DUKE ELLINGTON MUSIC SOCIETY
05/3 December 2005 - March 2006
Our 27th Year of Publication.
FOUNDER: BENNY AASLAND
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Guitarist Billy Bauer
Billy recorded as a member of the Metronome All-Star Band under Duke's direction on 15Jan46 in the number Metronome All Out. He also appeared at the Third Esquire All-American Concert on the next day (16Jan46) as a prominent member of the Woody Herman Band. He also participated in recording sessions of small groups under the direction of Harry Carney, Rex Stewart and Johnny Hodges. He died on 17Jun05, according to a message in the Newsletter of the Toronto Duke Ellington Society of Sep05.
See DEMS 05/1-29
Alfred Benjamin McKibbon, double bass player; born Chicago 1 January 1919 died Los Angeles 29 July 2005. These are the last words of Steve Voce's obituary in the Independent of 1Aug05. Steve has sent his article to the Duke-LYM list. That made it accessible to almost all the DEMS Bulletin readers. If you have missed it and you are interested, I will be happy to send you a copy through e-mail or a hard-copy through normal mail.
This sad news coincided with a discussion about Al McKibbon's participation in the Ellington recording session of 3Mar61. This discussion was continued with Patricia Willard, the author of the liner-notes of the Columbia re-release of "Piano in the Background" (DEMS 04/3-31), who responded to my statement on the Duke-LYM list from 31Jul05: "Alfred Benjamin McKibbon replaced Aaron Bell during Ellington's studio session of 3Mar61."
The following discussion with Patricia Willard confirms the statement by Steven Lasker that Al McKibbon actually never recorded with Ellington (DEMS 05/1-29).
Patricia wrote: "see page 9 of my notes on the reissue CD of 'Piano in the Background.' Al McKibbon explains how he almost was on that track [Harlem Air-Shaft, 3Mar61] but ultimately was not. I have the tape of my phone interview with Al in which he explains the circumstances."
I mentioned that if Al only played at the start of the session, it could not have been in Harlem Air-Shaft, since that selection was the last one in the session.
Patricia answered: "When Sony sent me the data on the music to be released on the CD, McKibbon's presence was stated for the Harlem Air-Shaft track so I called him to ask about the session. He never mentioned Harlem Air-Shaft or any other specific selection. He just said that the session was ready to start and Aaron had not shown up so he, McKibbon, was called. He arrived with bass and ran through the first number, as related in the notes, and just as the first "take" was called, Aaron arrived and took over. Al stayed to listen. Al confirmed that he was on the session sheet and was paid for the session because that is the union rule. He was called, he responded and was ready to play. Since Aaron was the one who actually recorded, both were paid, and both names were on the official documentation. Al was most definite that, although he "ran through" the first number with the band, he did not have the opportunity to record. I admit that I did not check the order (sequence) of selections recorded that day."
This settles once and for all that Al McKibbon is not on any of Duke's records. Corrections should be made in discographies which say otherwise (see New DESOR Small Corrections, 05/3-57). As soon as we ever find recordings of the rehearsals at the start of the 3Mar61 session (there are recordings of rehearsals later on in the session!) Al should probably be reinstated as a temporary Ellingtonian.
Another great bassist has gone.
From the Washington Post, taken from the obituary written by Adam Bernstein: "Keter Betts dies at 77. He was found dead at his home in Silver Spring on 6Aug05.
William Thomas Betts was born in Port Chester, N.Y., 22Jul28, and was raised by his single mother, a domestic worker. He got his nickname when a family friend said the baby was as cute as a mosquito. Mosquito became Skeeter, then Keter.
He met Fitzgerald through his golfing partner, bassist Ray Brown, the singer's ex-husband and business manager. Mr. Betts played with Fitzgerald in the mid-1960s and again from 1971 to 1993, often doing weeks of one-nighters around the world."
