DUKE ELLINGTON MUSIC SOCIETY
01/3 December 2001-March 2002
FOUNDER: BENNY AASLAND
Voort 18b, Meerle, Belgium
Telephone: +32 3 315 75 83
WT: While going through my files, I came upon some open questions; maybe you can help.
Q1. Trombone Red and his Blue Six - 18Jun31. I believe it has been accepted that DE did not attend this ominous session. However, I read in the liner notes of Arcadia 2008 that Louis Metcalf and Otto Hardwick are believed to be in. If that were the case, the session would qualify for my sidemen section. The trombonist is believed to be Robert Freeman.
SH: Hans lrich Hill wrote in DEMS 83/3-7: We can only state now: Unknown personnel except Robert Freeman (tb), no Ellington musicians involved. Steven Lasker wrote in DEMS 98/3, (comments on Timner page 4): No way do I buy this as in any way associated with Ellington and Hardwick wasn't with the band in 1931!
WT: OK. Trombone Red is dead once and for all.
Q2. I am about to clear up the title jungle. What do the following abbreviations stand for?
a. R.T.M. (7Nov69)
b. WARR (4Apr67)
c. UGH (5Jan66, Mercer Ellington Group)
d. U.M.G. and P.M.G. (both aka Broad Stream) I assume that P.M.G. was a mistake and should be U.M.G. instead (or vice-versa).
e. T.A. (aka Blues in Blueprint)
SH: a. R.T.M. stands for Rufus, Turney, Malcolm.
b. WARR is the same as Traffic Jam or KIXX or The Biggest and Busiest Intersection.
c. the spelling of UGH can be found twice on Doctor Jazz. On the same release, the spelling is once UPH. This is the spelling as found on Mercer's listings accompanying the Danish collection. In the Danish files, the title is Mph. Mercer is mentioned as the composer on the cover of Doctor Jazz. Chick Corea wrote in DEMS 94/2-7: "The tune called Ugh is actually a song I wrote around that time properly titled Windows. It was recorded later by Stan Getz (Sweet Rain) and by Hubert Laws. I have no idea how the title became Ugh."
d. and e. I have no idea. Help wanted.
WT: Thanks for clearing up some of the abbreviations. Perhaps others will come around with more explanations.
Q3. The tune, which I have listed as Teak Forest, is listed in DESOR as Deep Forest. Who is right?
SH: I don't know. I know that Duke called it clearly Deep Forest at the premiere in Monterey on 18Sep70.
WT: I believe that Deep Forest is more likely the correct title. I have listened to the announcement again and I am pretty much convinced now.
Q4. I am waiting for the final word on the following MALB broadcasts (DEMS Bulletin 00/2-3): 3Jun44 and 17Dec44 (both with Jay Blackton Orch.) and 25Nov45 (with Dave Blackburn (?) Orch.) I assume that this should also be Jay Blackton. In the New DESOR as in my files the Medleys in the 17Dec44 and the 25Nov45 session are identical, which looks suspicious to me, although they have been used in different AFRS programs.
SH: See a survey of the MALB broadcasts on page 8.
Q5. 19Jan38 M729 Echoes of Harlem (rehearsal and two takes). I do not remember where I picked up that rehearsal thing. Do you know this item?
SH: The New DESOR has these rehearsals catalogued as Prob. Feb36 on page 27 under number 3603. Steven Lasker believes that these rehearsals were recorded in the same session as the released recordings of 19Jan38. Anyway, Jerry Valburn presented these recordings in Toronto on 16May87 at the Ellington Conference. One can distinctly hear Cootie Williams, Duke Ellington and Sonny Greer.
WT: I also believe that the rehearsal belongs to the session of 19Jan38. I was not certain if a recording exists.
Q6. Apr43, Hurricane. Nevada; Hayfoot, Strawfoot; I Can't Be Wrong; It's Been So Long; Perdido; Wait for Me Mary; Subtle Slough. In my book, the above session was listed as under Sep43 on page 56. Following your suggestion I filed it under Apr43 with the same titles. DESOR has it also under Apr43 but minus the last two titles. I do not have the recording any longer and cannot check myself.
SH: Neither can I. I only have on my tape 5 selections. The 6th and the 7th are only mentioned in Benny Aasland's WaxWorks entry 43-175y, but I have never been able to lay my hands on these two selections.
WT: I deleted the two titles Wait for Me Mary and Subtle Slough. Even if they were broadcast, it's no use listing them if no copy exists.
Q7. 24Aug43, Hurricane. Harlem Air Shaft. Approved by you but not in DESOR, or in its supplementary notes.
SH: It is not approved by me. It is only not commented on because there seems to be an acetate with a five title broadcast from the Hurricane on 24Aug43 in the Timme Rosenkrantz collection under number 2-7-A and B. The 4th selection is Harlem Air Shaft. I have never heard it, neither have our Italian friends, but it may exist.
WT: I left Harlem Air Shaft in for the time being, I had it on tape and have to look for it.
SH: Hope you find it and that you let me hear it.
Q8. 3May44, 400 Club. My Little Brown Book; Kissing Bug; Ring Dem Bells; I'm Beginning To See the Light; Candy; Teardrops in the Rain; Accentuate the Positive; Way Low. It was given to me as a MBS bc. I am suspicious, since the titles overlap with the session on 28Apr45, which is an ABC bc. The 3May date is not in DESOR. I tend to delete this session. I have no tape to validate it.
SH: The same tape was in the collection of the late Luigi Sanfilippo. It was indeed identified as being from 28Apr45.
WT: I deleted the session, since it is the same as on 28Apr45.
