DEMS BULLETIN
DUKE ELLINGTON MUSIC SOCIETY
11/1 April - July 2011
Our 33rd Year of Publication
FOUNDER: BENNY AASLAND
HONORARY MEMBER: FATHER JOHN GARCIA GENSEL
EDITOR: SJEF HOEFSMIT
ASSISTED BY: ROGER BOYES
|
THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY 11/1 April - July 2011 Our 33rd Year of Publication FOUNDER: BENNY AASLAND |
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Email: dems1@telenet.be
Sad NEWS
Jack Towers
DEMS 11/1-1
In the early morning of
December 23rd, Jack Towers passed away.
Apart from the tremendous pleasure the music of Duke Ellington has given me all
my life, I have had the honour and the great fortune to meet quite a number of
very nice people who shared with me the love of Duke's music. Without Ellington
and without my dear friend Benny Aasland, I would never have met my new
friends.
Jack is world famous because of his Fargo recordings. Peter MacHare and Ted
Hudson compiled a list of all the releases in which Jack had a hand. There were
more than 300! But one had to meet Jack Towers in person to realize that all
this great work was done by an extremely nice person. I know that I can only
give this title to a single man, but I do not hesitate when I say that Jack was
the nicest man I have ever met in my life.
During the second evening of the 1983 Duke Ellington Conference in Washington,
Jerry Valburn showed us a film by Gary Keys of Duke's tour through Mexico in
1968. None of us had ever seen this film. Jack was working with the unruly
projector with a patience and a devotion that stunned me. He was not in the
least nervous. The equipment was really obstinate. Jack did not show any
emotion, only dedication. We were drinking coffee, served by Jack's wife Rhoda
and other volunteers while Jack was working. That's when I started to
understand what a kind of man Jack was. I was fortunate to have met him many
times since. We became good friends. I miss him.
Sjef Hoefsmit
Billy Taylor
DEMS 11/1-2
Billy Taylor, one of the
musical giants of Washington and the world, died of a heart attack on 28
December, at a hospital in New York City. He was 89.
in December 2001, he awoke one morning unable to blink. He had suffered a
stroke that affected the right side of his body, including the right hand that
once danced across the keys.
Less than a year after he was stricken, Taylor was performing again, relying
mostly on his mighty left hand. (For years in concert, long before the stroke,
he featured a bravura piece in which he played everything -- melody, chords,
driving rhythm -- with just his left hand.)
With Ellington, Strayhorn, Willie
"The Lion" Smith, Earl Hines, Mary Lou Williams and Charles Bell, he
participated in the Pittsburgh Jazz Piano Workshop on 20Jun65, although it is
no longer certain that Duke joined him and Earl Hines in Sweet Lorraine.
See DEMS 02/2-23/3 (Disc 1). It is however certain that Billy played together
with Willie "The Lion" Smith and with Duke Perdido on the David
Frost Show telecast on 24Jul69, three days after Billy Taylor's 48th birthday,
which was possibly the date of the recording. See DEMS 07/2-4.
Billy played at Billy Strayhorn's funeral and together with Milt Hinton and
Louie Bellson, he played a Medley at Duke's birthday party at the White House.
See DEMS 02/2-23/1.
DEMS
Barrie Lee Hall
DEMS 11/1-3
Barrie Lee Hall died
suddenly on Monday 24 January. He was 61 years old. He was only 24 years of age
when he joined the Ellington Orchestra in 1973 for a stay which lasted until
Mercer died in 1996. Barrie took over for a year and after that relieved the
current conductor Paul Mercer Ellington occasionally. He also played in the
Broadway show "Sophisticated Ladies" 1981-1983. He later resided in
his hometown of Houston, TX, where he developed his line of fine quality pens.
He sent to DEMS in 1998 one of his hand-constructed pens, a beauty.
DEMS
Eileen Ward
DEMS 11/1-4
Eileen died peacefully with her family at her side at
Sunnybrook Palliative Care Unit in Toronto on 11 February at the age of 88.
I met her for the first time in Newark during the Ellington Conference of 1986.
It was her first Ellington Conference and she became so excited that she
volunteered to organize the next Conference in Toronto. It was my fourth
Conference and having witnessed the tremendous job involved in organizing such
an event, I was a bit worried about the 1987 Conference. It worked out to be
one of the very best Conferences we have ever had. In 1994 Eileen was guest of
honour at the Conference in Stockholm. In 1996 she was again heavily involved
in the second Toronto Conference, at the end of which she donated a cheque for
the next Conference in Leeds.
Eileen enjoyed a successful business career at McGill University, Power Corporation,
Canadian International Development Agency, and Canada Development Corporation.
After retirement, she pursued her passions of music, ideas, and the arts and she
was not only active in the Duke Ellington Society, but also in the Art Gallery
of Ontario. She was a founding member of the Academy of Lifelong Learning at
the University of Toronto.
We stayed in contact during the last difficult years of her life.
She was a very dear friend. I cherish the many long letters she wrote to me.
Sjef Hoefsmit
Good NEWS
Clark
Terry
DEMS 11/1-5
Clark Terry celebrated his 90th
birthday on 14Dec10. Belatedly but no less sincerely, we wish him many happy
years with his lovely wife Gwen.
DEMS
NEW FINDS
Ravinia Festival, 1Jul57
DEMS 11/1-6
I just downloaded a CBS broadcast
with Duke performing at Ravinia Park Festival, Highland Park, 1Jul57. I cannot
find references in The New DESOR. Could this be a new find?
Here is what the side says:
"Embed over to the Ravinia Festival in Chicago this week for a concert broadcast
from August 1st 1957 [sic], featuring Duke Ellington and his Orchestra playing
the world premier [on radio] of his suite, 'Such Sweet Thunder' ".
Unfortunately it's only a half hour's worth, because that was all the time
allotted by the network (CBS Radio) and this was the occasional problem with
broadcasting at the time. Strict schedules and abrupt cut-offs created a lot of
frustration for listeners.
This is the link to download the audio file (you can choose from several
servers):
http://www.multiupload.com/S02Q5YAOPY
Luis Contijoch
See the review by Don Gold in Ken Vail page 110 and documentation in Klaus
Stratemann page 377.