Keter is mentioned in the Duke Ellington discography because of his association with Ella Fitzgerald. He played with her and with Ellington and Bellson during the recording of the telecast "The Magic of Ella Fitzgerald" in Apr68 in the numbers Don't Get Around Much Anymore and Oh! Lady Be Good. (See DEMS 05/3-38). I admired his great musicianship one evening in Alexandria when my friends Don Miller and John Gallanan took me to the club where Keter played. Good memories brought back by this sad message.
Barbara Winfield, who, as a teenager, sang with Duke Ellington for more than a year and recorded with Tadd Dameron and his Orchestra a decade later, died Wednesday (10Aug05) at a New York hospital. The cause was complications of cancer. She was 72.
Saxophonist Al Sears alerted his former leader to Ms. Winfield’s fresh-voiced singing after they shared a bill at the Rockland Palace on New Year’s Eve, 1949, and Ellington invited her to join his band on a European tour that spring. The 17-year-old singer, a high school senior claiming to be 19, told the bandleader that she could not interrupt her college classes. In July, 1950, with her high school diploma, she flew to Boston to join the Ellington Orchestra, and, to her surprise, his three female singers, June Norton, Chubby Kemp and Marian Cox. The others soon departed, and Ms. Winfield sang with Ellington until January, 1952, alternating occasionally with Yvonne (Lanauze). Ms. Winfield’s only recordings with Ellington for Columbia Records were never released because of her slight lisp, more evident on record than in live performance. Ellington arranged for corrective surgery.
Ms. Winfield was born October 9, 1932 in New York City. Her marriage to Valdo Williams ended in divorce. She is survived by her sister Nancy and by her sons Derek and Tracey Williams of Manhattan. Another son, Adrian Williams, died in February of heart failure. She abandoned music performance during her child-rearing years, earned a Bachelor’s degree in urban studies and a Master’s degree in education at Fordham University and became an education evaluator for the New York City Schools. In the past five years, she had resumed performing, fulfilling club dates in the New York area, appearing as guest vocalist with trumpeter Clark Terry, a colleague from both the Ellington and Dameron aggregations, and singing with the Barry Harris Chorus. In February, 2004, she participated in the Ellington Alumni Reunion Project of concerts, symposia and videotaped oral histories at the American Jazz Institute of Claremont McKenna College, Claremont, Ca. Most recently, she appeared on the Duke Ellington Birthday Concert, April 29, at Manhattan Plaza and in May at Marge Elliott’s Living Room Concerts in New York.
Milt Grayson stayed in the Ellington band from Mar60 until May63. He died on 3Sep05 at the age of 68 from cancer. Participants of the Ellington Conference in 1986 in Newark had the opportunity to meet Milt Grayson. Apart from being a very fine singer, he also appeared to be a very nice gentleman. When I met him, I asked him about his father who worked with Ellington, because Milt looked much younger than I had expected him to look with his low voice. He must have been 49 years when he attended the conference and took part in the concerts at Rutgers University. He also sang for us, accompanied on the piano by Aaron Bell, during the reception at the start of the conference on 11Jun86 in the studio of the station WBGO-FM Jazz 88. He is on my very first video recording made at Ellington conferences. He was also video-recorded on 7Feb63 when Alice Babs first performed with the band for a Swedish telecast called "Indigo". He did not take part in the show "My People" in spite of what was written in the New Pittsburgh Courier of 27Jul63, Vol. 4, issue 15 on page 20. That was not Milt Grayson but Jimmy Grissom. The New DESOR does not mention the exact date of birth in 1937 of Milt Grayson. If anybody can provide that, the discography can be updated.
I regret to have to tell you that Gloria Nance passed away Thursday, 10 November, in New York. She was 77. She had been suffering with lung cancer, diagnosed about 18 months ago. Gloria was an actress and writer and, as Gloria Harper (her maiden name), had appeared in principal roles in many Off-Off-Broadway plays in New York as well as in several independent films and had small roles in two major films, "Awakenings" and "Bright Lights, Big City."
