheets, from
which the numbers started with 5001. These sheets are
available from DEMS. They are printed on both
sides. Eventual corrections on these corrections may
appear on future 5000 sheets, but the 5000 sheets will not be
If you have acquired your two New DESOR volumes recently and you want
to have all the accepted corrections until this very moment, you can
ask for a set of 6000 sheets. These sheets will be updated
three times a year (with each new DEMS Bulletin) and they contain all
the "small corrections" from the past. The advantage is
that you not only have the most recent updated corrections but more
so, that you have to go through your books only once. The
corrections are put in the correct sequence.
New DESOR correction-sheets is a constantly growing
list of correction-sheets, which are authorised by Luciano Massagli
and Giovanni Volonté and made available through
DEMS. They are only printed on one side (with the
exception of the 5000 and 6000 sheets); to make it possible for you
to cut them in pieces and to put the updated or new data in the books
where they belong. The 1000 series contains new or updated
sessions, for section 1 of the New DESOR. The sheets of
the 2000 series contain titles and descriptions and belong to section
2 in Volume 2. For section 3 (Discs), we made sheets in
the 3000 series. For section 4 no sheets are yet
required. The 5000 and 6000 sheets have just been
explained. We are used to publish the new additions to
this list of correction-sheets in each Bulletin. This time
we will publish the list in full. You may be a bit
overwhelmed by the quantity of corrections, but you have four months
time to digest, before we are back with the next set.
If you are interested in keeping your expensive New DESOR
volumes updated, these sheets may be very handy. They are
also helpful for DEMS members to take part in the discussions and to
add corrections and additions in order to make the New DESOR ready
for a second edition, which we hope will come one day in any form
considered convenient on that moment. This may take many
years and it is good to know that all the efforts of Luciano and
Giovanni have been documented. You are welcome to join the
ever-growing group of contributors.
The New DESOR
04/1 DEMS 31
I have only signed my own suggestions with SH if it would
cause confusion otherwise.
Page 14. Session 3010, Aug30. I repeat my suggestion in
DEMS Bulletin 99/5-22. Now I have heard the full version
of Three Little Words as discovered by Steven Lasker (see
04/1-4) I am convinced that both versions of Three Little
Words, DE3010e and g are not played by Ellington.
Page 129. Session 4611, 20Apr46. The presence of
Russell Procope (instead of Otto Hardwicke) is only confirmed in
Klaus Stratemann p266. Reading in Stanley Dance's "The
World of Duke Ellington" p162, one is inclined to believe that
Russell replaced Otto for the first time on 27Apr46. In an
interview in Salt Lake City (5oct62) Duke mentioned that Procope
started in 1945, but Duke must have been thinking of the time Procope
was a guest on the Treasury Show of 20oct45.
Page 156. In addition to all the conflicting opinions about
session 4801 of 6Nov48, we can add the following message.
"After hearing Y'oughta (03/3-25), I'm sure the only
soloist on tenor sax is Ben Webster. Best regards.
Page 304. Session 6123, 20Sep61. You suggested to add at the
end Congo Square (Matumbe). That is
wrong. What you have on your tapes is the same as the
recording of 2Mar61 (6102c).
You are right.
Page 306. Session 6128, 21Nov61. How do you know
that Eddie Mullens was present? Duke didn't mention
him. He called his band a ten piece band. It is
the question: did he consider himself a band member? On the other
hand: Klaus Stratemann p445: "Ellington was recorded with 10 of his
men." Did you hear two trumpets?
We have listened to this recording session and we agree with
you: we don't hear 2 trumpets and Duke didn't mention Eddie
Mullens. I don't remember where I got information about
the presence of Mullens. We will make a
correction. See 04/1-32.
Page 332. Session 6318, 7Feb63. You are
wrong. In Mood Indigo at the end of the programme,
one can hear Ellington on the piano, which is not the case in Mood
Indigo that opens the programme.
You are right again! I admit that both versions are
different. However, I am convinced that they originate
from the same recording, from which the first chorus was used for the
opening and the last chorus plus coda was used for the conclusion of
the programme. I think that the middle part is missing.
Page 338. Session 6333, 24Feb63. About your
suggestion in 03/3-26: we have not included the alternate take of
Solitude because it is played by BS in a non-Ellington
context. We are still convinced that the pianist in the
first take sounds more like Strayhorn than
Ellington. Nevertheles we understand that there is no
reason to change the piano player after the first take.
You are wrong. Duke is giving instructions from
behind the piano. I am convinced that he played all the
"takes" of Solitude and not only the last one which is
Putting my tapes in order I found the complete recording
session of the Dollar Brand trio in Paris (24Feb63). I
listened to Solitude and to my great surprise I found that
there are 4 complete takes of it, and not 2 as stated on the Danish
Radio sheets. It is indeed Ellington at the
piano. We made corrections, see 04/1-32 (p338 and p1132)
and Correction-sheet 1058.
Page 350. Session 6362, 20Aug63. On the sessions
for My People we made a mistake: Pete Clark plays the bar sax (MIMM
p199). On the same page Duke says that Bob Freedman plays
tenor, not bar sax. We made corrections, see 04/1-32.
Page 354. Session 6366, 27Aug63. About your
suggestion on 03/3-27: we have not stated in the New DESOR that Billy
played during this session. How do you know he was
You hear Billy's voice and you hear Duke say: "Strays",
between tracks 25 and 27. Either the date of this session
is wrong, or the story in David Hajdu's "Lush Life" p228 is not
You are right about Strayhorn: we hear him play the piano in
My Mother, My Father and Love. We will make a
correction. See 4/1-30.
Page 363. Session 6409, 20Feb64. As I remember
"Jazz 625" is the title given to a series of telecasts aired in
1985/90. It is possible that the original telecast was
"Jazz on Campus".
Only in the Duke Ellington Itinerary of Joe Igo is the name
"Jazz on Campus" mentioned. I have not found that name
anywhere else. It is true that the programme was
re-telecast in 1984 and 1986 (my video is recorded from a telecast on
30Mar90), but the name was "Jazz 625" from the beginning (See Klaus
Stratemann p481). Duke was the first to appear in that
series. It was the inauguration of the station BBC 2 and
625 reflects the number of lines on the screen. The
location was the BBC studio, which had nothing to do with a
Page 367. Session 6418, 10Mar64. Do you know in
which titles Valaste replaced Woodyard?
