DEMS BULLETIN
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
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THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY 04/1 April-July 2004 FOUNDER: BENNY AASLAND |
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Email: dems@skynet.be
Wish You Are … or Wish You Were …
04/1 DEMS 10
See DEMS 03/3-28/1
I was going through DEMS looking for any other reference to
Wish You Were Waiting for Me. I found a remark from
your hand in 02/2-26 (p91 and 1278). I find that I have
virtually paraphrased your suggestion in 03/1-27 (p91 and 1278).
Anita O'Day recorded the song Wish You Were Waiting For Me
(Nov44) See Jasmine JASCD 367 - "First Lady of Swing with Stan Kenton
and His Orchestra".
I agree with you. The announcer made a mistake on 30Nov44
with his title Wish You Are Waiting for Me.
Lance Travis
What do these titles mean?
04/1 DEMS 11
See DEMS 03/3-12
As Eric Townley's literary executor and the owner of his
copyrights, I don't have the smallest objection to the use made of
the Tell Your Story volumes in the new DEMS Bulletin. I am
sure Eric would have had no objection either. These
extracts are well within the concept of "fair
dealing". However, I would be grateful if you would tell
DEMS members that Tell Your Story No. 2 is NOT out of
print. I have plenty of copies and if anyone wants one,
they have only to contact me. Volume 1 is out of print.
Howard Rye; howard@coppermill.demon.co.uk; 20 Coppermill Lane,
London, E17 7HB. Tel/FAX: +44 20 8521 1098.
Thank you for including some of my attempts at "What do these
titles mean?" These gave me a lot of fun. A couple of
additional comments:
28. Kickapoo Joy Juice
Lars-Erik Nygren mentions Bugaboos and Kickapoos as Indian tribes
"coined by Edgar Allan Poe in his satiric tale The Man That Was Used
Up." In my submission on this one I confirmed that Webster had such a
definition for Kickapoos, but it remains silent as regards Bugaboos,
so the expression "coined by" is probably very apt.
You may remember that a similar word crops up in the lyrics of
Kissing Bug. I believe this refers to the trade
name of an insect repellent, and was probably
Bug-a-Boo. More trivia!
50. The B.O. of Traffic
Frank Dutton thinks that my suggestion of "Body Odor" from the
Lifebuoy toilet soap advertisements is implausible because that
campaign probably began back in the 1930s. I don't doubt
that it did, but to my knowledge it continued into the 1950s by way
of radio commercials or comic-strip style ads in newspapers and
magazines. It was probably finally killed off by
commercial television. I quote again from my 1966
Webster's. "2. (Informal) body odor." The expression
"B.O." is ingrained into the collective memory of American and
English people. I have no doubt that Duke would have
remembered it when he recorded this title in 1967.
Graham Peacock
What about the asterisks after an author's name?
04/1 DEMS 12
Perhaps in the next Bulletin you could remind us what the
asterisks after our initials mean?
What is by the way the DEMS protocol as far as English or American
spelling is concerned?
Graham Peacock**
The asterisks are only temporary. They indicate
that the text has not yet been checked by Roger Boyes, who
proof-reads the Bulletin. If a contribution arrives too
late for inspection, I leave the asterisks
there. I choose this sign because it is unique and
easy to trace by a computer.
Roger and I decided that if we are free, we prefer the English
spelling, but if the author is American or if it concerns a quote, we
do not change the spelling.
DEMS**
A [Blue] Rose by any other Name …
04/1 DEMS 13
See DEMS 03/3-7
With reference to section 19, published sheet music cites the
following titles: Dusk on the Desert, The Jeep Is
Jumpin', Boys from Harlem and Something to Live For.
Two lines in section 24 should be corrected to read:
Fatstuff Serenade (rather than "Fat Stuff" Serenade)
and Ridin' on a Blue Note (rather than Riding on a Blue
Note).
Steven Lasker
When did Hodges lay down his soprano sax?
04/1 DEMS 14
See DEMS 03/3-20/2
Sjef Hoefsmit cites "after 2Nov40." While this is the date of the
last known recording of Hodges playing soprano, he also played it in
1941 during the run of "Jump for Joy." George T. Simon's review of
that show for "Metronome" (Oct41, p20) notes that "Hodges came
through with some marvellous soprano saxing" on Shh! He's on the
Beat! (Simon's review is reprinted, without attribution, in Ken
Vail's "Duke's Diary Part One" on page 202.)
Steven Lasker
Eastwood Gardens in Detroit
04/1 DEMS 15
See DEMS 02/2-11/2 and 03/2-9/2
Recent research done by Ken Steiner shows Ko-Ko as
first title on the 29Jul40 broadcast and
At a Dixie Roadside Diner as the second
title. Since Ko-Ko on Jazz Supreme 705 and
Orchids for Remembrance are linked on the acetate,
they cannot be part of the 29Jul broadcast!