She was a member of the famed Cherry Lane Players in New York and a fashion model under contract to Vogue magazine when she and Ray Nance met in the mid-1940s. They married in Chicago in 1952. As you know, she participated in several Ellington conferences — Oldham 1988, New York 1993 Leeds 1997 and Chicago 1998. She attended Ottawa in 1990 but I can't remember if she participated.
Funeral services were held on Monday 14Nov in Queens, NY. Clark Terry and Michael James attended.
Gloria is survived by her brothers Richard and Robert Harper and their families.
Many of us met Gloria Nance at one or more of the Ellington conferences. She participated often in panel discussions in which she told stories of her travelling as a white woman with the band. Her treatment as the wife of a black man was often disgraceful. Her stories about it were hilarious, but at the same time they made me feel ashamed to be a member of the human race.
In DEMS Bulletin 98/1-10 we published a letter from Gloria Nance to Steve Voce in which she sets the records straight about why and when Ray left the band. When leaving the Leeds conference in 1997, Gloria made an appointment with Klaus Stratemann to meet again the following year in Chicago. Gloria was there but Klaus was unable to keep his promise. Maybe they are seeing each other now.
Important News for Ellington Fans In South Africa
DESUK member Lance Travis would like to start a South African Chapter of the Duke Ellington Society.
Should you be interested, he can be contacted by e-mail on <email@example.com>
Or phone him on (018) 381 55 81. He lives in Mafeking.
By joining The Duke Ellington Society UK (Subscription œ18 per year) you will be availing yourself of the services provided by DESUK as well as being a member of the first Ellington group in the rainbow nation.
Deutsche Jazz Platten Sammelbörse
Michael and Bernd Ludwig asked us to publish that the 10th German Jazz Record Collector Fair will be held on 1Apr06 from 9:00 until 16:00 in Hannover at the Pavillon, Lister Meile 4, am Weiszkreuzplatz (direkt hinter dem Hauptbahnhof). Es handelt sich um Schellack, Vinyl und CDs.
Jubilee broadcasts on line
The reason for putting the JUBILEE "files" on-line was to show what we know so far and what programs we still are looking for. It is far from being a finished product but still some steps further down the road from what Lotz &Neuert did in the mid-80s. Go to my Web-site http://home.swipnet.se/dooji and then click on "Jubilee" for a link to my Jubilee site which gives new and revised info about 100s of the programs including several transcriptions with the Duke.
Florence Mills: Harlem Jazz Queen
See DEMS 05/1-4
Bill Egan's book Florence Mills: Harlem Jazz Queen has been singled out for "Honorable Mention" by the panel for the international award The Kurt Weill Prize 2005, awarded biennially for "distinguished scholarship on twentieth-century musical theater" by the Kurt Weill Foundation for Music. The citation for 2005 can be seen at: http://www.kwf.org/pages/kwp/award05.html
The sub-titles in the New DESOR, now
traceable in both directions.
The New DESOR contains a list of alternative titles followed by their "primary" counterparts. Starting on page XXXIII it covers eight pages. This list is very helpful in researching the titles of Duke's recordings. You can also use it to search for a title the other way around, which means that you know the primary title and you want to know the alternate title, if any. But using the list in the New DESOR in this fashion is rather tiresome. That's why I have made a complete listing with titles referring to each other in both directions. The first two columns are the same as in the New DESOR. The supplementary two columns bring the total to four columns. For example, you will find Main Stem to have been named Altitude, On Becoming a Square and Swing Shifters Swing but also that Absinthe has four alternative titles. This complementary form of listing has been approved by Luciano Massagli and revised by him in September 2005.
This double listing has been written in Microsoft Excel where the Excel-file is 58 kilo Bites in size. There are 408 lines in four columns that on A4-size paper cover 9 pages.
DEMS members will receive the extended list free of charge when forwarded by e-mail. Just send me your request by e-mail to: firstname.lastname@example.org. I can also deliver the lists printed on 9 sheets of A4-size paper, or in digital form on a 3,5 inch floppy disk, but would ask for cover of material and postage. SEK 100 alt EUR 10 alt USD 15.