I am sorry. This is the only thing I know from DEMS
80/2-5: "Erkki Valaste for Sam Woodyard during first portion"
(written by Benny Aasland).
Page 380. Add between 6447 and 6448 an interview of Duke
Ellington, Billy Strayhorn and Harry Carney at the Golden Akasaka
Night Club by the American Armed Forces Far East
Network. The interview took 55':10" and included the time
for playing a dozen commercial recordings.
Page 380. Session 6448. It is not established that
this interview took place in Tokyo. It is however
undoubtedly from Japan.
Pages 382 and 383. Session 6455, 26Aug64.
Volupté, 6455q, (part 3 of the "Suite for
Swinging"). Only a part of the recording was used for the
LP. See page 1262, what was used is underlined:
Igoo, take -1, 6455r. The recording was
used in its entirety for the first part of Igoo (part 1 of the
Suite). The rest of Igoo (part 1 of the Suite) was
take -3, 6455t as follows (underlined is used):
From the released take -4 of Igoo (part 5 of the
Suite) the segments were taken out of sequence.
Sequence numbers are at the end of each line between brackets.
Shufflelady , take -2, 6455y, was also only partly
used for part 2 of the Suite.
This is the description with the used part underlined:
Soul Train, take -1, 6455am. Only 8 bars have been
used for the beginning of part 4 of the Suite.
Soul Train, take -3, 6455ap. The first 4 bars were
Shufflelady, take -5, 6455as, part 7 of the
Suite. Only the end was used
Spon, take -3, 6455au. Only the last
chorus (nc) was used for the end of part 6 of the Suite.
Spon, take -5, 6455aw. This take with
the exception of its last chorus (nc) is at the beginning of part 6
of the Suite.
See for almost identical analyses Klaus Stratemann p495.
Page 383. Session 6456, 2Sep64. The spelling of his
name is Whitteker, not Whittaker. See corrections on
What you find on Rarities 29 is the "soundtrack" of the actual
telecast titled "The Duke" which was a part of the series, called
Page 384. Session 6457, 3&4Sep64. The vocal
part of Come Sunday (David Danced), 6457j, was not sung by
Emma Kemp. There are three persuasive reasons to support
this assertion:- The voice is that of Joya Sherrill, Duke announced
Joya specifically for doing this song and Emma Kemp's name is not
found in the detailed credits at the end of the
telecast. Klaus Stratemann (p497) is in
error. Make also a correction on page 1475 of the New
DESOR. See corrections on 04/1-32.
Page 384. Session 6458, 6,8&9Sep64. Make a note
for the personnel at the 6458 session: Eddie Johnson, (t.s.) replaced
PG in a, b and c. (See Mark Tucker's liner-notes for the Mosaic
Reprise set, p20&28)
In DEMS 99/4-10/1, I suggested to credit Eddie for a, b, e and
k. I have changed my mind. I found track
numbers of the selected recordings for the album in the Danish Arkiv
# 35238. These track numbers indicate that there were
three sessions. The selections as mentioned in the New
DESOR follow the sequence of recording. The first session
included tracks 4, 13 and 16. The second one the tracks 7,
11, 17, 24, 27 and 36 and the last one had tracks numbers 2, 4 and
10. The middle session is too long for Eddie Johnson, who
said: "I didn't play on more than four tunes". Mark Tucker
chose the third session as the probable one. I believe it
must have been the first session. The only selection which
I did not point out in my contribution in 99/4-10/1 is Feed the
Birds. In spite of what Eddie Lambert wrote on p252 of
his "Listeners Guide", repeated listening to Feed the
Birds has not resulted in the conclusion that the tenor could not
have been played by someone other than Paul Gonsalves.
Lambert, Tucker and I agree on the fact that Eddie did not replace
Paul in the second session (running from 4658d until/including
4658i). Paul soloed in the second session in 4658d, f and
An additional argument to choose the first session is what Jeff
Lindberg wrote (DEMS 99/4-10/1). "On Eddie's day Duke
recorded only pieces that Gonsalves did not solo on". It
is true that one cannot be sure that Paul played in the three numbers
of the final set, but if the last day was the day with Eddie, what
did Duke have to choose from?
I have in my own files split the session into three parts, each with
its own date. See correction on 04/1-32.
Page 384. Session 6459, 11Sep64.
The correct spelling is CULLEN. The building still exists
on the University of Houston campus and is now called Cullen
Performance Hall. It is named after Hugh Roy Cullen, a
well-known oilman who was very generous in donating funds for such
endeavors. See corrections on 04/1-32.
Page 387. Session 6502, 12Jan65. Many edited
versions of these two films are circulating on video. Film
#19 runs from 6502a until/including 6502i. Film #20 runs
from 6502j until/including 6502s. In film #19 Duke wore
black trousers and in film #20 he wore grey trousers. This
helps to sort things out.
There is indeed only one recording of Things Ain't What They Used
To Be as indicated on page 1233, where a description of 6502i is
missing. Klaus Stratemann (p501/502) was in error.
The title of 6502i should be changed into Take the "A"
Train. There are three distinctly different recordings
of that title in the films: 6502a, i and j.
There is a great difference in the music between a and i (both with
black trousers). There is only a slight difference in the
music between a and j. But the difference between these
two is not only that Duke wore different trousers. He
stays at the piano in a, whereas he stands up at bar 9 of the
incomplete chorus in j.
The closing 6502i was also used as the beginning of one of the videos
(on which it is followed by Cotton Tail). In this
instance the picture continues until the end of the
selection. When 6502i is used as the end of a video (after
Do Nothin' Till You Hear from Me) the music is complete (and
identical) but the picture is replaced by credits.
Between 6502i and Cotton Tail, Duke suddenly changes trousers
from black into grey.