This was the programme:
Such Sweet Thunder
Sonnet for Sister Kate
Up and Down. Up and Down
Star-Crossed Lovers
Madness in Great Ones
Half the Fun
Circle of Fourths
Jam with Sam
This
"fresh" find is also documented on Correction-sheet 1103 (see
11/1-28). Correction-sheets can be found on the same web-site as the DEMS Bulletins.
Instead of www.depanorama.net/dems, you type www.depanorama.net/desor.
DEMS
The Mosaic 11 CD box set
See DEMS 10/3-5
Problems with the latest 11 CD box
from Mosaic
DEMS 11/1-7
Mosaic has received consumer complaints--which I echo--that the hubs which
hold the CDs in their jewel cases are in some cases way too tight, which has
resulted in some folks actually breaking their CDs in the process of removing
them from the aforesaid hubs. Mosaic has replaced the broken CDs free of
charge. In any case, care is advised when trying to extract your CDs from
stubborn hubs.
Steven Lasker
I certainly exercised care over CD2, with the result that it has taken me from
the beginning of January, when I received the set, to mid-March, to prise it
free and listen to it. I eventually found that the trick was to extract CD3
first (itself no easy task), and then begin to wrestle with CD2.
Roger Boyes
Comments by Michael Kilpatrick
DEMS 11/1-8
See DEMS 10/3-22
I see the recent DEMS issue reports that Steven Lasker has some liner notes
detailing personnel lists and corrections (for New DESOR, etc) for some of the
sessions, including:
"New DESOR
Page 26: Sessions 3504 and 3505, 19Aug and 12Sep35. According to the
liner-notes by Steven Lasker for the Mosaic 11 CD Box, Lawrence Brown was not
on these sessions."
and
"Page 27. Session 3604, 27Feb36. According to the liner-notes by Steven
Lasker for the Mosaic 11 CD Box, Billy Taylor plus Hayes Alvis and Otto
Hardwick played on all four selections. Joe Nanton only played on Isn't Love
the Strangest Thing?"
and
"Page 41. Session 3906 and 3907, 20 and 21Mar39. According to the
liner-notes by Steven Lasker for the Mosaic 11 CD Box, on neither session did
the full orchestra include Juan Tizol. The ledger shows only two trombones
present at these sessions."
I'm afraid I find Steven's comments to be mostly incorrect in those three
entries, and my reasons are:
Firstly, I conclude that Lawrence Brown *was* present on 12Sept35: For Reminiscing in Tempo Part 2 (3505b) do you hear, at 1m25secs in, a trio of trombones, or two trombones with a trumpet on top? I hear three trombones. For Reminiscing in Tempo Part 4 (3505d) do you hear, at 1m45secs in, a trio of trombones, or two trombones with a trumpet on top? I hear three trombones! The first note, a top Ab, has the unmistakable quality of Lawrence Brown in the upper register, not trumpet in the middle register.
Secondly, I also think to say "Nanton only played...Strangest Thing" can't be correct, for session 3604, for I believe Nanton is playing Clarinet Lament (3604c). He (or a replacement trombonist) is definitely playing in Echoes of Harlem (3604d). I have copies of the score for this and I can hear all six brass instruments in a few places. Undoubtedly.
Thirdly, for Pussy Willow (3906d) on 20th March
1939 there are definitely three trombones playing. One would assume it was Juan
Tizol on 3rd trombone. I've got the score in front of me. I can hear all six
brass instruments. For Lady in Blue on the same date I can also hear
three trombones, especially Tizol's bass notes. Again, I happen to have a copy
of the original score in front of me.
For Something To Live For (3907f) on 21st March 1939 there are three
instruments sounding like trombones playing the trombone parts, especially a
brief solo line with the saxes at 42seconds in, which sounds like Tizol. Again,
I've got the score in front of me to be sure of the notes.
So far the only statement that I am sure of is that there appears to be a trombone missing on Accent on Youth (3504c) on 19Aug35. This is likely to be Brown, as suggested. I haven't analyzed Cotton or Truckin' yet. Otherwise, I'm afraid I find Steven Lasker's liner notes to be in error!
The new DESOR states that Ben Webster was playing
tenor sax in the session 3504. Question: is he really playing in all three
pieces: Accent on Youth, Cotton and Truckin'?
At least in Truckin' Webster's contribution is obvious! As for Cotton
(3504a) I can believe that Webster is there, as there could be four reeds
playing behind the vocal at the same time as Bigard is noodling on the
clarinet.
The other question is: what do people think is happening in Accent on Youth
(3504c)? Is Ben Webster playing parts of Lawrence Brown's trombone part to
account for the missing voice in the brass? Whilst I think Brown is present on Reminiscing
in Tempo (3505) on 12Sep35, he appears to be absent on Accent on Youth.
At 1m13secs into Accent on Youth there is supposed to be a trombone trio
playing, but we can only hear two. Actually the two trombones are playing the
1st and 2nd parts, so I'm guessing that Tizol is playing the 1st part instead
of the usual 3rd, Nanton is sticking to his 2nd part, assuming it is Brown who
is absent. These two lines are clearly audible. However, if one listens closely
the 3rd trombone part *is* present but being played quietly an octave higher,
and I believe it's by a trumpet. It's filling in the vital harmony, as the
passage wouldn't work without that 3rd part.
On the other hand, throughout the second half of the piece the 6-piece brass
ensemble is backing Hodges' solo, and there are definitely 6 voices there. The
part which is Lawrence Brown's is less audible and the note durations are a bit
lingering in places. It sounds as though it could be a saxophone. On the other
hand there is no reason why Bigard could not be playing that line instead of
Webster.
"Page 714. A Blues Serenade. (3825) I hear
Rex Stewart and Johnny Hodges, not Cootie Williams and Otto Hardwick.
Steven Lasker"
No! In that version of A Blues Serenade (not to be confused with the
vocal one, 3823) it is definitely Otto Hardwick! His tone is creamier than
Hodges and it is unmistakably him. Not only that, but the score bears this out.
Steven is probably correct in that the brief trumpet solo is Rex Stewart's, not
Cootie's. The original score says Rex and I think it sound like him.