Dating "SYMPHONY IN BLACK"
In the last Bulletin (05/2-41) appeared a study by Steven Lasker about the date of the recording and filming of this Paramount picture. Maybe you have noticed that the last Bulletin (05/2) came out a few days before the deadline of 1Aug05. When we "released" the August Bulletin, Steven Lasker was still editing his article. He was not aware of the fact that the Bulletin was ready and we were not aware of the fact that he was editing his article. We decided to exchange the first edition of his article (dated 21Jul05) with the final edition (dated 5Aug05). This is another of the nice possibilities of having DEMS on line. If you are interested in the final version, you should go back to 05/2-41 where you will find it. If you have downloaded the article, you should check the date at the end. If it is 21Jul05 you could consider to download the new version of 5Aug05. The conclusion of Steven's study is the same, but the text is rather different.
Correct e-mail address please
If you do not receive my message that the most recent DEMS Bulletin is on line, please let me know. You may be the one that caused this message: "Your message was automatically rejected by Sieve, a mail filtering language". Or your e-mail address is out-of-date.
It goes without saying that if you do not receive a message announcing the release of another Bulletin, you are welcome to send me your e-mail address and I will notify you in the future.
At the end of 2005
DEMS Bulletin is now two years on line. It is a great success. We have the impression that we have not lost any of our original DEMS members and we have experienced that there are quite a number of new readers of the Bulletin.
I wish you all, new and old members a Merry Christmas and a very happy New Year!
Amazing New FINDs
If you watched the documentary "Reminiscing in Tempo", you will have seen Bob Udkoff as "a talking head" on screen. He was a close friend of Duke, a founder of the Love You Madly Club, and he is mentioned several times in MIMM (pp129, 396 and 405). Bob and Duke first met in 1934. Udkoff worked for a dry cleaner and dropped off Duke's clothes at the Dunbar Hotel where Duke was staying. When Bob recently moved to Beverly Hills he stumbled on a set of nine reel to reel tapes with recordings of the Ellington band. He gave them to Mark Cantor with the instruction that they should be made available to Ellington aficionados on a non-commercial basis. Mark gave the tapes to Steven Lasker, who has sent them to DEMS.
The most surprising set of tapes is a group of five which contain copies from a more original set of seven, recorded at Bob Udkoff's 50th birthday-party on 17Apr68 at the El Caballero Country Club in Los Angeles. Duke with the band and many other guests attended the party and Duke played a lot of terrific piano solos and sometimes the band joined in. The band members certainly did not use their charts. They played more relaxed than we have ever heard them, and this became more apparent as the evening progressed.
The balance between the two channels in this stereo recording is very poor, there are rather a lot of interruptions, and the volume is not constant; but the sound as such is great. The greatest drawback is the almost constant loud chatter of the guests. Duke on the other hand played the piano as if he was completely alone one would say, but surprisingly he occasionally took part in the discussions even during his piano playing.