After 6502g, Do Nothin' Till You Hear from Me, Lawrence Brown
left the stage at the left side. But before 6502i, the
closing Take the "A" Train, we see Cat Anderson leave the
stage at the right side, while Lawrence is already
seated. That confirms the fact that Jam with Sam,
which is missing on all videos, preceded the closing theme 6502i and
not Do Nothin' Till You Hear from Me as some videos would make
Page 388. Session 6505, 26Jan65. The title of the
broadcast from "France Inter" was "Paris sur Scène", recorded
at the "Maison de la Radio", studio 104. The introduction
was spoken by Maurice Cullaz. The broadcast was produced
by Jean Chouquet. See corrections on 04/1-32.
Page 390. Add between sessions 6509 and 6510 an interview,
dated 31Jan65, recorded for later broadcast in the programme "Jazz
Aktuelt". The introduction is spoken by Per Møller
Hansen. We hear, taken from the concert, Things Ain't
What They Used To Be (not complete), followed by an interview
with Duke (5':13"), translated into Danish by Børge Roger
Henrichsen. This is followed by Solitude, by
Sathima Bea Benjamin, accompanied by Dollar Brand, taken from the
second concert. The broadcast concluded with the award
presentation to drummer Alex Riel (during the second concert) and
with an interview with Alex Riel in Danish.
Page 392. Session 6515, 12Feb65. Ole Nielsen and
Timner have this recording on 11Feb65. Duke was in Munich
on both dates. Do we have a confirmation for the 12th?
In my files and in the old Desor the date of the concert was
11Feb65. This date was than changed to 12Feb65, ref. DEMS
Bulletin 93/1-1, where it is stated that Ellington was in
Nürnberg on the 11th and in Munich on the 12th.
I am still not sure. Duke was probably not in
Nürnberg on the 11th, because he also played a Bal Paré
(see Stratemann p504) in Munich. Stratemann has Ellington
two days in Munich and nothing at all in Nürnberg. We
need help from somebody who can check for us in German newspapers.
Pages 395 and 396. Sessions 6520 and 6522 were two parts in a
series called "Jazz 54" from BBC 2. The parts were named
"Ellington in Europe". Part 1 was telecast on 27Mar65 and
part 2 on 10Apr65 (see Klaus Stratemann p681). Four parts
of the interview from session 6521 were used in part 1 of "Ellington
in Europe". The whole interview plus the musical
selections were telecast separately on 26Mar65 in the programme
titled "Late Night Line Up" probably in combination with an
announcement of the telecast "Ellington in Europe", part 1, the next
Pages 398, 399 and 400. Sessions 6528 - 6532. I
believe that the old Desor was right and that Mercer Ellington left
the band (as a trumpet player) after they returned home from
Europe. See also the liner-notes of the Mosaic 5 CD set of
Reprise recordings. It is easily to correct if we change
the reference number for the personnel from 6503 into 6504.
Page 399. Session 6530, 17Mar65. The end of
take -1, 6530i, was replaced by the last part of take -8,
the insert 6530o.
Page 401. Session 6533, 14Apr65. 6533v, Virgin Jungle,
take -2. On the Reprise release the ending was
replaced with the complete coda insert 6533w. On the
Discovery (DS-841) release only the last part of the coda insert was
I wonder if the title of 6533x and y is properly
spelled. The 5 CD set of Mosaic and all my LPs have
Fiddler on the Diddle. Timner and Nielsen have
Fiddle on the Diddle.
You are surely correct in querying this spelling. It must
be Fiddler on the Diddle. The Leonard Feather
sleeve notes to the original LP issue indicate that this is so, where
Ellington himself is quoted, calling it an instance of 'using
word-plays on the titles of various Broadway
shows'. The Fiddler on the Diddle spelling is the
only one which retains the punning reference to Fiddler on the
Roof. Fiddle on the Diddle makes a kind of sense but
loses the punning reference; Fiddle on the Diddler as per
DE6533 doesn't make sense. The Stanley Dance notes on the
same LP issue though, have Fiddle on a Diddle, in which the
punning reference is also lost.
Page 403. Sessions 6540 and 6541, 30Jun and 2Jul65.
I am not happy with these sessions as released on Red
Baron. Why not give a full overview. If Billy
Strayhorn is among the personnel, why not include the selection in
which he played the piano? Or should we believe that Duke and Billy
played all four mentioned titles together?
As always we have not included the other titles because they
are played by Billy Strayhorn in a non-Ellington context.
I find it hard to believe that in Boo-Dah, 6540a,
described under Smada on page 1128, Billy Strayhorn took over
from Ellington in choruses 4° and 5°. I vote for
Duke all the way. I also believe that Stanley Dance is
right in the liner-notes where he stated that Duke played Day
Dream and Just A-Sittin' and A-Rockin' on 30Jun65.
I hear indeed in the 2Jul65 session two piano-players simultaniously
in Pig Sty and I can agree with you that Strayhorn played in
Oink, but I have my doubts about Multicoloured
Blue. As long as we are not sure about who played
what, I suggest that both complete sessions should be documented in
the New DESOR.
Page 406. Session 6550, 30Aug65.
El Viti, 6550k and 6550l were respectively mentioned intercut
take -2 and intercut take -3. What we have on
the released CD is 6550j from which the last part was replaced by the
first part of intercut -2 and the last part of intercut -3: 6550k and
l think both should have the release number between parentheses.
Trombone Buster, 6550x. What we have on the
released CD are the first 20 bars of 6550v and the rest taken from
6550x. Should 6550v not have the release number between
parentheses? See corrections on 04/1-32.
Pages 407 and 408. Session 6552, 18Sep65. What made
you decide to drop Dizzy Gillespie, Rex Stewart and Clark Terry from
the personnel listing for Rockin' in Rhythm? You mentioned
their presence in the old Desor and it is confirmed by Jimmy Lyons in
his book "Dizzy, Duke, The Count and Me" p162.
I have listened to the recording. Dizzy, Rex and Clark
were not credited by Duke (at least not on my tape), but one can hear
some very distinctive trumpet sounds in the coda. Dizzy
was announced by Duke for the encore he did without the band, but
with John Hendricks, in my files as Goodnight Interlude.
Page 417. Session 6614, 7Feb66, 2nd concert. (Correction-sheet
1039) Duke and Jimmy Jones both played (the same) piano in Cotton
Page 423. Sessions 6626 and 6627, 19Feb66.