"Page 1122. Shoe Shine Boy. According to
Steven Lasker's liner notes for the 11 CD Box and Eddie Lambert p61: RS and not
AW played behind Ivie in the second chorus."
Hmm, I'm not convinced. I can't see any reason to consider it a Rex solo rather
than Whetsel, although I don't consider myself familiar enough with AW's other
(limited number of) solos to be sure. Anybody else have a view?
Michael Kilpatrick
At page 25 of his delightful book on the box, with respect to the trumpet
soloist on Dusk on the Desert (20Sep37, solos), Steven Lasker says "probably
Cootie Williams".
I thought that it had been settled that the soloist was Artie Whetsel, see Dems
02/3-27 with corrections to New DESOR vol. 2, p855 & 1502. There is no question
to my ears that it is AW. I believe that the original thought was that it was
Rex Stewart.
Bill Morton
Indeed, see 02/2-27 Page 855. But later in 04/3-13 you find a long set of
articles about this matter in which Michael Kilpatrick offered evidence for
Cootie and Roger Boyes expressed a slight doubt.
DEMS
The original score and parts do indicate that
the soloist was Cootie. Not only that, but it also indicates "Cooty
rest" (spelled Cooty, not Cootie) in some of the other choruses - it was
not unusual for Ellington to specify a brass soloist not to be playing in some
of the ensemble passages either side of his solo chorus.
By the way, for those that missed my previous comments on Dusk on the Desert:
Actually the original score has various sections/solos of the piece arranged
differently. What we know of as the first chorus (after the 8-bar intro) did
not intend to have any solo at all. The intention was just to have the
call-and-answer between the two ensembles - muted brass and saxes - with
nothing else.
By the way, Juan Tizol is acting as a "fifth saxophone" in that first
chorus. There are therefore five muted brass (Wetz, Rex, Freddy, Brown, Tricky)
and five "saxes" taking part in the call-and-answer patterns. Cootie
is resting because...the following chorus was intended to be Cootie soloing,
backed by saxes playing a unison line. In the recording however, we have that
unison sax line and some muted brass as well as a clarinet solo, all together
in the 2nd chorus. The original intention was to have the clarinet solo over
the muted brass in the *3rd* chorus *after* the chorus with Cootie soloing over
unison saxes.
In the other words, the original score is a whole chorus longer than the
recorded version, because Ellington decided later to merge the muted brass, sax
unison line and clarinet solo into one chorus, and moved Cootie's solo to the
1st chorus over the call-and-answer business.
In the original score Cootie is not playing in either the 1st or 3rd chorus: he
is soloing in the 2nd chorus and then joining in when we hear the
recapitulation of the introduction.
Michael Kilpatrick
Thanks, Michael. The more I listen to the disc (I am now convinced that it was
Cootie), the more I marvel at his versatility, particularly in these records.
Bill Morton
Riding on a Blue Note
DEMS 11/1-9
On page 25 (session LL) of the Mosaic booklet Steven Lasker quotes Eddie
Lambert re: Riding on a Blue Note: "Williams gives one of his
greatest performances", but then lists the soloist as Jenkins. (DESOR
gives Williams as the soloist.) Has there been a debate about this?
Joe Medjuck
In my review of the set I wrote:
Mosaic always goes straight to the best authority for its notes and these by
Steven Lasker are particularly perceptive and exhaustive (I reckon they would
fill a complete issue of this magazine).
Nobody has ever researched this period so thoroughly and the results are all
included here. There’s one quirk. Steven quotes Dance on Cootie Williams’s
masterful Riding on a Blue Note performance and then a couple of lines
later seems to incorrectly credit the trumpet work to Freddie Jenkins (the
piece had to wait until October 1945 for a breathtaking and unforgettable interpretation
by Rex Stewart and Johnny Hodges).
Steve Voce
Actually he's quoting Eddie Lambert; but is this a misprint of some sort or
does Steven Lasker think it's Jenkins?
Joe Medjuck
The trumpet soloist on Riding on a Blue Note is Cootie Williams,
according to Stanley Dance (notes to Columbia C3L-27), Eddie Lambert and the New
DESOR team. When Sjef reviewed my notes and solo listings in an e-mail on
3Nov10, he pointed out that he agreed with the Italians and the New DESOR team
that it was Williams, and that I should change my solo attribution to Williams.
At the time I re-listened and changed the credit to Williams (and even remarked
to Sjef that I couldn't recall Jenkins exhibiting so much of an Armstrong
influence on any other side), but the booklet had gone to bed the day before,
so the change couldn't be made (unlike the great majority of Sjef's
corrections, which had been received and incorporated earlier--thanks Sjef!).
Subsequently, I've re-listened to that solo again and again, and I'm just not
sure it's Williams. The ledger shows four trumpets present at this session, but
doesn't name them. (For background on Duke's brass section in 1937-38, see DEMS
04/2-55.)
Michael Kilpatrick, in correspondence received here, reports that the Ellington
collection at the Smithsonian doesn't have a manuscript score for this title,
but notes "there is, however, a set of parts presumably from 1938. There
are two trumpet parts: 'Rex' and 'Wetz'. The third trumpet has no written part
because he takes no part in any of the ensemble work--it's all solo. However,
it's very clear that the piece was written for just three trumpets in total,
not four."
Clearly, Williams is the soloist on the two surviving air checks of Riding
on a Blue Note from 1May38 and 17Aug40, but the solo on the Brunswick
version is quite different in sound and shape, the tightly muted sound being
more typical of Jenkins that Williams, at least to my ears, though I concede
that Williams had many different "sounds" at his beck and call--just
listen to all the range of sounds he demonstrates on Concerto for Cootie.
So is the soloist on the Brunswick Riding on a Blue Note Williams or
Jenkins? I invite others to weigh in on this point.
Michael Kilpatrick writes he is "wholly unconvinced about the presence of
Freddie Jenkins in some of the sessions" from 1938 that I suggest. Which
ones, Michael?
The ledger notes that four trumpets were present on some of the early 1938
dates [like 2Feb38, when Riding on a Blue Note was recorded]. See 04/2-55.
Steven Lasker
Hmm, I think I would have to assume that the trumpets were taking turns playing
different pieces, because I honestly can't convince myself that there are four
trumpets in any of the pieces that I mentioned from that period that I checked
the other day.