Duke started with Salute to Morgan State and I Can't Get Started. Then came I Let a Song Go Out of My Heart followed by Don't Get Around Much Anymore, which was played by the band with Johnny Hodges soloing. Jimmy Jones took over and played the piano in Satin Doll with Cat Anderson as soloist. I did not spot a piano part in I Left My Heart in San Francisco, played by Lawrence Brown, but Duke was back at the piano in order to play The Twitch with the full band. The band then joined Duke after many introductions in Mood Indigo. Cootie soloed in Fly Me to the Moon. The band continued with a second performance of Satin Doll. Dear late Terrell Allen would have enjoyed the party because Satin Doll was played in total five times. This second time Duke was at the piano and Paul Gonsalves soloed. Duke played Dance No 3 from the Liberian Suite as a piano solo, followed by Stompin' at the Savoy, which also started with a great piano introduction. I would not be surprised if the trumpet solo was played by Benny Carter. The next selection was Blue Bells of Harlem, followed by Meditation and New World a-Comin' as background music for the chatter and the many sounds produced by people enjoying their meals. This was followed by New York City Blues when the waiters collected the plates. Fats Waller's Squeeze Me was played by Duke and Jimmy Jones, probably together at one piano. Johnny Hodges played his usual solos in Drag, Prelude to a Kiss and Things Ain't What They Used To Be, which is incomplete at the end because the tape ran out. Cat Anderson soloed in I'm Beginning To See the Light. It was time for the third performance of Satin Doll, this time as background for Duke's talk and introduction of Bob and Evelyn Udkoff. After Bob's speech everybody joined the band in Happy Birthday. A brand-new Ellingtonian now has to be added to the discography, since Marian Logan sang I Got It Bad and Tenderly with the band and with Jimmy Jones at the piano. Jimmy stayed at the piano for Joe Williams' renditions of Every Day I Have the Blues and Jump for Joy. There was a lot of pressure put upon Harry Mills (one of the Brothers) to sing Paper Doll. He didn't but Lawrence Brown (famous for knowing every melody by heart) played a wonderful solo. The community singing of Shine on Harvest Moon was preceded by a lot of discussion between Patty Andrews (one of the Sisters) and Harry Mills. They were joined by many others. Several Duke LYM friends have helped me to identify this song, which enabled me to put the tapes in the correct sequence. The discussion in which the title is mentioned comes at the end of one tape and the song (which I couldn't identify) is at the beginning of another. Trish Turner continued the programme with Misty. There is a voice in the audience asking for Johnny Hodges to play Come Sunday. In the event Duke gave the responsibility to Tony Watkins, whose rendition silenced the guests. What a relief! The guests thankfully remained very quiet during Duke's Monologue. Harry Carney gave his usual rendition of Sophisticated Lady and Benny Carter played on his sax Body and Soul. Duke started Tootie for Cootie, but since Cootie was not available at that moment, he continued with It Don't Mean a Thing by Trish Turner and Tony Watkins. This was followed by a complete rendition of Things Ain't What They Used To Be. Duke invited Joe Williams to join Trish Turner and Tony Watkins in what became more or less a medley of blues themes with Jimmy Jones once again at the piano. The one I could identify is Stormy Monday Blues. Duke returned to the piano to play the fourth rendition of Satin Doll. Apparently Cootie now showed up, because Duke was now successful in starting Tootie for Cootie. Trish Turner did Me and You, in which Paul played a nice solo, and Willow Weep for Me. I have the impression that Benny Carter played trumpet and Oliver Nelson tenor in this number. The full band continued with Take the "A" Train, which is interrupted because the tape had to be turned over. Duke played Solitude with Lawrence Brown, an absolutely unique performance. After that Duke wanted to start the band off in Ocht O'Clock Rock, but he changed his mind and continued with Happy-Go-Lucky Local. Johnny Hodges played I Got It Bad and then the full band played Ocht O'Clock Rock. The evening came to a conclusion with the fifth version of Satin Doll plus speeches by Duke and Bob Udkoff.
I copied the five tapes onto three CDs and sent sets to Steven Lasker and Mark Cantor. Because of the low quality, the constant chatter and their private character, these recordings are totally unsuitable for a commercial release. Were I to offer to makecopies I wonder how many people would be disappointed, considering the very loud presence of these party-goers.
There are four other tapes in Bob Udkoff's collection. Two of them contain two Sacred Concerts at an identical location, Temple Emanuel in Beverly Hills, on an identical date, 15Nov, but in two different years, 1966 and 1970. The quality is absolutely terrible. It is just about good enough to identify the selections. I will make copies for Luciano Massagli and Giovanni Volonté for inclusion of these concerts in the New DESOR. Nobody would be willing to listen to these tapes more than once. Their significance is exclusively historical.