Q9. Jul45, Apollo Theatre (originally listed under 1948). Sophisticated Lady (piano solo); I Let a Song Go Out of My Heart (piano solo); Solitude; It Don't Mean a Thing; Take the "A" Train. You did not object in your comments, however, I found out in the meantime that this session took place in Jul45. I had the tape and I am pretty certain about the titles, however, due to its deterioration, I threw the tape out some time ago. Now I find the same event in DESOR, minus Sophisticated Lady. Can you confirm either version?
SH: If you want to know what I think, you should read DEMS Bulletin 00/3-24 (page 104). I guess that Giovanni and Luciano have deleted Sophisticated Lady because they think it is not played by Ellington. I hear two piano-players in Sophisticated Lady; I Let a Song Go Out of My Heart and in Solitude. I have the impression that the second piano-player is Steve Allen. I have strong doubts about the identification by our Italian friends. I question the vocalists and the trombone-player. I have no problem about putting this session later than mid Jan49. Al Sears may very well have performed in this Steve Allen Show without being in Duke's band at that moment. See Klaus Stratemann p.351: "The orchestra on Allen's shows invariably featured some good jazzmen. Some of these worked with Ellington ....."
WT: I have found the tape of Jul45, Apollo Theatre. Sophisticated Lady is played by DE and him only. There is no second piano player. The location is definitely the Apollo (ambience, noise level etc.) The MD is a disc jockey from a morning radio show (definitely not Steve Allen, whose shows I have watched regularly on TV). TJ and JN are still in the band, therefore the 1945 date should be correct. I do not have Take the "A" Train on my tape, which ends right after a rousing performance of It Don't Mean a Thing.
SH: please let me hear your tape! It seems to be different.
WT: I have sent you a copy of my tape. I have listened to it again. Sometimes it sounds like somebody else the unnamed disc jockey is at the piano, sometimes it sounds like Duke Ellington. The conversation leaves open, who is playing. At the beginning it's almost like the other person is playing and the Duke is listening, which is hard to believe. I can imagine that they were both playing at times. On the other hand .? Let me know what you think.
SH: Your tape and mine are identical. It did evidently not make me change my mind.
Q10. 16Aug46, Meadowbrook Gardens Caf. I have the same titles and sequence as DESOR with one exception: following Metronome All-Out I have Crosstown.
SH: Are you sure? I have also a title after Metronome All- Out but mine is Teardrops in the Rain. This was a repeat of the recording of the Magic Carpet broadcast MC-435, DESOR 4626c and should consequently not be catalogued again.
WT: You are right. This Crosstown sounds fishy here and I deleted it. It must have been planted there to complete a tape.
Q11. Mar49, private residence. DE piano solos. My entries were not picked-up in your comments; however, if you compare with DESOR there are some discrepancies.
SH: I have not commented because many of the fragments are too short to be properly identified. I came up in my own files with still another set of titles. I give you mine, but I am not claiming to be right.
DESOR Timner Hoefsmit I'm Afraid I'm Afraid I'm Afraid I'm Afraid I'm Afraid Lover Man Lover Man Fantazm She She Harlem Harlem Piano Interlude Lots O'Fingers Lot's O'Fingers Unidentified "H" Unidentified 1 Unknown Unidentified 2 Unknown Creole Rhapsody Creole Blues Creole Blues Creole Rhapsody Uno, Duo, Tre Uno, Duo, Tre Rockin' In Rhythm Kinda Dukish Kinda Dukish Piano Interlude Lady o/t Lav. Mist Lady o/t Lav. Mist Sentimental Journey Sentimental Journey The Mystery Song The Mystery Song Blues No. 01 C-Jam Blues C-Jam Blues B Sharp Boston B Sharp Boston
WT: When checking against my latest book draft I found that my findings were identical with yours. I will not make any changes here.
Q12. 18Jul - 19Nov50. Has the problem about the placement of the St. Louis Blues been solved in the meantime? My present listings are following my tapes: 18Jul50, Take the "A" Train; Rockin' in Rhythm; Everybody Does It; Take the "A" Train; Hello, Little Boy; Caravan; Take the "A" Train; Creole Love Call - The Jeep Is Jumpin' - Creole Love Call; On a Turquoise Cloud; Stomp, Look and Listen. 19Nov50, The World Is Waiting for the Sunrise; Oh! Lady Be Good; St. Louis Blues; Trumpet-no-End. The tapes originate from a reliable source and sound genuine. The title sequence seems logical. Stomp... and Trumpet... are the usual closing numbers.
SH: In your book the title is correct: Everybody's Doin' It. Since you have followed my suggestions as in my comments on page 18, your files are now in accordance with DESOR (and with mine).
WT: 18Jul - 19Nov50: problem solved.
Q13. 1Jan58, Blue Note (WBBM bc). I have an additional set of titles from this date (could be from the evening of 1Jan): Take the "A" Train; The Telecasters; Jump for Joy; Bond promo; Passion Flower; Newport Up; Bond promo; Duke's Place; My Heart, My Mind, My Everything.
SH: Thank you for the copy on cassette, which convinced me that this is a genuine "fresh" Ellington broadcast.
Q14. 17Nov58, Teatro dal Verme, Milano: Stompy Jones. Is this entry still valid? I have no tape. I can't find it in DESOR. Source of info unknown. I deleted it.
SH: See in the New DESOR corrections on page 25 of this Bulletin under Page 265.
Q15. 24Sep59, Boras Sweden. I have a tape of this concert as listed in my book as from Copenhagen (then I didn't yet know the location). It sounds original and has no similarities with other performances during this concert tour. It is not listed in DESOR.