We have two sorts of "accuracy of information" here. We have the
accuracy of information as to whether certain people were "at the
recording session" and the accuracy of information as to whether certain
people were playing in any particular piece or not. If we assume that the
ledgers are correct, then we have accuracy on the former, but this could give a
misleading picture of the latter.
Whilst we know that Ellington wrote a number of pieces specifically for four
trumpets (Dusk on the Desert, Harmony in Harlem, Diminuendo and Crescendo in
Blue etc), we know from the manuscripts that many others from that period
were written for just three.
I can believe that it's possible that four trumpets may be playing on 11Apr38
(I'd have to listen again more closely some time) but it's very clear to my ear
that only three are there on 2Feb38.
If we use the ledgers verbatim we are at risk of giving the impression that Riding
on a Blue Note, Gal from Joe's, and other pieces from that period, were
habitually composed with four trumpets in mind, but they clearly weren't.
Therefore the Mosaic liner notes may give us a good picture of the comings and
goings in the studio on a day-to-day basis, but from my point of view, as someone
who looks at the music on a piece-by-piece basis, the information could be
misleading!
Michael Kilpatrick
Brooks Kerr observes that the trumpet soloist on Riding on a Blue Note
ends his phrases with a rapid vibrato, a Williams trademark in his experience.
Now that I listen again, I have to agree....the soloist is indeed Williams!
(Brooks also comments that Garry Giddins has much to say about this title in
his book of the same title.)
Steven Lasker
Note: Brunswick m8083, copyright application and sheet music as Riding on a
Blue Note; ASCAP's "Record of the Works of Ellington, Edward Kennedy
(Duke)," the index to MIMM and the New DESOR as Ridin' on a Blue Note.
Steven Lasker
The Sergeant Was Shy
DEMS 11/1-10
I have just listened through the new Mosaic box, which needless to say is a
fantastic production.
In my own notes I have two takes of The Sergeant Was Shy from 28Aug39 (DESOR
3917).
Bakker listed two takes (A and B) in his first [1974] discography. New DESOR
only lists one.
Jazz Supreme JS-102 shows take B. The Mosaic box only contains one take.
Timner's 3rd edition shows two takes but also admits that "recording files
do not show a take B on this particular date. It is therefore possible that
take B has been recorded at some later date".
Luigi Sanfilippo's General Catalog also shows two takes. Any comments?
Bo Haufman
What has been wrongly considered to be take B, was not from the studio session
of 28Aug39. It has been released on Raretone 23004 and on Jazz Supreme 102. It
is in The New DESOR among other un-dated selections from broadcasts under
DE3925. In Timner's fourth edition, it has been removed from the 28Aug39 session
and added to the 24Nov39 session. In his fifth edition Timner has given it a
separate place on page 38 together with the un-dated Boy Meets Horn. See
also DEMS 81/3-1 and 81/5-2.
DEMS
Comments on the Mosaic releases by
Steven Lasker
DEMS 11/1-11
On page 25 of my essay to "The Complete 1932-1940 Brunswick, Columbia
and Master Recordings of Duke Ellington and His Famous Orchestra" (Mosaic
MD11-248), I extended an invitation to all readers: "If you spot any
factual errors in this booklet, please rat us out via DEMS."
Since the booklet for the big band box (Mosaic MD11-248) went to bed, I've
spotted more than a few errors in my essays; others were brought to my
attention by Ken Steiner, Brian Priestley and Patricia Willard. They are as
follows:
Corrections in the text of the 11 CD box booklet
p. 10, session (C): Carl Laemmle (whose name was misspelled in my notes) was the founder of Universal Studios; Check and Double Check was an RKO production.
p. 10, session (E): I found the title Harlem Manucurist [sic] in the engineer's log, not in the ledger.
p. 14, session (M): I've Got the World on a String debuted in the 21st edition of the Cotton Club Parade, not the 22nd.
p. 17, session (S): At the close of paragraph 3, I state that Brunswick 6600 couples Sophisticated Lady and Moonglow; this release actually couples Sophisticated Lady and Stormy Weather.
p. 17, session (T): In the last sentence of paragraph 1, "C883-3, C884-3 and C885-3" should instead read "C883-3, C884-3 and C886-3."
p. 21, session (AA): "Mark David" should instead read "Mack David."
p. 21, session (BB): Yearning for Love. The original title shown in the ledger was _________ the Slide, the first word was rendered illegible due to erasure.
p. 24, session (JJ): My statement that the session of 20Sep37 was "Ellington's first-ever recording date with four trumpets" was incorrect. There were four earlier sessions with four trumpets, all for RCA Victor: 26Sep33, 4Dec33, 9Jan34 and 10Jan34. (Thanks to Michael Kilpatrick for spotting this error.)
p. 29, session (TT): I wrote that the half-valve effects at the end of Daybreak Express (Victor, 4Dec33) are by Freddie Jenkins, but Brooks Kerr reports that he was told by Louis Bacon that he took the solo.
p. 32, following the solography for session (AAA), the following paragraph should have appeared: The American Record Corporation was renamed the Columbia Recording Corporation (CRC) on May 19, 1939. On September 8, 1939, the CRC introduced its 50-cent red-label Columbia pop record and quickly shifted the most popular and prestigious Brunswick artists to the new label. The 75-cent Brunswick label was gradually phased out over the seven months that followed, the final issue under Columbia's aegis being Brunswick 8520, released in April 1940. As sales of Brunswick records declined and it became evident that the minimum sales threshold required to retain the Brunswick, Vocalion and Melotone trademarks would go unmet, Columbia was obliged to discontinue Vocalion, the label on which the small group recordings were released. The final Vocalion issued under Columbia's aegis, number 5621, was released July 5, 1940. It was priced at 35 cents, as was the next record in the series, OKeh 05622. This marked a revival for OKeh, which had been discontinued early in 1935 in favor of Vocalion.
p. 33, session (CCC): In the last paragraph, I state that Jimmie Blanton joined the band on November 2, 1940. The correct date is November 2, 1939 (see DEMS 10/1-26).
p. 33, footnote liii: "The Hot Back" should instead read "The Hot Bach."