The files show us the following titles (those of existing recordings
are in bold):
Monday 29Jul40, 12:30 AM - 12:57 AM, NBC Red network
East St. Louis Toodle-Oo; Ko-Ko;
At a Dixie Roadside Diner;
Harlem Airshaft; I Don´t Mind;
Me and You; Jack the Bear;
Concerto for Cootie.
Cleared but not preformed: My Greatest Mistake;
Date with a Memory.
Wednesday 31Jul40, 12:30 AM - 12:57 AM, NBC Red network
East St. Louis Toodle-Oo;
The Sergeant Was Shy;
You Think of Everything; Boy Meets Horn;
I´m Checking Out-Goom Bye; Never No Lament;
Rumpus in Richmond; Orchids for Remembrance;
Rose of the Rio Grande; Warm Valley
(nc).
Cleared but not preformed: Blue Goose; Tuxedo Junction;
Sophisticated Lady; I´ll Never Smile Again;
Pussy Willow.
These are the two NETWORK broadcasts done from Eastwood
Gardens from this gig. LOCAL broadcasts over WWJ were
preformed every night. The night it rained - 30Jul? -
could be the date for the linked Ko-Ko and
Orchids for Remebrance, but I will not speculate and
thus show the date as "Jul40".
Carl Hällström**
This is the announcement of Orchids of Remembrance: "In our
introduction we announced this as music from under the
stars. Let it be known here and now that rain has just
been falling, almost in equal intensity with the beautiful sounds
through our last ride. However this is music by Duke
Ellington and his Orchestra and therefor these are Orchids for
Remembrance."
DEMS**
I've had a chance to check The Detroit News for July
1940. The Ellington Orchestra was broadcast each night of
the July 26 - 31 gig (except Sunday) over WWJ at 11:30
PM. I am unable to determine the time zone from the paper,
so I am not sure if these match up to 12:30 AM, NBC broadcasts for
the 29th and 31st.
Friday, July 26 does seem likely for the local broadcast we have
where the rain falls. Scattered showers were predicted for
the night, and the next day's paper does indicate that rain fell that
day, but doesn't say exactly when.
I have more Detroit papers on order and maybe we can clear up the
time zone issue. Othewise, I've got a nice ad to send you,
and we did find out that in addition to the nightly performances,
there was a matinee "Jam Session" on Sunday afternoon at 3:00 PM.
Ken Steiner**
Luther Henderson
04/1 DEMS 16
See DEMS 03/3-1&2
I would like to tell you something about Luther Henderson.
1°) I regret that the excerpt from the obituary did not mention
his collaboration with Duke in the Reader's Digest sessions of
September 1969.
2°) Some months ago, I found in a flea market a 10" LP of
"Luther Henderson et son orchestre", the title of it being "Clap
Hands". Label "Philips"; no. B 07.934 R
(mono). No details at all: sidemen, recording dates
neither on the cover nor in the Bruyninckx CD-ROM disco; I assume the
release is from the period when the first stereo records came on the
market i.e.: c.1960! In addition, the recording session took place in
Paris. We hear a jazz orchestra with a string section on
several tracks. The titles are, side one: Stay as Sweet
as You Are; Three Little Words; Sometimes I'm Happy; Out of Nowhere;
Clap Hands, Here Comes Charlie. Side two: On the
Sunny Side of the Street; Let's Fall in Love; A-Two-At- A- Time;
Lover Come Back to Me; I Love Paris.
I believe it is indeed Luther Henderson himself playing piano and
celesta. There is a very good trombone section - with a
bass trombone - and a very good saxophone section. Some
titles are very interesting for jazz lovers, mainly 1-3, 2-2, and
1-5, 2-4. That is all I can tell you. I hope
that there are some members who are able to give more information.
Bernard Dupuis**.
Blue Bells of Harlem
(as the title was entered for copyright)
04/1 DEMS 17
See DEMS 03/3-19/1
Thank you for the cassette.
The 10" LP on Palm Club under catalogue number 24 contains a version
of "Blue Belles of Harlem" THAT PLAYS THE SAME (there is mild speed
variation and a fast fade) AS THE JULY 7, 1945 VERSION.
If the insert to Palm Club #24 did state that the "Blue Belles of
Harlem" was from January 23, 1943 (my copy has no insert), then that
information is incorrect.
François Moulé's published statement that Palm Club
#24's "Blue Belles of Harlem" equals the version on AFRS Downbeat
#261 is correct; but his statement that Palm Club #24's "Blue Belles
of Harlem" is unique and untraced is not. It is the same
as the known July 7, 1945 version.