SH: A Swedish concert on this date at Boraas (spelled like that) is confirmed in Duke's Itinerary. The info came from Benny Aasland. I did not comment on the 24Sep59 Copenhagen concert in your 4th edition, because I did so in my comments on the 3rd edition. You did not delete this concert as I suggested. I saw no reason to suggest it again. This is what I wrote on page 14 of my comments on your 3rd edition: "The 24Sep59 Copenhagen concert should be deleted. Listen to Erik Wiedemann's presentation in Washington, 29Apr89." Erik gave a full report of Duke's concerts in Denmark. There were only two concerts in 1959: 30Sep59 Copenhagen and 1oct59 rhus. The 24Sep59 fake is composed of selections from both concerts in Paris on 20Sep59. I mentioned in my comments on your 3rd edition the origin of each selection. This list was not correct. See for these Paris concerts page 12/2 of this Bulletin. Based on my recent findings I can tell you now that taken from the 1st concert are Take the "A" Train; The Mooche (after the first applause); Such Sweet Thunder; I Got It Bad; Skin Deep (first part) and from the second concert are taken: Black and Tan Fantasy, Creole Love Call, The Mooche (until first applause); Kinda Dukish & Rockin' in Rhythm; El Gato; Jeep's Blues; Things Ain't What They Used To Be; All of Me; Skin Deep (second half); Bill Bailey; Walkin' and Singin' the Blues; V.I.P.'s Boogie, Jam with Sam. The Medley and Diminuendo and Crescendo in Blue are taken from the 2nd concert of 26Sep59 in Stockholm. On your tape Satin Doll is missing in the Medley. This recording is released on the famous 5 LP box. I wonder why you have deleted four selections in the Medley in the 4th edition. They are mentioned in the 3rd edition and they are on the 24Sep59 Boras tape you have sent me. Your tape is from the same source as Andr Mahus' tape #22 (in the 1984 auction list). It does contain identical recordings, and these recordings show the same imperfections.**
WT: The correct spelling is Boras, I checked it. The four missing titles of the Medley fell through the cracks; I found the mistake a while ago and made the correction. However, all this is pointless, if the tape is a fake, which seems to be the case. **
Q16. 5-8Apr64, Chicago. Last title: Is it The Blues and the Drum or The Drum and the Blues?
SH: Duke wasn't sure himself. He said that Sam Woodyard did not return after the first set. Sam took advantage of the hospitality of Sesac. Sam launched Johnny Hodges Jr and wrote a number for him: "The Drums and the Blues or was it The Blues and the Drums?"
WT: I will not make any changes.
Q17. 26Jan68, Woolsey Hall, Yale University. Does a complete tape of the concert exist? If not, I should delete the titles not released on Fantasy.
SH: In the Smithsonian collection are several tapes: "Yale Concert, volume 2 in box 2. Yale Concert, reel 5, in box 10. (Yale) Woolsey Hall, reel 6, in box 10. Concert at Yale, reels 3 & 4, in box 20." In the Danish collection is on the date of 26Jan68: "Yale Concert, Woolsey Hall, New Haven, Conn." with the note: "Identical to record on Fantasy 9433/1973". I cannot believe that the Fantasy album contained the whole concert. (Neither can I believe that all the titles were recorded in concert. See my remarks on page 26 under Page 493.)
Go to the old Desor session 1142 which shows more titles than the New DESOR. Titles confirmed by Mercer's listing, accompanying the Danish collection are: Girdle Hurdle; La Plus Belle Africaine; It Don't Mean a Thing; Willow Weep for Me; Misty and from the Medley: Solitude and In a Sentimental Mood. In the Smithsonian Collection, reels 3 and 4 are Harlem; Boola, Boola; Warm Valley and It Don't Mean a Thing. Let's hope that one day some of the missing selections will pop up. The New DESOR has apparently given up hope. WT: I will not make any changes until I know for sure.
Q18. 3-4Apr69. I have split this session into two sessions and as you can see, there are still some discrepancies between my book and DESOR.
SH: I believe that it was one session. I believe that when it was midnight the band played Happy Birthday for Buster Cooper (only once and not four times as claimed by Ole Nielsen). The fresh track numbers starting with I Love My Lovin' Lover can be due to a restart after dinner. Massagli and Volonté have described what they heard when they listened to the tapes of the Danish collection. I would rely on the results of their research. The numbers they give you are track numbers as heard on the tape. They decided to drop bits and pieces shorter than 4 bars together with the eventually preceding take- or track-numbers.
WT: I will follow your advice.
Q19. 18Apr69, National Recording Studios. This session cannot be found in the New DESOR.
SH: You have found this session in Nielsen. It is a dubbing session under Duke's supervision. Be Cool and Groovy for Me is made of a pre-recorded instrumental version with the voice of Shirley Witherspoon or Tony Watkins dubbed in. Exactly the same instrumental version has been dubbed in earlier on 4Dec68 with the voice of Trish Turner and later with the voices of Trish Turner and Tony Watkins on 14Jul69 and with Tony Watkins alone on 18Sep69. The instrumental pre-recording for You Don't Love Me No More is track -22 from the session of 3 (or 4) Apr69, which was recorded without vocal. The description in DESOR of 6910u is from the result of the dubbing session. DESOR decided to drop the whole dubbing session. The same was done with the dubbing sessions by Rosemary Clooney on 8 & 11Feb56 (see page 23).
WT: I will delete this "session" altogether. Thanks for your kind help.
SH: You are always most welcome.