p. 37, sessions (A), (B) and (C): "Freddy Jenkins" should instead read "Freddie Jenkins."
p. 37, session (C): The session time is shown as "unknown start time to 5:30 a.m." The ARC ledger notes that BX11263 St. Louis Blues finished at 1:20 a.m., while BX11264 Creole Love Call finished at 2:40 a.m. Neither the engineer's log nor the ledger shows a finish time for B11265 Rose Room, the third and final title recorded this date (February 11-12, 1932), but Brooks Kerr recalls being told by Ellington, Guy and Greer that the session finally finished at 5:30 a.m.
p. 40: Brooks Kerr recalls a Downbeat article on Ellington from circa 1970 that stated that some of Ellington's ARC sessions were supervised by Russ Morgan, probably circa 1936. Can anyone locate the issue of Downbeat that Brooks recalls and tell us exactly what it says on this point?
p. 41, session (MM): In the listing, M771-2 should have preceded M771-1 for consistency's sake. (We don't know the sequence in which the takes were actually recorded.)
p. 42, session (VV): In the footnote, "the first take only of Slap Happy" should instead have read "Slap Happy take one only." (Again, we don't know the sequence in which the takes were recorded.)
p. 43, sessions (BBB), (CCC), and (DDD): The Chicago studio of the World Broadcasting System's Chicago was on Erie Street, not Eire Street. (Page 17 of the notes to the Mosaic small group sessions box can also be corrected on this point.)
p. 44, release dates of LPs: Columbia C3L-27 was released on 9/16/63, not 9/16/33.
Corrections about the photos in the 11 CD box booklet
While I supplied most of the photos used in the big
band box, Scott Wenzel supplied the captions without my assistance. I have
several comments:
Caption to cover photo: Considering that the trumpeter whose back is to the
camera plays his instrument left-handed, I don't suppose there can be much
doubt that he's Freddie Jenkins.
p. 7: Photograph by Bloom Studios.
p. 8: I don't know for a fact that this photo was taken "at the Oriental Theatre, Chicago, March 1931." Can anyone confirm this? This photo's background differs from what is seen in photos posted on Google Images as from the Oriental Theatre in Chicago.
p. 20: My print of this photo came to me from Ray Avery; the caption should read "courtesy of the Ray Avery Archives/CTSIMAGES.COM."
p. 24: Hat's off to Scott Wenzel, who compared this photo to what is seen in "Record Making with Duke Ellington," and realized that the photo is from that event, given the musician's clothes, which are in each case the same.
pp. 27, 28: Both photos were taken at the same event; the photo on 28 was first published in Smithsonian Collection R 010, a two-LP set (Duke Ellington 1939), as "courtesy of Jack Towers," suggesting that Jack may have been the photographer. At my request, Patricia Willard is checking with the Towers family to ascertain if this is in fact so; if it is, Rhoda will be paid.
Corrections in the 7 CD box booklet
Now to the small groups box (Mosaic MD7-235):
p. 14, session (S), paragraph two: "Scott Powell"
should instead read "Scat Powell."
p. 15, session (X), paragraph four, first sentence: "since 1930"
should instead read "since 1929."
p. 17, session (EE), paragraph two, third sentence: "checking' out" should instead read "checkin' out."
p. 17, session (II & JJ), paragraph one, last sentence: "Eire" should read "Erie".
p. 19, sessions (OO & PP), first sentence: "1897-1842" should instead read "1897-1942."
p. 19, "The Recording Supervisors," paragraph two: "Cameo" should instead have read "Romeo."
p. 25, session (W): The record was released as by
"Duke Ellington and His Famous Orchestra." Harry Carney does not play
bass clarinet on this side, an instrument he didn't pick up until about 1944.
Considerable discussion about this recording can be found at DEMS 07/1-40.
p. 26, session (BB): Vocalion 4941 as "Dance of the Goon," and credited to "Hodges-Ellington." Sheet music (and presumably the copyright) as "Dance of the Goons," and credited to Hodges alone.
p. 26, session (FF): Times of day weren't noted in the ledger, but the engineer's log shows "3:30-4-5" (sic).
p. 27, list of LPs: CBS(F)88518 is vol. 13, not vol. 10.
p. 27, 78 RPM release dates: The two Gotham Stompers issues were inadvertently omitted. Vri 541 was released on 4/30/37 and Vri 629 on 8/20/37.
DISCUSSIONS
- ADDITIONS - CORRECTIONS
Duke Ellington at the Cotton Club
DEMS 11/1-12
See DEMS 10/3-8
This concerns your note in the latest Bulletin regarding the
"missing" non-vocal version of Lost In Meditation. I have an
entry in the old DESOR of July 5, 1938, NBC, which I also used on JAZZ PANORAMA
LP 14. I didn't use it this time for the double-CD as I got the impression that
this version in fact was a dub of Br 8083.
Maybe someone could listen to these two versions in tandem and confirm if they
are the same or in fact two very different versions.
Carl Hällström
The date of 5Jul38 in the old DESOR has been corrected in the meantime to
5May38 in The New DESOR. But that is of no importance. The recording of Lost
in Meditation on Jazz Panorama 14 is indeed identical with the studio
recording of 2Feb38. Session 3814 should be deleted.
DEMS
US Amazon is now taking pre-orders for the Storyville Cotton Club set at a
reasonable price. It's a great set. I ordered it from the UK and have been
listening to it a lot until it was replaced on my CD player by the Mosaic box
set. I do have a couple of questions about the Cotton Club set. Is that Harry
Carney playing a counterpoint to the orchestra from about the 1:40 to 2 minute
mark of Prelude in C Sharp Minor or some other instrument I can't
identify?
Also, Andrew when you write of Lawrence Brown making his way to the mike in Lost
in Meditation do you mean Juan Tizol?
Joe Medjuck
I cannot answer your first question. I think you are right with your remark about
Juan Tizol being the soloist in Lost in Meditation.
Sjef Hoefsmit
Harmony in Harlem on Youtube
DEMS 11/1-13
21Mar11. Just wanted you to know that I'm in the middle of uploading a
dozen or so videos to Youtube of my Harmony In Harlem orchestra playing in
Cambridge for a charity fund-raising ball a couple of weeks ago.