The last two tapes contain well known released material. One has the broadcast from Basin Street East in NYC on 14Jan64. I have compared the tape with the CD release on Music and Arts 908 (see DEMS 96/2-10). The conversation between Duke and William B. Williams is almost the same. There are a few words, like the repeat of a sentence and one silly joke, which are left out to make the broadcast fit onto one CD (77:51). No music and no words spoken by Duke are affected.
The last tape contains the complete concert of 27May60 at the Civic Auditorium in Santa Monica, in mono. The complete concert has been released on two stereo LPs, Queen Discs Q-069 and Q-070. On my LP Passion Flower is slightly mutilated. It is not mutilated on another stereo tape from the Benny Aasland collection, or on the Bob Udkoff mono tape.
Composers' Voices from Ives to Ellington
Benny Aasland published in DEMS Bulletin 82/1 on page M5 a letter from Martha Oneppo from Yale University to Don Miller, the founder of the Duke Ellington Conferences. In this letter she tells that "we are working on an Oral History of Duke Ellington as part of a larger music history project. We are building a collection of tape-recorded interviews with the people who knew Duke Ellington first hand and who worked with him." The letterhead of Martha's letter showed: School of Music, Stoeckel Hall, ORAL HISTORY PROJECT, Vivian Perlis, Director". In the letter Martha gave a list of family members, singers, band members, colleagues, performers, managers, writers, friends and buffs, with whom interviews had already been conducted. She asked Don Miller for suggestions, which he gave in an answer which also appeared in DEMS Bulletin 82/1.
For many years, I have wondered from time to time what would become out of this undertaking. And here is the first result. A book by Vivian Perlis and Libby Van Cleve, recently published by Yale University Press, ISBN 0-300-10673-4.
It contains much more than only Ellington's history. Actually "Composers' Voices from Ives to Ellington" is the first volume of a series of four, titled "An Oral History of American Music". Figures whose lives spanned the century, such as Copland and Ellington are featured in Volume I and will reappear later, while younger composers visit this volume with comments and observations. This first volume has chapters about Charles Ives (I); Eubie Blake (II); The Early Modernists (III) (Leo Ornstein, Edgard Varèse, Carl Riggles, Dane Rudhyar, Charles Seeger and Henry Cowell); George Gershwin (IV); Nadia Boulanger (V); From the Boulangerie [composers influenced by Nadia Boulanger] (VI) (Virgil Thomson, Aaron Copland and Roy Harris). The last chapter (VII) is dedicated to Duke Ellington.
So far I have concentrated on the Duke Ellington chapter, leaving the very interesting looking other chapters for later. Chapter VII occupies 66 pages of the total of 349. At the gala occasion of the founding of the Duke Ellington Fellowship program at Yale University (7oct72), Duke Ellington agreed to be interviewed for the Oral History American Music (OHAM) project upon completion of his autobiography. Unfortunately, he died before this was possible. Nevertheless, an oral history project on Ellington was initiated by OHAM shortly after his death in 1974. It eventually grew to ninety-two interviews with musicians, family members, record producers, jazz critics, cultural historians, and others in the music business. A subseries included those who knew Ellington's close collaborator, Billy Strayhorn. (For the entire list of Duke Ellington Project interviews, see the OHAM website: www.yale.edu/oham/.)
The chapter starts with a short biography of Ellington, interspersed with transcripts from taped Ellington interviews which are well known to Ellington tape collectors. For me much more interesting are the interviews with others about Duke. Two of these are rather revealing. On page 359 is the interview with Luther Henderson (7Jul81) speaking of the collaboration between Duke and Billy: "They literally could think together. I mean, Ellington would start something, and he would give it to Strayhorn and see if he could finish it. Strayhorn really did a great deal of the exposition in Beggar's Holiday, but all the tunes were written by Ellington."
Another striking statement was made by Aaron Bell (25Nov77) on page 393: "You take a band like Count Basie's — it's like a well-oiled machine; it would always give a performance up to a certain level. They would never go down to the level that Duke went, but they never reached the heights that he'd reach either. So that is the joy of working with him."