Both sessions were from Manchester, 19Feb66; 6626 being the second
concert and 6627 being the first. The first concert (6627)
starts with Take the "A" Train, followed by Main Stem
for which the musicians had to look for their parts. This
was not the case in the second concert (6626).
Page 426. Session 6636, 29Mar66. On the cover of
Doctor Jazz, Jerome Richardson replaced Harry Carney in West
Indian Pancake. In the liner-notes is stated that the
reason for this replacement was the fact that Harry arrived too late,
which means that he was also replaced in Take the "A"
Page 431. Session 6649, 2Jun66. Duke came on stage
between 6649e and 6649f. I cannot confirm the sequence of
the first group of 5 selections.
Pages 432 and 433. Session 6650, 26Jun66. After the
Medley 6650a, the studio orchestra played another Medley, featuring
Dean Martin. This also contained five selections: It
Don't Mean a Thing; Hold Tight; Hubba Hubba Hubba; The Music Goes
'Round and 'Round and Swingin' Down the
Lane. In the transition between the fourth and fifth
selection we hear distinctly Ellington on the piano.
Page 436. Session 6658, 18Jul66. The playing of the
piano and the speaking of the texts were recorded
separately. There were several attempts at the narration
for Field Enterprises and there were several attempts at the spoken
introduction to Dancers in Love. One of each was
used for the release.
Page 441. Session 6668, 23Aug66. The date is wrong,
as was Klaus Stratemann. I have listened to an interview
which took place on 24Aug66 in which it was stated that the concert
Page 442. Session 6669, 2Sep66. Put behind the
title Meditation, between parentheses the title Just One
Big Question. That was the title on the
release. The location was Chicago, not N.Y.C.
Page 445. Session 6678, 16Nov66.
Add at the beginning of the Medley: Satin Doll and Solitude.
Page 447. Session 6681, 21Nov66. At this opening
night, Joe Bushkin and Skitch Henderson joined (on piano) the band in
Jam with Sam.
Page 448. Session 6683, 29Nov66.
The unknown interviewer was Johnny Carson.
Page 671. Session 7251, 23oct72. I wonder why
Duke's poem about "togetherness" is not included between 7251a and
7251b, since the poem, titled "Into Each Life Some Jazz Must Fall"
has been included, 20May64, 6439m. They were both recorded
without any instrumental sound.
Page 768. Blues No.10. The introduction by
Duke was taken from Launching Pad.
Page 860. El Viti, 6618f should read: Same as 6550h.
Page 899. History of Jazz, 5003d. The note
says that each chorus was based on another theme. That's
not the case for 5° and 6°. They were based on
the same theme. 5° seems to depict the sound of Glenn
Miller and 6° seems to be inspired by Tommy Dorsey's sound.
Page 902. Hot Feet. I have just got the Jan
Evensmo book "History of the Jazz Tenor Saxophone". On p32
of Volume 5 it says, that it was really Harry Carney who played the
tenor sax solo on Hot Feet from 7Mar29, and not Barney Bigard
as stated everywhere (including the New DESOR).
Source: Steven Lasker, who got it from a Brooks Kerr
conversation with Harry Carney, in which Harry stated that he played
the solo on Bigard's tenor sax:
"I found HC's assertion both instantly credible and perfectly
obvious, since HC's opening solo exhibits a blistering attack and
propulsive drive absent from Bigard's other recorded solos of the
Jan Evensmo: "Personally I have no reason to disagree,
If we accept Harry as the tenor-player, we will have to credit
Barney with the clarinet part, which seems even a bit more
Page 969. Jones. As we all know it was Clark
Terry who wrote Jones. He put the name of his wife,
Pauline Reddon (who died in 1979), on the tune, because Clark worked
with BMI and Duke was associated with ASCAP. Source: A
Clark Terry interview with Steve Voce from 1995.
Page 1082. Purple People. About your
suggestion on 03/3-27: you are right about Bob's name as
clarinetist. We will make corrections. See
Page 1449. Harry Carney joined the band on 26Jun27, not on
16Jun27. He made this statement in an interview with Bob
Davis at the University of Northern Illinois, probably on
20Mar74. See also Frank Dutton in Storyville # 91 p10.
Page 1473. "Jimmie" Jones. Why not accept "Jimmie"
Blanton, who signed with "Jimmie" as suggested by Hoefsmit in his
Comments on Timner 4th edition page 1 (which came with Bulletin 98/2)
and write Jones' first name as "Jimmie" whose name is always spelled
as Jimmy Jones?
04/1 DEMS 32
DESOR small corrections 5007
(Corrections April 2004)
2 - Session 2603. Delete "-A" from matrix numbers. Session
2604. Delete "-A" from matrix X323-A. (03/3-9)
5 - Session 2806. Add 2806d Tishomingo
Blues Br 3987. Correction-sheet 1058. (00/3-13/4)
47 - Session 4007. St. Louis Blues, 4007f: vcCW instead
of vcIA. (02/3-7/2)
49 - Session 4015. The actual date is July 31 instead of July
50 - Session 4021. The actual date is September 8 instead of
September 10. (03/2-9/2)
51 - Session 4028. Add as first title
4028xa Maybe vcIA unissued.
Correction-sheet 1018. (00/2-21)
59 - Session 4123. Delete: JB(b.)out. Flamingo, 4123b,
delete: unissued; add: JHP CD-48736. Take the "A" Train,
4123a, add: JHP CD-48736. Correction-sheet 3018, CD 0869.
105 - Session 4546. I'm Beginning To See the Light,
4546j, add: DETS 14. (03/3-25)
134 - Session 4622. Add three unissued takes of 9:20
Special. Correction-sheet 1057. (03/3-8/1)
212 - Add session 9037, Leonard Feather Interview, 1955.