Volume 1 (Corrections December 2001)
84 - Session 4420. 4420i - delete: unissued; add: MJ MJCD-1141 (01/3-17/3)
146 - Make a note for a dance date on 3Jun47 in Manchester, NH. Correction-sheet 1029. (01/3-13/2)
166 - Session 5007. Delete: Ernst Merck Halle; add: Musikhalle. Delete: June 10, 1950; add: May 29, 1950. (97/3-18/2; 01/1-11; 01/2-21/1 and 01/3-10/1)
179 - Session 5201. Delete: 5201m Fancy Dan unissued. Add instead 5201xa Do Nothin' till You Hear from Me and 5201xb Once There Lived a Fool. Both unissued. Correction-sheet 1030. (01/2-29)
213 - Delete session 5518. (01/2-29)
215/216 - Sessions 5603/5604: Delete from NOTE: a later date; add: Radio Recorders, Hollywood, on 8 and 11 February 1956. (01/2-29 and 01/3-23)
218 - The six selections from the deleted session 5518 belong at the beginning of session 5612. Correction-sheet 1031. (01/2-29)
245 or 246 - Make a note for a CBS broadcast from the Blue Note in Chicago on 1Jan58. Correction-sheet 1030. (01/3-21/Q13)
350 - Session 6362. 6362m - delete: unissued; add: Ct JP-14502 (01/2-29)
551 - Make a note for a concert on 17Nov69 in Lyon, France. Correction-sheet 1029. (01/3-26)
Volume 2 (Corrections December 2001)
752 - Black and Tan Fantasy: change 5518a into 5612xa.
801 - Clarinet Melodrama: change 5518c into 5612xc.
861 - Emancipation Celebration. 4302i add: ,but 12 RS-JN. (01/3-17/4-16)
865 - Fancy Dan. Delete 5201m. (01/2-29)
892 - Harlem Air-Shaft: change 5518d into 5612xd.
1071 - Perdido. 6509v add: and JHa(t.s.) instead of PG. (01/2-30)
1142 - Sophisticated Lady: change 5518e into 5612xe.
1158 - Stompin' at the Savoy: change 5518b into 5612xb.
1228 - Theme for Trambeam: change 5518f into 5612xf.
1440 - Armstrong, Louis. Delete: Jul 4, 1900; add: Aug 4, 1901. (01/2-30 and 01/3-27)
Sessions 1029 5709 NYC......................7Mar57 01/1-28 9010 USA......................prob.41 00/2-21 9021 Lyon, France.............17Nov69 01/3-26 9023 Manchester, NH............3Jun47 01/3-13/2 1030 5201 NYC.......................5Jan52 01/2-29 9024 Chicago...................1Jan58 01/2-21/Q13 1031 5612 Ann Arbor, MI.............2Jul56 01/2-29 Discs 3011 4506.................AFRS Jubilee-117 4707/4594........AFRS Melody Hour-192 4509.........AFRS One Night Stand-854 Rex Stewart.....Musica Jazz MJCD-1140 01/3-17/4 4420............Musica Jazz MJCD-1141 01/3-17/3 3010/3016............MEDIA 7 MJCD-173 00/4-18/1 3012 3014/3101............MEDIA 7 MJCD-174 01/2-25/1 Correction-sheet 3012 is not yet available.
Page 5. Session 2806. Tishomingo Blues, E-27772-B is discovered on Canadian Brunswick 3987. See DEMS 00/3-13/4. Steven Lasker
Pages 56, 57 and 1206. 4110e and 4113e. Change GALOP into GALLOP. My HMV 78 rpm has the correct spelling with double L. Sjef Hoefsmit
Page 69. Session 4312. The following broadcast was transferred from glass acetates (now at the Library of Congress):
Around My Heart
Ogeechee River Lullaby
I acquired these from the pianist Dick Katz. The fact is that the broadcast took place on 28May43 and not on 28Apr43 as shown in the New DESOR. So the solo sequence as shown in Volume Two is not Rex Stewart and Lawrence Brown but Taft Jordan and Sandy Williams. Most interesting is the arrangement of Perdido, which is not heard again until 1945 on the Treasury Broadcast from Detroit-Paradise Theatre (19May45). Jerry Valburn
The date of 28May43 was first mentioned in your list of New Discoveries in DEMS Bulletin 85/3-4. On 16May87 you played these three selections for us at the Ellington Conference in Toronto. You gave as date 28Apr43. I passed this on to our Italian friends. That is the reason that the wrong correction was made. I agree with the date being the end of May. Rex Stewart is not heard in Perdido. I believe however that Lawrence Brown was still in the band on 28 and 30May43. I know that Klaus Stratemann (p.242) tells us that Lawrence left at the same time as Rex Stewart at the end of May, but I think I heard him in Way Low and Around My Heart from 28May and in Don't Get Around Much Anymore from 30May43. Sjef Hoefsmit
Page 70 or correction-sheet 1011. Session 4319.
Hayfoot, Strawfoot 4319xc. From correction-sheet 1011 and various DEMS infos (99/3-20; 99/4-6 and 00/1-13) we learned that this recording was used for the Fitch Band Wagon broadcast (30May43) and for the Jubilee Show #69. We can add that the very same item was also used in Jubilee Show #49, dubbed/assembled 2Nov43 as a kind of anniversary program with this sole Ellington title and including contributions by Armstrong, Lunceford, Basie a.o.Jean Portier
After the station-speaker's intro over One O'Clock Jump, mentioning that this is the 1st anniversary of the pgm, we hear Bubbles Whitman also talk about this 1st anniversary and finishing his presentation with "... proceed Duke". Then we clearly hear Hayfoot, Strawfoot 4319xc running 1:47.
The INTRO, preceding this 4319xc is different from the other tapes I have.