You can find all the videos here: http://www.youtube.com/user/HarmonyInHarlem
I'm afraid the sound quality really isn't that good at all, compared to the
picture quality. It's a *very* resonant, high-ceilinged venue and the
reverberation on the videos doesn't make for ideal listening! It's very
indistinct and echoey.
So far I've uploaded Serious Serenade, Harlem Air Shaft, Rose of the Rio
Grande. The rest is in progress as I write.
Michael Kilpatrick
Six or Seven Times
DEMS 11/1-14
I have a problem with Six or Seven Times, DESOR 2917.
Almost every discographer in the world, for example Alexandre Rado, Eddie
Lambert, Dick Bakker and Steven Lasker, and numerous sleeve note writers claim
it is Freddie Jenkins playing the trumpet and singing. But New DESOR claims it
is Cootie Williams.
I can find no correction sheet about this recording so I assume it has never
been up for discussion. Which opinion do you feel is the correct one?
Bo Haufman
In fact a correction has been made. See DEMS 98/1-16 (wrongly paged as
97/4-16). In a group of corrections on the booklet that came with the Decca GRD
3-640, 3 CD set, Steven Lasker wrote:
"p.19: The date of the first "Six Jolly Jesters" session should
read Friday, October 25, 1929; every reference to Jenkins (who wasn't on the
date) should be changed to credit trumpeter/vocalist Cootie Williams (who was).
(Thanks to Brooks Kerr who convinced me of my error on this point.)"
This confirmation of the date and the correction in the personnel came nicely
in time for the publication of The New DESOR in 1999. That's why you will not
find a correction on this session.
DEMS
Portrait of the Lion
DEMS 11/1-15
In my review of Timner's fifth edition of "Ellingtonia" (DEMS
09/2-4), I stated that "Portrait of the Lion mx. WM1006-2 (21Mar39)
was first issued on French Swing, not Brunswick as Timner indicates." That
statement, which was accepted as correct both by Timner (DEMS 09/3-4) and the
DESOR team (DEMS 10/1-28), may well be in error. While this take doesn't appear
on any copy of the U.S. Brunswick that I've ever heard of, the first issue is
likely Parlophone D.P 288, as per many discographies. My copy of D.P. 288 is
dubbed from take two (it's an excellent dub) and bears "WM 1006-1A"
stamped in the run-out groove area. My copy of Swing SW. 307 is also dubbed
from take two (it's a very poor dub) and bears "M3-118330" and
"OSW 579-1" in the run-out groove area; the label shows "OSW.579
(WM1006). Until the actual release dates are found for both issues, I don't
suppose it's prudent for me or anyone else to dispute the accepted wisdom that
the Parlophone issue was the first release of this take.
Steven Lasker
This means that the small correction, mentioned in Bulletin 10/1-28 (p41)
should be withdrawn.
DEMS
October/November 1950
Ellington-Strayhorn piano duets
DEMS 11/1-16
See DEMS 10/3-15
Brian Koller is right, the Cabu (not Capu...) CD has the correct pitch, it was
made with a 440 diapason.
Claude Carrière
RCA Victor sessions of May45
DEMS 11/1-17
In May 1945, Ellington's orchestra recorded new versions of some of their
best-selling classic songs for RCA Victor. Many of the selections went unreleased
until the early 1950s, when they appeared on U.S. Victor and/or English HMV.
Some titles appeared on both labels, and there's been some question as to which
issues are the originals. The answer is found by reference to dealer's
numerical catalogs which I have recently inspected, an RCA catalog from 1951
(courtesy of Ken Swerilas) and an HMV catalog from 1951-52 (courtesy of the
Institute of the American Musical).
The RCA Victor catalog shows that eight of the titles were released in July
1951 on "A Treasury of Immortal Performances: Duke Ellington's
Greatest" in two formats, 7-inch 45 rpm singles (in four-disc set WPT 11,
consisting of records 27-0054/55/56/57 and priced at $3.75) and a 12" 33
1/3 rpm LP (LPT 1004, priced at $4.00). [See The New DESOR page 1408].
The HMV catalog shows that 78 rpm single J.O. 243 was also released in July
1951, while J.O. 249 was released in April 1952. I found no release dates for
the other HMV J.O.-series issues by Ellington, but presume they were released
at some later date.
Steven Lasker
Skin Deep
DEMS 11/1-18
On <http://www.depanorama.net/desor/1068.pdf> Skin Deep is
9044a, released on Co ML-4639. Co ML-4639 is listed by Mr. Aasland in Wax Works
1954 (record 944) as being the same as the 78rpm Philips label P.B.243, 2 sides,
that has additional numbers AA21204-2H-1 and AA21204-1H-1. Mr. Aasland dated it
August 10, 1952. The 78 is mentioned in Lambert (page 166) as well.
Nielsen gives the date as Aug.12, 1952. Jepsen doesn't mention the 78 release
(unless I'm misreading him).
My question is: if the LP and the 78 versions are the same recording, how was
the transition from side 1 to side 2 done? Did side 1 just fade out, with side
2 starting with a few repeated bars? That was done with Happy Go Lucky Local,
if I recall correctly. Do you know if they did that with Skin Deep?
David Palmquist
The recordings are indeed the same.
The LP version (the long recording) being the original one, has no interruption
or anything.
The 78 rpm Philips PB 243, side 1 ends just after 4°(nc)8BAND. Only one drumbeat
by LBe can be heard (not even a bar) of the following lib208LBe. There are no
repeated bars. Side 2 starts with lib208LBe.
DEMS
CDs on Amazon
DEMS 11/1-19
In perusing the Amazon listings I came across a couple of items I didn't
know existed on CD: The Unknown Session and a set from the Rainbow Grill 1967. Has
anyone heard the latter and is it worth getting? (I've already received the
former which I used to have on LP and always liked).
Joe Medjuck
We have on Moon Records MCD049-2 a session at the Rainbow Grill from 17Aug67.
See DEMS 93/4-2. The quality is fine. Our "Unknown Session" is on CBS
467180-2. Hoefsmit reported this CD to Benny Aasland, but to our surprise it
has never been mentioned in DEMS Bulletin. It has the 12 selections from the
recording session of 14Jul60, previously released on LP CBS 82819 (see DEMS
79/3-2), which is the same as Columbia JC-35342, (see The New DESOR page 1336).
