12/1 April - July 2012
Our 34th Year of Publication


Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83


Arthaus 101703
Jazzhaus SWR Music
Duke Ellington and His Orchestra
Liederhalle Stuttgart, 6Mar67.

DEMS 12/1-38

Norbert Ruecker advised us to download the Newsletter of NAXOS of 14Nov11:
where a "fresh" CD was advertised.
This new release has been mentioned several times in the past months on the Duke-LYM list. But in order to have it firmly documented it seems appropriate to mention it again in DEMS Bulletin.
It contains from the Stuttgart 6Mar67 concert the following selections:

Take the "A" Train
Johnny Come Lately
* Swamp Goo
Mount Harissa
(as Knob Hill)
La Plus Belle Africaine
* Rue Bleue
* Chromatic Love Affair
The Shepherd
* Tootie for Cootie
* Blood Count
(as Freakish Lights)
The Biggest (and Busiest Intersection)
(as Kixx).

The selections marked with * were previously released on the LP Jazz Band Records EB 411,
see DEMS 90/1-5; 91/5-5; 94/2-9; 96/2-3; 03/1-27p470 and 03/2-28p470.

Candid (79557?)
Duke Ellington "Flying Home"

DEMS 12/1-39

This is the same as the CD Bandstand TKCB-30523, originally on the LP Aircheck #4. Blue Note Chicago, 30Jul and 13Aug52. See DEMS 92/2-4; 92/4-7 and 01/2-20.



Laurent Mignard and the Duke Orchestra
"Ellington French Touch"
Just Une Trace 88691952912

DEMS 12/1-40

Laurent Mignard was so kind to send me a copy of his latest CD, recorded on 27Dec11at the Auditorium Henri Dutilleux in Clamart in France. It concentrates on Duke's work related to France.
It is a bright idea to record work from Duke that was not been released previously but from which complete or unfinished scores were found at the Smithsonian Institution. From the 24 selections 15 are released for the first time.
Track 1 is a French composition by Jack Reardon and Sacha Distel La Belle Vie, recorded by Ellington for the Reprise album Ellington '66 under the title The Good Life.
Tracks 2, 3 and 4 contain three parts from the Goutelas Suite. Track 2 has the well known Goof. Track 3 and 4 have Gogo and Gigi. Gogo has the same theme as Amour, Amour from the Togo Brava Suite. It is much longer. Amour, Amour is not more than 2'15". Gogo is even 9'04". Gogo and Gigi were left unfinished. Laurent Mignard has made the effort to finish the job, so that we can finally hear them.
On tracks 5, 6, 7 and 8 we find music from the picture Paris Blues. Track 5 has the well-known theme of Paris Blues, but this time it is based on a combination of the LP and the film version.
Track 6 has Battle Royal, which is closer to what was in the film than what we have on the Ellingon/Basie album First Time.
Track 7 has Paris Blues Alternate Bed. Now in its entirety, while on screen it is submerged in dialogue and just hinted at.
Track 8 has Autumnal Suite. Duke recorded it on 2&3May61. See Correction-sheet 1103.
On tracks 9, 10, 12 and 13 are four French songs, which were included in Duke's Columbia album Midnight In Paris: Under Paris Skies; No Regrets; Comme Ci, Comme Ça and A Midnight In Paris.
On track 11 is Daily Double from the unfinished picture Racing World. Duke recorded it on 3Dec68. It was released on the Private Collection Volume 5 as part of the soundtrack.
Track 14 has The Old Circus Train as rehearsed and premièred in Antibes in Jul66.
On the remaining tracks (15 - 24) are the motifs of Turcaret as recorded by Duke on 29Dec60 and never (officially) released. DEMS has put them on a cassette (CA-3 in 1985) for the membership. Both in The New DESOR and on that cassette are only 9 parts. The Laurent Mignard CD has 10 tracks. The last one is titled Turcaret Final and it has the same theme as track 16, Turcaret court (0'16") and track 22, La Colère de Turcaret.
The first CD of the Duke Orchestra (DEMS 09/2-15) was a great surprise. It was almost unbelievable how exactly Laurent Mignard had succeeded in playing Duke's music as we were used to hear it. This CD is an even greater surprise. It does not play the music exactly as we know it by heart. This time Laurent Mignard has not only recorded several Ellington compositions, which are "fresh" to us, but has taken much more freedom in arranging the tunes that we know. The high quality of his arrangements as played by the impeccable musicians in his orchestra, together with the complete Dukish approach make this a very valuable addition to every Ellington collection.
Sjef Hoefsmit**