The book is accompanied by two CDs. Duke's portion (CD 2 tracks 14-24) contains short pieces of recorded music and segments of interviews with himself and with others. Some are the same as printed in the text. This is not superfluous, because (as mentioned in the Preface of the book) "The sound of a voice holds an intensity and spontaneity that the written word cannot fully convey,…."
I cannot say that your Ellington library will be very deficient without this book, but if you are not only interested in Ellington, but also in American music in general, I can highly recommend it.
"Duke Ellington" by David
Bradbury (© 2005)
Haus Publishing Limited (www.hauspublishing.co.uk) — ISBN 1-904341-66-7
At one of the sessions in 1983 at the Ellington Conference in Washington, Eddie Lambert and Klaus Stratemann told us about their new books to come. On the question from the audience: "Will there not be too many Ellington books?", Joe Igo replied: "There can never be enough books about Ellington!"
This is not the only justification for recommending this new book to you. It is new in many respects. Sure, it took me not more than a full day to read it and many of the stories I knew by heart. Others I had to check, but a remarkable number were totally fresh to me. That is because David Bradbury has consulted many more sources than normally is done. It is clear when one looks at the great number of his quotations, a total of 231. Many of his sources were consulted for the first time (anyway for me). Many interviews, articles, even liner-notes for albums are quoted apart from the complete Ellington library.
Another pleasant surprise is the fact that there were close to none spelling errors of names or other misinterpretations of facts in this book. I have the suspicion that this is due to the fact that Roger Boyes read the script before it was published. I even have the impression that several statements in DEMS Bulletins articles have had some influence on the final result of this book.
More than in many other books about Ellington the later years have been rather well covered, although I missed sometimes a rigid chronological sequence of events. Herb Jeffries is mentioned in relationship to Flamingo, long before Billy Strayhorn arrived on the scene.
The book has some unique qualities. It contains what has been called a "Chronology" of events in Duke's life, in the general History and in Culture. It starts with Duke at age 11 and goes on year by year. I give you one of the striking examples: 1941. Duke's age is 42. There is a dispute between song-writers' organisation ASCAP and radio stations….. Germany invades Soviet Union….. Fitzgerald's Hollywood novel, The Last Post, is published posthumously.
There are a few questions though: Did Ellington look indeed so young in 1974 as shown on the picture on page 130? When I saw him for the last time in 1973 he looked much older. There are a few more questions but they are all of minor importance. I can recommend this book fullheartedly and I wonder if you can find some of the small inaccuracies, like calling Mary Lou Williams' arrangement of Blue Skies, Trumpet All Out instead of Trumpet No End (p62).
ZYX Music DVD 3080
"The Duke Ellington Show"
I recently found this DVD.
1. Take the "A" Train G 6Jan62 6204a
2. Satin Doll G 6Jan62 6204b
3. Stormy Weather B 23May33 3308c
4. Wailing Interval (Blow by Blow) G 6Jan62 6204c
5. Jam with Sam G 6Jan62 6204f
6. Rockin' in Rhythm B 23May33 3308b
7. Things Ain't What They Used To Be G 6Jan62 6204d
8. V.I.P. Boogie G 6Jan62 6204e
9. Kinda Dukish G 6Jan62 6204g
10. Bugle Cal Rag B 23May33 3308d
11. Rockin' in Rhythm N 8Jul62 6233b
12. Black and Tan Fantasy R Aug29 2913k
G = from picture "Goodyear Jazz Concert". I have seen (and heard) better quality sequences of the Goodyear film in color for instance on the Storyville Video SV 3002. I wonder why tracks 5 and 8 are not played in the correct order (8/5).
B = from Paramount picture "A Bundle of Blues", earlier on the Video "Blue Melodies" VSL 10042.
N = Newport Jazz Festival 1962, earlier on Toshiba Laser Disc NTSC TOLW-3162.
R = from RKO picture "Black and Tan", earlier on Storyville Video SV 6033.