295 - Session 6034. The correct name of the location is:
William and Mary College. (03/3-25)
297 - Session 6103 (also on Correction-sheet 1023), Tulip
or Turnip, 6103c, has take number: -6. (00/3-25 and 03/3-26)
299 - Session 6109. Personnel: BWo instead of LBk. (03/3-26)
306 - Session 6128. Delete from the personnel: EMu. (04/1-31)
313 - Session 6220. The correct date should be May 28 instead
of May 20. (03/3-26)
320 - Session 6241. DUKE ELLINGTON WITH HENDERSON ORCHESTRA
instead of DUKE ELLINGTON AND HIS ORCHESTRA.
DE(p.) acc. by Skitch Henderson Orchestra instead of Same as 6229,
but BBe(t.)out; and: CW(t.)added. In the NOTE delete: ", on the air
on September 20". (03/3-26)
322 - Add session 9036, Paul Smith Interview, 5oct62.
Correction-sheet 1058. (03/3-26)
328 - Add session 9038, Timme Rosenkrantz Interview, Jan63.
331 - Session 6313. The correct spelling of the interviewer's
name is Allroth. (03/3-26)
335 - Session 6327. The location is Berlin, not Hamburg. (03/3-26)
338 - Session 6333. Add three complete takes of
Solitude, all played by Ellington at the piano and sung by
Sathima Bea Benjamin. Correction-sheet 1058. (04/1-31)
340 - Session 6338. See Correction-sheets 1019 and 1020 for an
350 - Session 6362. The saxes personnel should be read as
351 - Session 6362. Light, 6362bf (track 71): delete
"unissued"; add "(Ct CM-1)". (03/3-27)
352 - Session 6363. Add between 6363t and u: 6363xa What
Color Is Virtue? (Ct CM-1) Correction-sheet 1059. (03/3-27)
352 - Session 6364. The location is "Arie Crown Theatre", not
"Aerie Crown Theatre". (03/3-27)
354 - Session 6366. BS was present, delete: BS(p.,cs.). (04/1-31)
363 - Session 6409. NOTE: "Jazz 625" instead of "Jazz on
374 - Session 6433. Add between 6433e and f: 6433xa Happy
Reunion unissued. Correction-sheet 1057. (03/3-27)
380 - Session 6449 should be deleted. (03/3-27)
381 - Session 6451. Add: NOTE - 26 bars of Nagoya were
used for the CBS telecast "Duke Ellington Swings Through Japan", on
the air on December 20. (03/3-27)
383 - Session 6456. The correct spelling of the interviewer's
name is Whitteker. (04/1-31)
384 - Session 6457. Come Sunday, 6457j: vcJS instead of
384 - Session 6458. Add: NOTE - Possibly Eddie Johnson (t.s.)
replaces PG in a, b and c. (04/1-31)
384 - Session 6459. The correct location is Cullen Performance
388 - Session 6505. The location is: Maison de la Radio. The
correct title of the broadcast is: "Paris sur Scène".
402 - Session 6536. The name of the interviewer is John Grams.
406 - Session 6550. El Viti, 6550k&l, delete:
unissued; add: (Sa 91232-2). Trombone Buster, 6550v, delete:
unissued; add: (MM5041-2C). (04/1-31)
408 - Session 6554. The vocalist is EM instead of JHe.
692 - Session 7341. 7341w: change Over the Waves into
(Corrections April 2004)
XXXVI - Dusk in the Desert should be read Dusk on
the Desert. (03/3-7/19)
XL - Add: Valurile Dunarii
713 - 99% Won't Do, 6363k. The description should be
read: Same as 6362i, but: cod4IBS. (03/3-27)
724 - AGRA, 6420g. Add: Same as 6404d.
726 - All Heart, 5733. Add four alternate takes. Correction-sheet
730 - AMAD, 6420f. Add: Same as 6415f, but: int30DE.
732 - Add the title Anniversary Song, see page 1063
under the corrected title Over the Waves.
743 - Banquet, 6420r. Add: Same as 6407s.
Banquet, 6421s. Add: Same as 6407s.
753 - Black and Tan Fantasy, 6420b. Add: Same as 6405b.
Black and Tan Fantasy, 6421b. Add: Same as 6405b.
760 - Blue Bird of Delhi, 6420h. Add: Same as 6404e,
but: int4JW,4BAND. Blue Bird of Delhi, 6421h. Delete: and:
779 - C-Jam Blues, 6421x. Add:
806 - Come Sunday, 6457j: JS instead of EK. (04/1-31)
811 - COPS, 6114c, add: 7°(nc)8BAND instead of
816 - Creole Love Call, 6420c. Add: Same as 6405c.
Creole Love Call, 6421c. Add: Same as 6405c.
829 - DEPK, 6420i. Add: Same as 6405i. DEPK,
6421i. Add: Same as 6405i.
860 - El Viti, 6618f. Delete:
%;2°%,30CA;cod2BAND,2CA; add: Same as 6550h.
870 - Flamingo, 4123b should be read as follows:
887 - Happy Reunion, 6420k. Add: Same as 6405k.
Happy Reunion, 6421k. Add: Same as 6405k.
889 - Harlem, 6420m. Add: Same as 6407m. Harlem,
6421m. Delete the whole description; add: Same as 6407m.
950 - Isfahan, 6420p. Add: Same as 6409f.
970 - Jones, 6420w. Add: Same as 6112k. Jones,
6421y. Add: Same as 6112k.
980 - Kinda Dukish, 6420t. Add:
984 - King Fit the Battle of Alabam', 6363x.
4°/5°PC instead of BFr; 10°/11°BFr instead of PC.
986 - La Plus Belle Africaine, 6618h. The first chorus
should be read: 1°DE; and, from 27°:
1025 - Montage Tonight:. B.Strayhorn instead of D.Ellington.
1039 - My Greatest Mistake, 4013a.
1°(nc)8HC,6BAND&HC,2BAND, instead of 1°(nc)8HC,8BAND,
1063 - Over the Waves. Change this title into
Anniversary Song. Change J.Rosas into I.Ivanovici/S.Chaplin,
A.Jolson. Add: Other title - Valurile Dunarii.
1071 - Perdido, 6420e. Add: Same as 6375d.
Perdido, 6421e. Add: Same as 6375d.
1076 - Portrait of a Lion, 3907g.
4°4BAND&RS,4BAND,4BAND&RS,4BAND instead of 4°BAND.