The #49 assembling date of 2Nov43 may cause discussion. The Jubilee pgms started in Oct42, I think. Dick Sears gave the assembling date as 11Feb43 (DEMS 85/2-5), but this is only 16 weeks later; an anniversary generally is celebrated 52 weeks later. "11/2/43" can also read 2Nov43 and this means approximately one year after the first Jubilee show. This date is confirmed by Lotz and Neuert and fits with the inclusion of a 30May43 recording. Klaus Götting
Page 80. Session 4364, 11Dec43. Juan Tizol is not out. Listen to the recording. Duke says between Moon Mist and Tea for Two: "Juan Tizol is here tonight but as he is not feeling well, he will not take any solo responsibilities". Carl Hällström**
Page 87. I have sent you a very poor copy of a tape only identified as "pre-broadcast 24Aug44". I think that this is not found in the New DESOR. Luis Contijoch
Your poor tape of 24Aug44 contains the following selections. 1 and 2 were issued on the LP Temple M-554. 3 is unissued.
1. Sophisticated Lady from 5Sep43, 4346a;
2. Black and Tan Blues and Whispering Grass, both without Ellington, not in DESOR but in Timner (4th ed. p.464) with Barney Bigard and Johnny Hodges, probably 1942;
3. Medley: Sophisticated Lady, Solitude, I Let a Song Go Out of My Heart, from 25Mar45, 4509u. Ellington played this Medley on the piano before the start of an ABC broadcast. When it was time to go on air the announcer said: "We are more sorry than you are. That's all for now. Here we go on the air." Sjef Hoefsmit
Page 87. Session 4435, 1Dec44. The first issue of Don't You Know I Care? take -2 is most probably indeed Victor 20-1618, as confirmed by Orrin Keepnews in his album notes for the Centennial Edition (p.70) and as noted in the Victor files (see DEMS 98/4-4). On the other hand Keepnews and DESOR are wrong about take -1. The first issue of take -1 is RCA Victor EPAT-435 (EP).
To resume, after listening to my records:
-1 RCA-Victor EPAT-435 (US/CA) EP 1st isssue HMV 7EG8158 EP Reader's Digest RDA-184-2 LP (my copy was used by RCA France for LP FXM1-7302) RCA FXM1-7302 (track 3) LP Bluebird 6641-1-RB LP RCA-Victor 63386-2 (track 4) CD -2 Victor 20-1618 78 1st isssue RCA FMX1-7302 (track 4) LP RCA-Victor 63386-2 (track 5) CD
I have not been able to check RCA(J) RA-41 (LP) and Bluebird 6641-2-RB (CD). Georges Debroe
I checked Bluebird 6641-2-RB. It has take -1 and not take -2 as was claimed in the liner-notes and stated in DEMS 99/3-12. Sjef Hoefsmit
Page 89 or later. See DEMS 01/2-29, about a probably "fresh" Carnation Contented Hour broadcast with Duke.
In my radio log I have an entry: 18Mar46, Carnation "Contented Hour" Duke Ellington. No specifics regarding content. Could that be the one you are looking for? The titles you mentioned suggest that maybe Duke did not bring his entire band? Willie Timner
He certainly did not bring his band. It sounds very much to be Percy Faith and his orchestra. The date could fit. A correction could be made on page 128. Sjef Hoefsmit
Page 180. Mood Indigo 5204o and 5205t.
Hi Sjef, thank you for the kind reply to my questions.
But, are you quite sure that Mood Indigo on the Folkways double LP 2968 dates from Mar52 which means DESOR session 5204o which is unissued.
What about 22Mar52, session 5205t issued on Sunburst 501, like other tracks on the Folkways LPs? Jens Frese**
No I am not sure, but I believe to have a case here.
I have a tape in my collection with all the selections from the session 504 in the old Desor in the same sequence. Only Mood Indigo is missing on this tape. This session became 5204 in the New DESOR. Benny Aasland has sent me in 1982 a tape with the missing Mood Indigo from this session. It starts with Ellington announcing an intermission, followed by a long introduction to Mood Indigo, apparently because the band was not yet ready after the intermission. After this long introduction came a complete performance of Mood Indigo preceded by a short piano introduction. The structure is the same as described for 5205t, which means Russell Procope, Willie Cook and Duke are doing two choruses each between chorus 1 and chorus 8 . After this number we hear the first few bars of Caravan.
On Sunburst 501 is exactly the same without Duke's announcement of the intermission, without the first few bars of Caravan and with a much shorter delay between the first (long) and the second (short) intro to Mood Indigo.
On Folkways is the same Mood Indigo as on Sunburst without the first (long) intro.
I have another tape with selections from the old session Desor 505, which became (in a slightly different sequence of titles) the New DESOR 5205. Mood Indigo on my tape is not complete at the start, it comes after Tenderly, like it was in the old Desor. This Mood Indigo has also the same structure as described for 5205t, but comparison of both versions of Mood Indigo (504 and 505) reveals that they are not iden- tical. The most evident difference is the fact that my 505x has Ellington mentioning the names of Russell Procope and Willie Cook at the beginning of their solo's. This is not the case with 504o. Still the only description in the New DESOR that fits with what we hear is 5205t. A copy of this unissued recording is at the start of DEMS cassette Azure CA-29, see page 2.
My conclusion is that the description of 5204o (=504o) is wrong and that Folkways and Sunburst have the same recording, which belongs to 5204.