Your conjecture - that the use of small portions of 1/28/43's "Blue
Belles of Harlem" on Prestige 34004 led to the more broad - and
incorrect - thought that there is a complete substitution on Prestige
34004 of the 1/28/43 (Boston) "Blue Belles of Harlem" for the 1/23/43
(Carnegie) version - seems to be THE explanation.
How this all relates to the misdating of the 1/23/43 "Blue Belles of
Harlem" as 1/28/43 on Edmund Anderson's acetate will remain a
question, at least until his acetates resurface.
Phil Schaap
The acetate from the Edmund Anderson estate has
surfaced. Steven Lasker made me a copy on CD and he wrote:
"Edmund Anderson's set is found on fourteen 12-inch sides contained
on seven discs. These are dubbed circa 1949 from the 16
inch originals that were cut at the concert for Mike Levin, the
editor of Down Beat. The side you ask about has Jack
the Bear followed by what the label shows as Blue Bells of
Harlem parts one and two. I suppose that the gap
between both parts corresponds to the change of the 16 inch sides;
this would account for any overlap". Steven's CD contains
exactly the same recording as the tape of which Luciano wrote in DEMS
97/1-3: "On the tape copy of the original acetates, the piece is
complete with the original coda, but the 4° chorus of the III
theme, played by Ellington is erroneously repeated." The coda on
Edmund's acetate, which is indeed different from Prestige and
different from the Boston tape seems however to have been edited to
the end of the piece. This seems rather odd. An
explanation could be that something happened with the original 16
inch acetate before the piece ended and that the coda for Edmund's
acetate had to be taken from the twin recorded acetate, which started
somewhat later (a normal procedure to make sure that nothing is
missed). Without original 16 inch twin acetates, an
overlap in the dub would not be possible. This explains at
the same time why there was an incomplete version circulating, which
needed to be completed at the end. This has been done much
more successfully on Prestige (with the coda from Boston) than on the
Anderson acetate (with the Carnegie coda from the twin
acetate). It puzzled me however why this 16 inch twin
acetate was not used to copy the whole second part of the piece on
Edmund's 12 inch dub, starting with the 4° chorus and including
the original coda. Now we find two "joints" on Edmund's
dub. Only one joint would have been required if my theory
is correct.
SH
I don't know the reason why the coda from the Boston concert was used
instead of the Carnegie version. This wasn't neccesarily
done because a disc was missing; it could as easily have been
occasioned by damage to the 16" disc.
Steven Lasker**
The Giddy-Bug Galop
04/1 DEMS 18
See DEMS 03/3-7/24
Perhaps I can help Steven Lasker with regard to the word "Galop",
which although French in origin appears in both my Oxford (1934!) and
Webster's (1996) Dictionaries. The fullest definition,
however, can be found in the New Oxford Companion to Music and was
provided by none other than Peter Gammond: "A fast and lively
ballroom dance in 2/4 time, which became popular in Paris and Vienna
in the 1820s. It derived from an earlier German dance, the
Hopser, and was popular in England in the mid-Victorian era, either
as an individual dance or as a quadrille movement." Peter edited the
Jazz Book Club publication "Duke Ellington - His Life and Music" back
in 1959.
Graham Peacock
Takes Incorrectly Identified in Discographies
04/1 DEMS 19
See DEMS 03/3-9 (fourth paragraph)
I made a mistake in my piece on "Takes Incorrectly Identified in
Discographies" in the last Bulletin. In discussing
Ellington's Pathé/Perfect sessions, I mentioned that master
numbers 106250/1 were prefaced by an "n," and this is so; I was
mistaken in stating that 106729/30 are similarly
prefaced. In point of fact, the company had dropped the
"n" prefix by the time of this second session.
Steven Lasker
No Auditorium in Troy
04/1 DEMS 20
See DEMS 03/3-11 (CA-31)
Just got the last printed edition of DEMS. It is
with some degree of sorrow but nice to know it will be available on
the Internet. In the meantime, please send me cassette
31. I know that I have part of it but definitely need
the rest. I did some checking and you are
right. Troy, NY did and does not have an
Auditorium. The Armory did fulfil that
function. Some of the RPI students, including the late
Phil Bailey laughingly referred to it as the
Troy Auditorium, but to be truly correct the concert venue was
indeed at the Armory.
Charlie Plank**
The European tour in 1950
04/1 DEMS 21
See DEMS Bulletins 01/2-21/1; 01/3-10/1 and 02/1-5/2
Wolfram Knauer gave me your address. I trust you are
able to clarify for me a couple of points about Duke's European tour
in 1950 as follows:
1. The tour started with a concert at the Palais de Chaillot in Paris
on 3Apr50.
2. Can you give me dates and locations for further concerts in France
(4-27Apr)?
3. I have the band on 28-30Apr in the Hague, Antwerp and Amsterdam
and on 2-4May in Zürich, Genève and
Lausanne. Where was the band from 5-26May?