DEMS
Duke Ellington - Reminiscing in Tempo
DEMS 11/1-20
Does anyone know anything about this DVD? I just came across this on Amazon:
<http://www.amazon.com/Ellington-Duke-Reminiscing-Tempo/dp/B004D0AMR4/ref=sr_1_3?s=music&ie=UTF8&qid=1294452246&sr=1-3>
Beverly Richardson
Filmmaker Gary Keys crafts a compelling tribute to late jazz icon Duke
Ellington in this companion piece to Keys' 1980 documentary "Memories of
Duke", which combines unseen clips captured during the famous pianist and
bandleader's 1968 Mexican tour with footage and interviews shot at sister Ruth
Ellington's annual birthday celebration. Though fans know well that the man
known as Duke never celebrated his own birthday, ever since his death in 1974
sister Ruth has made up for lost time by hosting an annual gathering in which
friends, family and former bandmates all gather for a yearly birthday bull
session. In addition to offering a closer look at the beloved jazz master, this
lovingly-crafted documentary also features an original suite that was never
commercially recorded.
Jason Buchanan
The DVD is only available in "region 1" (Canada and USA). In Europe
we hope for a release for our region (region 0 or 2).
DEMS
Columbia Black, Brown and Beige
DEMS 11/1-21
See DEMS 99/4-18/1
Some people may have already noticed that
Sony Legacy have recently reissued this CD. On initial inspection, the only
difference from the Phil Schaap-produced centennial edition is that they've
saved money by omitting the 28-page booklet!
However, there are two discrepancies in track timings, one of which seems to a
mere clerical error. On the other hand, track 14 (which is the rehearsal take
of the 23rd Psalm) differs because the first 1'18" is missing on the new
reissue, presumably for digital reasons, so the timing shown accurately
reflects this.
Brian Priestley
Unidentified AFRS version of Take The "A" Train
DEMS 11/1-22
See DEMS 10/3-20
I purchased the ten-CD Radio Archives' "Date with the Duke" set. Each
CD has two complete 30" entries in the long-running Armed Forces Radio
Service DWTD series. There are numerous discrepancies between the content of
the CDs and the New DESOR descriptions of their counterpart 16" LPs:
DWTD-03, New DESOR Disc 0016 [on page 1289], ends with a partial 4511o.
DWTD-04 and DWTD-05, New DESOR Discs 0017 and 0018, both open with 4515a
instead of 4511a.
DWTD-65, New DESOR Disc 0075, ends with a partial 4546t.
Many DWTD discs open and/or close with a specific performance of Take The
"A" Train, that, for convenience, I will refer to as X. The New DESOR
consistently but incorrectly states X is 4511a. 4511a is a brief theme version,
but X is full-length, although always cut off at various points by the AFRS
radio engineer.
Within the 10 CD box set, X is present at the beginning of DWTD shows 6, 7, 8,
9, 12, 13, 14, 16, 22, 65, 74, and 76. It is present at the end of DWTD shows
5, 7, 8, 9, 12, 13, 14, and 16.
To aid comparisons, I have copied the most complete version of X from the CD box
set to
http://filmsgraded.com/duke/01.mp3
.
I have not been able to identify X. It is distinguished by a dull clank
noise from Sonny Greer's drum kit at 0:17. Comparing X with the full-length New
DESOR versions through 1945, there are 11 listed, of which I have eight. Of the
remaining, DE4106b is a studio recording, and DE4204a has no piano intro, so
that leaves DE4212b from 21Jul42, or else (more likely) it is a version
unlisted in New DESOR.
While listening to random Ellington recordings on my iPod, I came across the X
version of Take The "A" Train referred to in my earlier email.
It is 4582a. Only a snippet of 4582a is found on The Treasury Shows CD Vol. 6,
and presumably the same snippet is on AFRS ONS-763 (which I don't have a copy
of). A longer version is on Joyce LP-1066 [which contains the complete
broadcast ONS 763. The same broadcast, ONS 763, New DESOR session 4582 is on
the CD DETS Volume 8 but now without the opening theme.]
The version found on the AFRS DWTD series referred to as X, taken from the
Radio Archives Date with the Duke box set is the "long" version (yet
still truncated) of the 4582a Take the "A" Train from the
Treasury Shows Volume 6 double CD. It is track 5 on the second CD, a 17 seconds
truncation. The New DESOR revision correctly identifies this version under Disc
0862 on Correction-sheet 3016 as 4582a. The New DESOR description for 4582a,
int4DE;1°BAND, is apparently based on the ONS-763 snippet. It appears that
4582a (long version referred to as X) was never included on any of the 48 DETS
LPs.
Brian Koller
The complete version was described correctly in the old Desor Volume 5 page 154
for 315a: intro4DE;1°BAND;2°20RN,(%). Our Italian friends listened to the AFRS
"Date with the Duke" broadcast and they must have assumed that this
was the same as what was recorded on 7Apr45 for the first Treasury Show.
Sjef Hoefsmit
PARIS BLUES — Discoveries and Corrections
DEMS 11/1-23
The DESOR small corrections in DEMS 10/3-24 (for page 1064) are surprising
and confusing.
They certainly need clarification because for DE6108 we now have: the structure
descriptions in the New DESOR, Correction Sheet 1101 and the Small Corrections
in DEMS 10/3-24.
Which one is correcting which?
Obviously changes and additions are due to the attentive exploration of the
"Paris Blues" film now on DVD [see 09/1-11] and so we finally
discover that the music issued on LP+CD as the film's "original
soundtrack" is largely different from what we hear in the movie and often was
not used for the film.
In his book Klaus Stratemann wrote on page 434:
"... a comparison of session recordings against the soundtrack and LPs
would be futile". And he already asked the right question for DESOR
session 6108 (we ask again): are the DESOR entries deduced from the soundtrack?
or are they based on direct information? and/or listening to a hitherto
unavailable source? [See the answer by Luciano Massagli at the end of this
contribution.]
Stratemann nevertheless offered a "SOUNDTRACK RUNDOWN" on page 430,
and then (starting on page 431) a long list of "RECORDING SESSIONS". Once
again we only can admire his findings/descriptions 20 years ago !!, but trying
something similar today we can observe some discrepancies which are worth
discussing and underlining.