Portrait of a Lion, 3907h. Same as 3907g, but 4°BAND; and
1082 - Purple People. BFr(cl.) instead of RPo(cl.) in
all the versions. (03/3-27)
1093 - Rockin' in Rhythm, 6420u. Add: Same as 6376k.
1106 - Satin Doll, 6420v. Add: Same as 5815d.
Satin Doll, 6421w. Add: Same as 5815d.
1125 - Skillipoop, 6420s. Add: Same as 6409k,
Skillipoop, 6421t. Add: int4BAND,18JHa;
1129 - So, I'll Come Back for More, 3906b.
2°LBa(vc.)&BB&RS instead of 2°LBa(vc.)&RS.
1132 - Solitude, 6333b.
cod3BBj,1BAND instead of cod3BBj,1DE. (04/1-31)
1136 - Some Saturday, 4117a.
int3BAND,1JB instead of 4BAND. (03/3-27)
1157 - St. Louis Blues, 4007f.
8°/11°CW(vc.) instead of 8°/11°IA. (02/3-7/2)
1160 - Stompy Jones, 6420n. Add: Same as 6310p,
but CA instead of RN; and: cod2BAND.
Stompy Jones, 6421n. Add: Same as 6413a,
1173 - Take the "A" Train, 4123a.
Delete: 1°%,24DE; add: int4DE;1°DE. (03/3-8/2)
1190 - Take the "A" Train (theme), 6420a.
Take the "A" Train (theme), 6421a.
1206 - The Girl in My Dreams, 4120e. Add: and: 2°HJ&RS.
1214 - The Mooche, 6420d. Add: Same as 6405d,
but: pas4LB,4BAND instead of pas12LB,4BAND.
The Mooche, 6421d. Add: Same as 6405d,
but: pas4LB,4BAND instead of pas12LB,4BAND.
1216 - The Mooche, 7185d. 2°/3°IIBWd instead of
DESOR small corrections 5008
(Corrections April 2004 continued)
1218 - The Opener, 6420j. Add: Same as 6405j. The
Opener, 6421j. Add: Same as 6405j.
1221 - The Prowling Cat, 6420o. Add: Same as 6407u.
The Prowling Cat, 6421o. Add: Same as 6407u.
1225 - The Sleeping Lady. Add: 6973a int2DE;1°(nc)28DE.
1233 - Things Ain't What They Used To Be, 6420q. Add:
Same as 6124x. Things Ain't What They Used To Be, 6421r. Add:
Same as 6124x.
1250 - Trombone Buster, 6550q. After the 3°chorus,
the description should be read: 4°6BAND&BC,2BC,
Buster, 6550w. Delete: Same as 6550v; add: Same as 6621k, but:
LBe instead of SW; and: cod28BC,2BAND&BC. (03/3-27)
1251 - T.T. on Toast, 3830b. 2°6HC,10BAND instead
of 2°16BAND. (03/3-28)
1264 - Wailing Interval, 6420l. Add: Same as 6368s,
but: cod13PG,1BAND. Wailing Interval, 6421l. Add: Same as
6226j, but: cod13PG,1BAND.
1267 - Wanderlust, 3831d. 2° and 5°:
8BAND,4JH(s.s.) instead of BAND. (03/3-28)
1310 - 0143 LP. Atlantic SD-1688. Add: NOTE - Track B04:
chorus 13°/17° are omitted. (03/3-28)
1329 - 0211 CD. Columbia CK-44051. 001 - Blues in Orbit
(5804b) instead of (5808c). Correction-sheet 1007. (99/4-18/1)
1338 - 0283 LP. Contact CM-1. Add in the NOTE: track A01,
6363k: 8 bars from the 1° chorus and 8 bars from the 2° are
omitted; track A04: intro is from 6362bf instead of 6362ao; track
B04: coda is from 6363xa instead of 6363n. (03/3-27)
1349 - Add: 0865 CD. D.E.T.S. 9039007. Correction-sheet 3017.
(02/2-30 and 03/2-23/1)
1349 - Add: 0867 CD. D.E.T.S. 9039008. Correction-sheet 3017.
1371 - Add: 0869 CD. Jerry Haendiges Productions CD-48736.
Correction-sheet 3018. (03/3-8/20)
1375 - Add: 0863 CD. Laserlight 17411, between 0480 and 0481.
Correction-sheet 3017. (02/2-25/4)
1375 - 0484 CD. Lefrak-Fuhrman-Moelis Records CD-83003, make
this correction in the NOTE: track 009: ends at the 3rd bar of the
14° chorus instead of 8° chorus. (03/3-27)
1385 - 0530 CD. Music Masters 5041-2C. Add in the NOTE: track
003: intro is from 6550v (04/1-31)
1387 - Add: 0866 CD. Musica Jazz MJCD-1153, between 0544 and
0545. Correction-sheet 3018. (03/2-27/2)
1396 - Add: 0871 DVD. Quantum Leap QLDUK-0253.
Correction-sheet 3018. (03/2-4)
1409 - 0658-0659-0660 LPs. Reader's Digest boxes: RD4-106,
RD4-112 and RD4A-017 have been issued in 1970, 1970 and 1979
1419 - Add: 0864 CD. Storyville 101-8359, between 0721 and
0722. Correction-sheet 3017. (02/3-20/2)
1419 - Add: 0879 CD. Storyville 101-8346, between 0721 and
0722. Correction-sheet 3018. (03/3-21/2)
1440 - Harold Ashby on tenor. Delete: Woods and add :
1443 - Bell, Aaron Samuel. Add: Apr 24, 1922 - Jul 28, 2003.
1446 - Brookshire, Nell. Add: 1939 - Dec 27, 2003. (04/1-1)
1449 - Carney, Harry. Stay in the band: June 26 instead of
June 16. (04/1-31)
1452 - Clark, Pete. Delete: tenor sax; add: baritone sax.
1458 - Duke Ellington on piano. Delete: Woods and add :
1461 - Freedman, "Bob". Delete: baritone sax; add: tenor sax,
1463 - Paul Gonsalves. Delete: Woods and add :
1468 - Henderson, Luther. Add: Mar 14, 1909 - Jul 29, 2003. (03/3-1)
1468 - Hendricks, "Jon". Stay in the band: delete September 20th.