4. I have the band on 27-29May in Frankfurt, Hannover and Hamburg. Where
and when did the remaining concerts of this tour take place?
5. Did the last concert of the tour take place in Paris at the Salle
Wagram on 20Jun? I have info that the orchestra played at the
Stadttheater in Basel on 16Jun and at the Casino in Berne on
26Jun. Can you confirm these dates and fill in the missing
dates including the Italian and Scandinavian stretch of the tour?
6. According to my info Ted Kelly left the band already during the
Paris engagement in April and was not replaced. Is that
correct?
7. Don Byas played at least in Hamburg, probably replacing Charlie
Rouse. When did Don Byas join the orchestra and for how
long? Was he added or did he indeed replace Charlie Rouse?
Horst Bergmeier
1. No. Duke arrived in Le Havre on 4Apr50 on the Ile
de France.
2. 5Apr Le
Havre, France, Cinema
Normandy.
6Apr Rouen, France.
7Apr Paris, France, Interview.
8Apr Knokke, Belgium, Casino
Communal.
9Apr Knokke, Belgium, Casino
Communal.
10Apr Knokke, Belgium, Casino
Communal.
11Apr Lille, France, L'Opéra.
12Apr Paris, France, Palais
de Chaillot.
13Apr Paris, France, Palais
de Chaillot.
14Apr Paris, France, Palais
de Chaillot.
15Apr Paris, France, Palais
de Chaillot.
16Apr Paris, France, Palais
de Chaillot.
17Apr Lyon, France.
18Apr Strasbourg, France, Palais
des Fêtes.
19Apr Nancy, France, Grand
Théatre.
20Apr Namur, Belgium.
21Apr Brussels, Belgium.
22Apr Brussels, Belgium.
23Apr Brussels, Belgium.
24Apr Brussels, Belgium.
25Apr Brussels, Belgium.
26Apr Roubaix, France, Cinéma
la Colisée.
27Apr Liège, Belgium, Forum.
3. 28Apr The Hague, The
Netherlands, Gebouw voor K.& W.
29Apr Antwerp, Belgium, Concertzaal
van de Zoo.
30Apr Amsterdam, The
Netherlands, Concertgebouw.
1May Namur, Belgium.
2May Zürich, Switzerland, Kongresshaus.
3May Genève, Switzerland, Victoria
Hall.
4May Lausanne, Switzerland, Théatre
de Beaulieu.
5May Milano Italy, Teatro
Odeon.
6May Milano Italy, Teatro
Odeon.
7May Milano Italy, Teatro
Odeon.
8May Milano Italy, Teatro
Odeon.
9May Milano Italy, Teatro
Odeon.
Lawrence Brown fell ill and stayed in the hospital in Milano for 9
days. I do not know whether he was replaced, and if he
was, by whom.
12May Rome, Italy, Teatro
Quirino.
13May Rome, Italy, Teatro
Quirino.
14May Rome, Italy, Teatro
Quirino.
15May Rome, Italy, Teatro
Quirino.
16May Rome, Italy, Teatro
Quirino.
21May Genova, Italy, Teatro
Gusgustus.
22May Torino, Italy, Teatro
Alfieri.
23May Torino, Italy, Teatro
Alfieri.
25May Como, Italy, Teatro
Politeama.
4. 27May Frankfurt, Germany, Althof
Bau.
28May Hannover, Germany, Niedersachsenhalle.
29May Hamburg, Germany, Musikhalle.
31May Copenhagen, Denmark, KB-Hallen.
1Jun Copenhagen, Denmark, KB-Hallen.
2Jun Malmö, Sweden, Stadsteatern.
3Jun Stockholm, Sweden, Konserthuset.
4Jun Stockholm, Sweden, Tennishallen.
5Jun Gothenburg, Sweden, Circus.
6Jun Århus, Denmark, Århus-Hallen.
8Jun Frankfurt, Germany, Althof
Bau.
Al Killian left the band and returned to the USA.
10Jun Hamburg, Germany, Alu-Palast.
11Jun Hamburg, Germany, Alu-Palast.
12Jun Dortmund, Germany, Capitol.
13Jun Düsseldorf, Germany, Apollo
Theatre.
5.
20Jun Paris, France, Salle
Wagram.
I cannot confirm concerts on 16Jun in Basel and/or 26Jun in
Berne. I cannot confirm if Paris on 20Jun was the last
concert. Duke sailed back on 30Jun.
6. Ted Kelly was noticed to be absent from at least
some of the concerts at Palais de Chaillot, and from the 20Jun
concert at Salle Wagram. German and Swedish DEMS members
have also reported that Kelly was not in the band.
7. Don Byas did not replace Rouse. Rouse's
replacement was Alva McCain. Don Byas was an added starter
for the European tour.
8. If anybody can give more details (or corrections) for
this tour's itinerary, please let us know!
DEMS