When I checked the opening bars of Caravan on Folkways to find out if it could be the same as what I have on Benny Aasland's tape after Mood Indigo, I found that it is different. On Folkways is a spoken introduction by Duke, mentioning Juan Tizol and the structure is as described on page 785 for 5205k. On Skata 502 is the structure as described for 5204p. That means that I have to correct my statement in my recent message to you, that Folkways has Caravan from Mar52 (5204). That is wrong. Folkways has 5205k, following Deep Purple.
I suggest the following corrections in the New DESOR: Mood Indigo, 5205t, is unissued; 5204o is issued on Sunburst 501 (and on Folkways). It should be preceded by another Mood Indigo, only issued on Sunburst. Caravan, 5205k, is issued on Folkways. Sjef Hoefsmit**
Pages 215 and 216. Session 5603. Mood Indigo is only 6:28 on my CD. This must be an abridged version, since the recording sheet indicates 7:46. See page 23 of this Bulletin. Sjef Hoefsmit
Page 218. Session 5610, Basin Street, NYC, Apr56. I'm checking all my tapes with the New DESOR and I find some tracks missing: Session 5610 Monitor bc, not NBC. Add twice Take the A Train (Intro & close). Luis Contijoch
Many of us tape collectors have from this occasion the NBC broadcast with only two incomplete selections: The "E and D" Blues (Ellington called it for the occasion Saturday Night at Basin Street) and The Mooche. The only Saturday during the engagement (10-15Apr56) was 14Apr56, which is why I believe that this is the date of the broadcast. There was another broadcast the same day, but that one (DESOR 5609) came through CBS.
It is clear now that the 5610 broadcast was relayed over two different radio stations, NBC and Monitor. The tape Luis has sent to DEMS contains twice Take the "A" Train (as intro and closing theme) and the complete versions of The "E and D" Blues and The Mooche. Our incomplete NBC tape starts at the end of the 4° chorus of The "E and D" Blues with this announcement ".....Ellington from Basin Street in New York". This announcement is not on Luis' Monitor tape! Our tape ends at the start of chorus 4° of The Mooche. Luis has on his tape the solo by Quentin Jackson in choruses 4°/5° and the rest as is described for 5221b with Cat Anderson playing Ray Nance's part. Ray Nance and Willie Cook were replaced by Nelson Williams and by Jesse Drakes (says Klaus Stratemann p.363). The New DESOR has Jesse Drakes from March until 9Apr56 and starting with the Basin Street engagement until 21Apr56 Phil "Edmond" Barboza, see New DESOR sessions 5609 and 5610 and DEMS Bulletin 93/2-6. There have been plans in the past to release the NBC broadcast, see DEMS 93/1-8. But these plans never came to fruition. Only one CD came out, Jazz Unlimited 2036, with the 20 and 24Nov52 broadcasts from Birdland, see DEMS 94/3-3. Sjef Hoefsmit
Page 265. In the old Desor was a session 716, between 8Nov and 16Nov58 as Z rich 1958. It had three titles: Rockin' in Rhythm; Jeep's Blues and Stompy Jones. I have this three titled session in my collection with the claim that it is Zrich, 17Nov58. The date and the location do not fit. Duke was at the Teatro Dal Verme in Milano on that date. The first and second selection were found to be identical with the selections in the 16Nov58 Basel concert. But there was no Stompy Jones on my tape of Basel to compare the third title with. I have compared the recording with all the selections which have more or less the same structure: 5606c, 5809j, 5840g, 5843s, 5851r, 5855n and 5856w. None of them did fit. You have the same tape (old Desor 716) and you made a detailed description in the old Desor. What happened to this selection? If you cannot assign it to a specific date, it still should be included somewhere in 1958. I have put it in the 16Nov58 session, together with the first and second title. What have you done? Sjef Hoefsmit
Page 275. Session 5922, Tamiment 27Jun59.
Can you please investigate the following short questions?
- is Taniment-in-the-Pocomos the correct spelling of the location?
- did Duke play two concerts this evening?
According to DEMS 99/4-19 there was a first concert premiering "Idiom '59", then followed by a second show, which we know as session 5922.
- wasn't Monologue also played/performed during this second show?
Monologue is not mentioned in any discography but it is present on my tape, just before (and leading with perfect continuity into the following) SkinDeep, 5922r.
My copy comes from the NN-10 Tape, once offered for purchase with DEMS-Bulletin 82/5 and on that list Monologue is mentioned. Klaus Götting**
I only know that the name of the village is spelled Tamiment PA and that the venue where the band played was called Tamiment in the Pines. Source is Duke's Itinerary. Another source tells me that this concert was part of the Tamiment-In-The-Poconos Jazz Festival at Tamiment Playhouse.
The message in DEMS about a second concert on the same date of 27Jun59 is probably not correct. In Irving Townsend's liner-notes for the "Festival Session" album, we read: "He began [his most active summer season] with a two-day jazz festival at Tamiment, a resort in Pennsylvania, where, in June, he and his merry band assembled for two concerts, .... It was here that Duke introduced his first festival composition of the season, 'Idiom '59'. Following his debut in the Poconos, Duke arrived in Newport, ...."
Duke's Itinerary indicates two dates for this festival, 27 and 28Jun59. It seems more likely that there was only one concert each evening and that Duke premiered "Idiom '59"on the 28th.
I have also Monologue on my tape. The only confirmation I found is in Joe Igo's files. I second your motion that it should be included in the New DESOR. Sjef Hoefsmit**
Page 282. Session 5934, ZÜrich 9oct59. What is wrong with the opening Take the "A" Train 5934a on my tapes? The New DESOR has on page 1188 the following structure:1°/2° BAND;3°(nc)30BAND. On my two video-copies (KayJazz137 and another clearly from the German-speaking TV-station) I have a very natural 1°(nc)30BAND (approximately 0:42), fitting perfectly with the screen .... and on my audio-tape (originally said to be from Basel Sep59) I identify 1°BAND;2°(nc)30BAND (approximately 1:15).