1475 - Delete Kemp, Emma. (04/1-31p384)
1478 - Percy Marion. Delete: Woods and add :
1478 - Marrow, Esther. Stay in the band: add September 20th.
1482 - Gerry Mulligan. Delete: Woods and add :
1483 - Ray Nance on violin. Delete: Over the Waves and
add : Anniversary Song.
1485 - Rheza Paley. Delete: Woods and add :
1487 - Powell, "Rudy". Delete Purple People (04/1-31p1082)
1500 - Norris Turney on alto sax. Delete: Woods and add
: Soso. (99/3-14) On flute: Delete Afrique and add:
1505 - Woodman, Britt. Add: occ. for the session of June 1,
1509 - Albroth Gun: the correct name is Allroth. (03/3-26p331)
1511 - Henderson Skitch: add session 6241. (03/3-26)
1515 - Whitteker instead of Whittaker. (04/1-31p383)
Correction-sheet 1018 - Session 4028. Delete 4028m (02/2-11/2)
Correction-sheet 5006 (continued), Volume 1 (Corrections
August 2003). Correct page number 1385 into 1358 and page number 1413
04/1 DEMS 33
9001 Preston 30Nov73 99/4-5/1
9002 Berklee 22May71 99/4-4
9003 L.A. 29May59 99/5-15
CT 11Apr32 99/3-5
1003 - 9005 Rotterdam 18Nov73 99/5-1
1004 - 4107 Culver
City 20Feb41 99/3-5
4117 L.A. 3Jul41 99/3-11/12
5625 NYC 7Aug56 99/4-19
5718 NYC 24Apr57 99/4-19
5721 NYC 3May57 99/4-19
5733 NYC 2Sep57 99/4-22/3
5739 NYC 3oct57 99/4-22/3
5804 L.A. 4Feb58 99/4-18/1
5807 L.A. 11Feb58 99/4-18/1
5808 L.A. 12Feb58 99/4-18/1
9003 L.A. 29May59 99/5-15
5918 L.A. 1Jun59 99/5-15
5919 L.A. 2Jun59 99/5-15
5920 L.A. Early
6113 NYC 6Jul61 99/4-20/1
4319 NYC 30May43 99/4-6
6544 Tanglewood 28Jul65 99/3-14/1
5805 L.A. 5Feb58 99/4-18/1
7328 Winnipeg 25May73 99/4-5/2
7345 Malmö 25oct73 99/1-13/3
1014 - 7156 London, 1st concert 21oct71 99/4-5/1
1015 - 7160 Birmingham,1st conc. 24oct71 99/4-28
1016 - 7161 Birmingham,2nd conc. 24oct71 99/4-5/1
4571 NYC 1oct45 99/4-21/4
9006 NYC 15oct45 99/4-21/4
9008 NYC 20Apr57 00/1-10/1
9007 ???? Fall
(9007 is updated as session 9029
on C.-sheet 1037)
4028 Chicago Sep/Oct40 00/2-21
4728 NYC 10Nov47 00/1-16/1
9009 NYC 27Apr57 00/1-10/1
6338 Paris 1Mar63 00/2-4/1
1020 - 6338 Paris
continued 1Mar63 00/2-4/1
5925 Chicago 8Aug59
3205 NYC 11Feb32 00/3-22/18
7151 Roubaix 18oct71 00/4-4/2
3214 NYC 22Dec32 00/3-22/20
9013 Covington Nov/Dec47 00/3-1
(G) Early Jul67 00/4-4/1
3612 L.A. 21Dec36 00/3-22/29
6103 L.A. 3Mar61 00/3-25/297
9012 L.A. Early
6104 NYC 3Apr61 00/3-20
6105 NYC 4Apr61 00/3-20
9011 Chicago 29Dec55 00/2-22
1026 - 9014 Washington (A+B) Early Jul67 00/4-4/1
(E) Early Jul67 00/4-4/1
1027 - 9015 Washington (C) Early Jul67 00/4-4/1
(D) Early Jul67 00/4-4/1
1028 - 9018 Washington (F) Early Jul67 00/4-4/1
(H) 9Jul67 00/4-4/1
5709 NYC 7Mar57 01/1-28/234
9010 USA prob.41 00/2-21
France 17Nov69 01/3-26/551
(9021 is updated on
NH 3Jun47 01/3-13/2
5201 NYC 5Jan52 01/2-29/179
9024 Chicago 1Jan58 01/2-21/Q13
1031 - 5612 Ann Arbor,
MI 2Jul56 01/2-29/213
1032 - 5205 Salem,
OR 22Mar52 CoT
CoT means Comments on Timner
(5205 is updated on
5610 NYC 14Apr56 01/3-25/218
5854 Basel 16Nov58 01/3-25/265
6767 Toronto 24Jul67 01/3-10/2
OR 21Feb72 01/3-26/652
9022 NYC Summer
1943 CoT 33/13
9021 Lyon 17Nov69 02/1-24/551
(This is an update of 9021
on Correction-sheet 1029)
9026 NYC 1Jun44 02/1-2
3710 NYC 20May37 02/1-23
5124 NYC 19Aug51 02/1-8/2
4014 Detroit 29Jul40 02/2-11/2
6417 Stockholm, 2nd
conc. 9Mar64 02/2-26
9029 NYC Fall
(This is an update of 9007
on Correction-sheet 1017)
1038 - 5205 Salem,
OR 22Mar52 01/3-24
(This is an update of 5205
on Correction-sheet 1032)