The compilers of this DVD had trouble with the identification of Rockin' in Rhythm. Track 6 was called Bundle of Blues and track 11 was called I Got Rhythm.
The Lou Rawls Show with Duke Ellington
Norbert Ruecker reported the release of a DVD with the complete Lou Rawls Show. Duke recorded for the show late 1970 at the Royal York Hotel in Toronto with Joe Benjamin, Rufus Jones, Lou Rawls and a studio orchestra Satin Doll and Sophisticated Lady. He also appeared silently at the end of the show in the finale on screen. The recordings are documented in the New DESOR 7079 and in Klaus Stratemann pp606 and 683. There seems to be a bonus track with Ellington at the end of the DVD.
The Ralph J. Gleason recordings on DVD.
See DEMS 05/2-18
I've just received from CD Universe a DVD containing 2 Ralph Gleason produced TV programs: "Love You Madly" and "A Concert of Sacred Music at Grace Cathedral". I think there was some earlier discussion as to whether the latter was even extant. Well it is and it's wonderful. And btw the DVD cost $10.95 plus shipping! It seems to be region one and region four. Where's region four?
There was no question about the existence of the video recording of the first Sacred Concert in San Francisco on 16Sep65. We have seen it on 25May95 when Patricia Willard showed it to us on the Ellington Conference. I did not make a recording of her presentation, because she asked us not to. The copy rights belong to the Ralf J. Gleason estate and Patricia was allowed to show the video recording under the condition that no copies would be made. It is great news that this recording will now be officially released.
The documentary "Duke Ellington - We Love You Madly" made by Ralph Gleason is circulating among collectors in audio as well in video. It contains several recordings made from 25Aug until 20Sep65. If the DVD is the same as my video tape I can provide the following overview:
The interviews, spread through the whole telecast have been made in Aug/Sept65. They are documented in the New DESOR under number 6555a.
The telecast started with In the Beginning God (replay), 20Sep-6554c. This first selection is missing on my video.
This is followed by Rockin' in Rhythm; Take the "A" Train; Chelsea Bridge; Blue Bird of Delhi and The Opener, recorded at Basin Street West on 25Aug-6548. The middle of Take the "A" Train is taken from Monterey on 18Sep-6552a.
This is followed by Sugar Hill Penthouse and Unidentified "L", recorded at the Fairmont Hotel on 20Sep-6553f & g.
Next: Solitude and Sophisticated Lady, recorded at Basin Street West on 26Aug-6549n.
Next: Cotton Tail, Basin Street West on 25Aug-6548m.
Next: Satin Doll and Mood Indigo, Basin Street West on 26Aug-6549n.
Next: Jeep's Blues, Basin Street West on 25Aug-6548l.
Next: Short statement by Harry Carney in his car.
Next: From "Ad Lib on Nippon" Fugi and Igoo, Basin Street West on 26Aug-6549a & b.
Next: Come Sunday; The Lord's Prayer; Come Sunday; David Danced Before the Lord and Light, Grace Cathedral on 16Sep-6551a,m,n,o & b.
Next: Love Came, Fairmont Hotel on 20Sep-6553h. There is a "fresh" narration over the playback of the recording by Billy Strayhorn on 14Aug65 as released on Red Baron AK52760. This Billy Strayhorn session is not documented in the New DESOR.
Next: From "Ad Lib on Nippon" Igoo and Nagoya, Monterey on 18Sep-6552c & d.
Next: Comments by Earl Hines, Dizzy Gillespie, Russell Procope, Bunny Briggs and Jon Hendricks. (Jon Hendricks comment is missing on my tape).
Next: From "Ad Lib on Nippon" Tokyo, Monterey on 18Sep-6552e.
Next: In the Beginning God (vocal rehearsal, complete version and replay), West Coast Recorders on 20Sep-6554a,f & c.
End: Things Ain't What They Used To Be, Basin Street West on 25Aug-6548n.
I hope that this DVD will come out with regional code "0", which means that it will be playable all over the world. Region one is America, region two is Europe. From region four, I have never heard.