The audio-tape is interesting for two reasons:
a) the music is heard as back-ground behind the last part of an interview by a German-speaking journalist and it is difficult to distinguish whether the music we hear really is the beginning of Take the "A" Train or already the second chorus of what DESOR describes;
b) ever heard of this %0:51 interview led by an unknown, but obviously Swiss, interviewer?
Duke mentions the German award he won in 1957 for the music score for the film "Jonas" and looks forward to more writing in the style of what he did for "Anatomy of a Murder".
The interviewer then wishes him all the best for his stay in Switzerland and Duke finishes saying: ". and tell all your lovely listeners that .... ich liebe dich . madly"
The last part of the interview is overlapping with the opening of Take the "A" Train and perhaps not with the very beginning of the number. This sounds as if the orchestra is repeating the intro as Duke is late to show up and as if Duke was late because he accepted to answer a few questions, backstage, just before he enters the stage.
Possibly this is just the impression editing wanted to give .... but something seems wrong here. Anyone has an opinion on the matter ? Klaus Götting**
There is a complete version of the opening Take the "A" Train on another audio tape. On that same tape you will find Newport Up after The Mooche and you will find Passion Flower followed by Things Ain't What They Used To Be and Happy Reunion after El Gato. These four selections are missing on your so called Basel tape as well as on the video recording. I agree with you that the interview should be included in the New DESOR. Sjef Hoefsmit**
Pages 398 and 483. 3Mar65, the correct first name of Whiston is Henry and not Harry. For many years he was Down Beat's Montreal correspondent and he signed his articles with Henry F. Whiston. Olaf Syman**
Henry also conducted the interview with Ellington on 17Aug67, when Duke was eating while he was telling about "The Jaywalker" and about the Canadian album "North of the Border". Sjef Hoefsmit**
Page 493. In the old Desor were two different sessions. One on 26Jan68 (1142) with an almost completely unissued Yale concert and one on Feb68 (1146) with a studio session with almost all the selections released on the Fantasy album. In the New DESOR is only one session on 26Feb68 (6810) indicating that the album contains only recordings made during the actual concert at Yale's Woolsey Hall.
I am well aware of Jerry Valburn's statement at the Ellington Conference in New York (12Aug93): "the real concert has been issued and no studio recordings do exist."
I am sorry. I cannot buy it. If I listen to the album I cannot believe that everything I hear was recorded on the same occasion. I cannot believe that these students kept quiet at moments when every other audience applauded during the performances. Furthermore, the editing is not impeccable. In some instances it is clear that the music and the sound made by the audience originate from different sources.
Mercer's listing, which came with the donation to the Danish Radio, has 5 additional titles, plus a two selection Medley. These titles are not found in the Danish Arkiv. In the Smithsonian Collection on reels #3 and #4 are two additional titles, Harlem and It Don't Mean a Thing. Maybe we will live long enough to hear the genuine concert.
See also my answer on Timner's question Q17 on page 22 of this Bulletin. Sjef Hoefsmit
Page 551. LYON (France) 17Nov69.
No attention has been paid until now to this concert date. There exists however an audio segment of approximately 30 min. of fine quality: Black Butterfly, I Got It Bad, Drag, Fife, Perdido and the final Meditation.
We can easily imagine most of the other titles played during this concert, but have they survived in any collection? Duke's piano is very much in evidence, as for instance with a complete intro-chorus to Perdido (rare during these last years). Claude Carriére
What a pleasure to see another "fresh" recording popping up. The concert in Lyon at the Th&eactue;atre de la Cit on 17Nov69 is confirmed in the Duke Ellington Itinerary. The source of this confirmation is the Willie Cook Itinerary. One would expect Willie Cook to be in the band at this session. But that is not so. He came back on 2Dec69 after the band returned from Europe. His Itinerary runs however from 29oct until 22Nov69. What a pity that we cannot ask him how he came to include these dates. DEMS
Pages 555 and 556. I Got It Bad part of Medleys 6970p and 6972i, 29 and 30Nov69.
The DESOR descriptions on page 915 are correct. Tony Watkins cannot be heard on these performances and his name should be deleted from pages 555 and 556. Klaus Götting
Page 633. Session 7171, 7Nov71, Copenhagen, 1st concert.
If one wants to be absolutely accurate one should indicate that Paul Gonsalves arrived on stage after the opening C-Jam Blues. (See video recording) Sjef Hoefsmit
Page 652. Session 7215, 21Feb72, Portland, 2nd set.
Add after the last title (Goof 7215f): Kinda Dukish & Rockin' in Rhythm; Addi; Diminuendo in Blue & Wailing Interval; 4:30 Blues; Take the "A" Train; Togo Brava (four movements); Satin Doll; In Duplicate.
Timner (4th Edition) has the correct sequence for this set.