1039 - 5931 Stockholm, 1st conc. 26Sep59 02/3-13/2
6614 Stockholm, 2nd
conc. 7Feb66 02/2-15/2
6003 Baltimore 22Feb60
1041 - 6841 Atlantic
City 19Aug68 02/3-25
6240 NYC 17Sep62 02/2-24/4
6786 NYC Sep67 02/2-13/1
6932 NYC 2Sep69 02/2-12&23
6933 NYC 3Sep69 02/2-12&23
6934 NYC 4Sep69 02/2-12&23
1044 - 6948 Stockholm, 1st conc. 4Nov69 02/3-25
9027 Stockholm, 2nd
conc. 24Jan67 02/2-8
7121 NYC 16Apr71 02/2-26
MA 28Jul65 02/2-23/3
9025 L.A. 30Mar41 02/1-2/3
9030 NYC 28Feb68 02/2-23/3
9031 Unknown Spr./Summ.
1047 - 5841 Paris, 2nd concert 28oct58 02/2-25/1
5842 Paris, 1st
concert 29oct58 02/2-25/1
9032 Toronto 31Jul58 02/3-17/3
9033 Paris, 1st
concert 20Sep59 02/3-13/1
1049 - 9034 Paris, 2nd concert 20Sep59 02/3-13/1
6785 NYC 1Sep67 02/3-25/487
1050 - 7165 Paris, 1st
concert 28oct71 02/3-25/629
3716 NYC 20Sep37 03/2-14/1
6721 Manchester 10Feb67 02/3-10/1&2
6506 Paris 29Jan65 02/2-25/4
6025 Sacramento 22Jul60 03/3-25
6025 descriptions 22Jul60 03/3-25
3208 NYC 18May32 03/2-7/1
3403 L.A. 26Feb34 03/3-18
4024 Chicago 13Sep40 03/2-9/2
4025 Chicago 21Sep40 03/2-9/2
6229 Mineola 17Jun62
6344 Wiesbaden 25May63 03/3-26
9035 London 16Feb65 03/2-8
9035 descriptions 16Feb65 03/2-8
6512 Stuttgart 9Feb65
4622 L.A. 16Jul46 03/3-8/1
6433 Montréal 20Apr64 03/3-27
2806 NYC 25Jun28 00/3-13/4
6333 Paris 24Feb63 03/3-26
9036 Salt Lake
City 5oct62 03/3-26
9037 U.S.A. 1955
9038 London Jan63
6363 Chicago 21Aug63 03/3-27
Correction-sheet 1059 is
not yet available.
You Cant Miss 99/4-4
6113 B.D.B. 99/4-20/1
In Orbit 99/4-18/1
for the Films End 99/5-17
So in Love With You 99/3-10/5
5919/20/9003 Haupé 99/5-15&17
to Portrait of E.F. 99/4-22/3
Slip of the Lip 00/1-25
Buttermilk Sky 00/3-1
Indian Dance 01/1-28
7136 Toto 02/1-6/1
Correction-sheet 2004 is
not yet available
3003 - CD10/CD17 RCA
3004 - CD18/CD24 RCA
Records CAP-21599 99/1-13/3
3005 - 4415/30 Musica Jazz
Up To Date 2007 99/5-23
Unlimited 2043 00/2-13/3
Victor SP-33394 99/4-9/2
Elite 314547265-2 00/2-13/2
7 MJCD-141 00/1-19/4
Records 1001 00/2-14/1
3008 - 4566 AFRS Music Am.Loves Best-68 00/2-3/1
Yank Swing Session-86
This Is Jazz 01/09/14
3009 - 6104/05 Roulette
C.M. R2-79805 00/3-8
Band Wagon-31 99/4-6
3010 - 4636 AFRS Tommy Dorsey Show-57
Hollywd Bowl Series-59
4506 AFRS Jubilee-117
One Night Stand-854
Stewart Musica Jazz MJCD-1140 01/3-17/4
Jazz MJCD-1141 01/3-17/3
7 MJCD-173 00/4-18/1
7 MJCD-174 01/2-25/1
3014 - 6240 Blue Note
LP FJ-2968 01/3-24
3015 - 7135/6/05/12/25/8 Storyville 8323 02/1-6/1
7047/9033 The "Jazz"
Collection 05 02/3-13/1
Top Jazz SJ-1013 02/3-13/1
3017 - 4303/04/21 Storyville
3018 - Gonsalves Musica Jazz
CD STCD 8324 03/2-27/1
Haendiges CD-48736 03/3-8/2
Leap QLDUK-0253 03/2-4
5001 - Two pages with small corrections, assembled
December 1999, from page XXV until and including page 910 (see
5002 - Two pages with small corrections, assembled December 1999,
from page 936 until and including page 1490 (see 99/5-25); assembled
March 2000, from page XXIV until and including page 1428 (see
00/1-26) and assembled June 2000, from page 90 until and including
1473 (see 00/2-19)
5003 - Two pages with small corrections, assembled September 2000,
from page XXV until and including page 1425 (see 00/3-26) and
assembled December 2000, from page IX until and including 1505 (see
5004 - Two pages with small corrections, assembled April 2001, from
page VII until and including page 1475 (see 01/1-28); assembled
August 2001, from page 63 until and including page 1499 (see
01/2-30); assembled December 2001, from page 84 until and including
page 1440 (see 01/3-22); assembled April 2002, from page 15 until and
including page 1515 (see 02/1-25) and assembled August 2002, from
page 18 until and including page 806 (see 02/2-27)
5005 - Two pages with small corrections, assembled Aug 2002, from
page 819 until and including page 1486 (see 02/2-28) and assembled
December 2002, from page XXI until and including page 1166 (see
5006 - Two pages with small corrections, assembled December 2002,
from page 1170 until and including page 1502 (see 02/3-27); assembled
April 2003, from page 58 until and including page 1480 (see
03/1-29&30) and assembled August 2003, from page 32 until and
including page 1493 (see 03/2-29)
5007 - Two pages with small corrections, assembled December 2003,
from page 19 until and including page 1470 (see 03/3-28); assembled
April 2004, from page 2 until and including page 1216 (see
04/1 DEMS 34
See DEMS 03/3-4 and 03/3-12
Again, pas de chance!! The Claude in the contributions to "What do
these titles..." is me, Carrière, and not
Bolling. Funny isn't it?
Both your contributions about Tiger Rag and "What do these
" came with the same email and went at the same time into
the file with articles in preparation. When you corrected
the first error (03/2-20/2), I did not realise that there was already
another error (03/3-12) waiting for publication. Both
errors will be corrected in the web versions of these two
Bulletins. My sincere apologies.
Errors corrected online. Peter MacHare, 24mar04.