I've again carefully listened to this tape and the sequence is without interruptions. The audience and the sound are the same so I'm sure that we have fresh titles here. Luis Contijoch
You mentioned the second set of 21Feb72 earlier in Bulletin 84/4-12. I only have in my collection the six selections as mentioned in DESOR. I will make a copy of your tape and send it to Italy. I am convinced that it belongs at the end of session 7215 and I expect that our Italian friends will accept it and include it in the New DESOR. I would call the last selection In Triplicate since I hear Paul Gonsalves, Harold Ashby and Norris Turney. I hope that one day, modern technology will make it possible to "repair" the marvellous rendition of "Togo Brava" from 21Feb72 on your tape. The sound quality is poor but the music is gorgeous and much better than in the studio sessions of 28 and 29Jun71. Sjef Hoefsmit
Page 784. Caravan. According to the list in MIMM Caravan was written by Ellington and Tizol together and Irving Mills is credited as lyricists (p.496) but in the New DESOR he is credited as a co-composer. I don't know if Mills ever wrote a single note and he is certainly not mentioned as a co-composer by Ellington, who credits only Tizol (p.87). Jørgen Mathiasen**
Page 1190. Take the "A" Train Grona Lund 6Jun63, 6349a. Description should read 1°BAND;cod6BAND. Comparison with another tape revealed that two bars are repeated. This is caused by a join. Sjef Hoefsmit
Page 1213. The Mooche Fargo 7Nov40, 4034b. Ray Nance or Rex Stewart playing during chorus 1°? Sjef Hoefsmit asked in DEMS 00/3-25: "any reason for a correction?"
Andrew Homzy (liner-notes for VJC double CD), the New DESOR and Eddie Lambert (liner-notes for the TAX double CD 3720/3721) credit Ray Nance.
Eddie Lambert (liner-notes for Jazz Society double LP 520/521 and in his "Listener's Guide" p.98) and David Fleming (DESUK's Newsletter 7/2-21) on the other hand say that we hear Rex Stewart and I firmly believe that they are right. Also to my ears the first chorus of The Mooche is played by BB-HC(cl.)-OH(cl.)&RS; (not RN!) Any precise info or other opinion popped up in the meantime? Jean Portier
Pages 1213 and 1267. The description of The Mooche 7Nov40 4034b is correct. I quote from a letter dated 21Dec75 from Jack Towers about my Jazz Society double LP release of the Fargo concert:
"Eddie Lambert's notes are really terrific. He has a couple of errors: Nance opens up The Mooche . And the trumpet on Warm Valley is certainly Wallace Jones." Jack was present at Fargo (recording the concert) and he should know!
If you agree with him, you should correct the description of Warm Valley 4034l on page 1267.
The Jazz Society 2-LP-set was released in Dec75, the TAX CDs were released in 1989 (see DEMS 89/3-6).
I did "the correcting" of Eddie's sleeve note for the CDs regarding the trumpet soloist in The Mooche based on Jack's letter to me in December 1975. Eddie died on 12Mar87.
I never "consulted" Eddie regarding this I just did it without his approval!
If Eddie's "Listener s Guide" shows Rex Stewart as the trumpet soloist in The Mooche it proves that Eddie always believed the soloist to be Rex!
I don't recall that I ever mentioned Jack's note to Eddie! Carl Hällström
I went over to Jack's one day while I was writing the Fargo liner notes and we went over those solos, in particular The Mooche. At that time, he agreed it might be Stewart or at the least it was inconclusive. As I recall he had no real memory of it because he was so busy making the discs.
I credit Rex Stewart in my liner-notes. Annie Kuebler
Page 1268. Way Low 28Apr or May43, 4312a. Chauncey Haughton cannot have been the clarinet soloist. He left on 10Apr43. It could have been Oett Mallard if the date was 28Apr43, but since we know that the date was 28May43 (see suggested correction for Page 69 in this column on page 24) the soloist must have been either Jimmy Hamilton or Nat Jones. Sjef Hoefsmit
Page 1282. Your Love Has Faded 16oct39, 3921c. The trumpet playing on this version of Your Love Has Faded is clearly by Cootie Williams and not Rex Stewart, as shown in all discos, except the1954 "WaxWorks Of Duke Ellington" by Benny Aasland, who credited Cootie!
For comparison, please listen to Black Butterfly 15Feb40, 4004a. Cootie is the soloist and you'll recognize the same sonority, phrasing, the same soft and restrained way of playing (not really usual with Cootie). Claude Carrire/Jean Portier
Page 1440. (See also 01/2-30). Interestingly, Louis Armstrong insisted that his birthday was July 4, 1900, but his birth certificate, uncovered several years after his death, indicated he was actually born on August 4, 1901. Bill Saxonis
Page 1459. I read in the Daily Express of 10oct01 that Betty Farmer died on the 11th of September. She worked in the North Tower of the World Trade Center on the 105th floor in the third week of her new job. Her appearance on stage in the Carnegie Hall with the Duke Ellington orchestra was mentioned in the article. Peter Caswell**
And is confirmed on CA-29, see page 2. DEMS**
Page 1502. I am well aware of the discussion that took place over the spelling of Whetsol. In the absence of any proof one has to come down in favour of one or the other when using poor Arthur's name. I'm simply using the most convenient until all the literature is corrected and re-published.
Whetsol would be bemused to know that anyone remembered him in 2001. He'd no doubt be sad to learn further that they were discussing the spelling of his name rather than his music, particularly since his real name was Arthur Parker Schiefe (see Grove). Steve Voce
"Schiefe" was the surname either of Arthur Whetsol's father or stepfather. He was sometimes called the nickname "Chief." (this is note 2 from Mark Tucker in "Jazz from the Beginning" on page 47) DEMS
Page 1503. (See also 01/2-30). The birthday of Cootie Williams is certainly 24Jul1911. This is the date that I saw in his passport. Luciano Massagli**
In DESOR small corrections 5004 on page 01/2-30:
ad 67 - delete (01/2-X); add (01/3-17/4)
ad 116 - delete (01/2-X); add (01/3-17/4)
ad 370 - delete 01/2-X/p.370; add 01/2-29
NOTE: These typing errors have been corrected in past online issues - Peter MacHare (jun 2003).