I isolated and extracted the musical parts from the film as shown on French TV
and now available on DVD (although I'm unable to delete the dubbed-over talking
and general film noises) and following Klaus' list on page 430 I have obtained
the herein attached rundown with 26 tracks.
The comparison offers some interesting insights/clarifications and, confronted
with the different descriptions in DESOR, Small Corrections and Correction
Sheets, leads into the following remarks:
- most of the recordings issued on the &quoot;Original Soundtrack"
LP are NOT USED in the film.
- the Unidentified Title in position 9 and 16 on Stratemann's list (1:40 + 0'17
respectively) is in fact Lay‑Bye from Duke's Suite Thursday, here
performed mainly by French tenor-sax Guy Lafitte (thanks to Jean Portier for
identification)
- Autumnal Suite in the film runs for some 6 min and must be a
mix of 6108b, xb and g, because DESOR
has a total of 19 choruses for this title !!
- Nite = Paris Blues: I think we havve 6108xa in the first part of the
film (Stratemann position 7) with no trombone but with CA at the end. The film
has another Nite = Paris Blues in its last part (position 20) and this
6108 sounds like a mix made from 6108a, xa and possibly even other parts.
- Battle Royal has over-dubs differeent on LP and during film: listen for
instance to the first 8LA.
- the short Paris Blues p-rehearsal in position 14 is possibly 9076d
(see Correction-sheet 1093)
Klaus Götting
Answer by Luciano Massagli:
The first parts of the 6108xa and xb
tracks are the same as the new structure written in the small corrections of
December 2010.
The corrections are deduced from the sound track. When the film was recently
issued by United Artists we have listened again carefully to the sound track and
because we realized that we made some mistakes in the descriptions we have
prepared the corrections included in DEMS 10/3-24.
The session 6036 is deleted: The Clothed Woman is in reality 6024d, with
the new description as from DEMS 10/3-24, Sophisticated Lady and Paris
Blues are not by Ellington.
Luciano Massagli
"Paris Blues" film SOUNDTRACK RUNDOWN
(with supposed recording dates and New DESOR entries) to be compared with
Klaus Stratemann page 430
A Train (AB or BS supervise) nov60 %1:53 (IIa)
Paris Blues theme -tb 6108 ? 02may61 0:49 (Va)
Wild Man Moore 14dec60 2:17 (IIIa)
Sophisticated Lady possibly 6036a dec60 0:48 (IVA)
Mood Indigo 6024g 21jul60 3:03 (Ia)
Nite = Paris Blues 6108xa 02may61 4:50 (V)
Blue Danube solo -p not DE dec60 0:37
Lay-By (= Unidentified) nov60 1:39% (IIb)
Autumnal Suite 6108xb 02may61 6:03 (V)
Sophisticated Lady nov60 2:13 (Ia) or (IIc)
Birdie Jungle = Guitar Amour 6108d 02may61 1:53% (V)
Paris Stairs 6108xc 02may61 3:07% (V)
Paris Blues (p-reh) possibly 9076d 14dec60 0:16 (IVc)
Paris Blues 6108f 02may61 1:48 (V)
Lay-By (= Unidentified) nov60 %0:17 (IIb)
Brief LA -tp 14dec60 0:06 (III)
Wild Man Moore 14dec60 0:37 (IIIb)
Battle Royal 9076e 14dec60 4:16 (IIIc)
Paris Blues -g -p not DE nov60 0:57 (IVb)
Nite = Paris Blues (mix) 6108 ? 02may61 5:40 (V)
Clothed Woman 6024d 21jul60 1:45 (IVd) or (Vc)
Guitar Amour (-g) not DE dec60 %1:01 (IIId)
Unidentified (PG) 60 1:18 (Ib)
Paris Blues -p fragm % 6024a 21jul60 0:22 (IVc) or (Vb)
Paris Blues -p fragm % 6024a 21jul60 0:44 (IVc) or (Vb)
Paris Blues finale % 6108i 02may61 4:24 (V)
NEW
RELEASES AND
RE-RELEASES
DETS (D) 903 9015 - 2 CD set
Duke Ellington Treasury Shows, Vol. 15
DEMS 11/1-24
Good news from Storyville. Volume 15 is in the making. The selections are
known:
The numbering of the selections is my guess work. I just learned that Ken
Steiner is working on the liner-notes!
CD 1
Treasury broadcast No. 28 — ABC Studio 6-B, Radio City, NYC
27oct45
1. Take the "A" Train (theme)
2. Johnny Come Lately
3. I Can't Believe That You're in Love with Me
4. Stomp, Look and Listen (into station break)
5. Take the "A" Train (and return)
6. The Wonder of You
7. Joshua Fit the Battle of Jericho
8. The General Jumped at Dawn
9. Mood To Be Wooed
10. Three Cent Stomp
11. Yesterdays
12. Do Nothin' Till You Hear from Me
13. Stompy Jones
14. Things Ain't What They Used To Be (into broadcast closing)
MBS Broadcast from the Hurricane
Restaurant, NYC
23May43
15. As Time Goes By
MBS Broadcast from the Hurricane
Restaurant, NYC
28May43
16. Way Low
17. Around My Heart
18. Perdido
19. Ogeechee River Lullaby
CD 2
MBS Broadcast "Pastel Period" from the Hurricane Restaurant, NYC
6Jun43 (the major
part of this bc. is on CD 4 of the Duke Box from Storyville, 07/1-46)
1. Oh! Lady Be Good
2. Nevada
3. Just Squeeze Me (Subtle Slough)
Treasury broadcast No. 29 — ABC Studio 6-B, Radio City, NYC
3Nov45
4. Take the "A" Train (and broadcast intro)
5. Clementine
6. Jeep Is Jumpin'
7. Don't Take Your Love from Me
8. It Don't Mean a Thing
9. If You Are But a Dream
10. Emancipation Celebration
11. Caldonia
12. Ring dem Bells (into station break)
13. Take the "A" Train (and return)
14. A Door Will Open
15. Court Session
16. That's for Me
17. On the Atcheson, Topeka and The Santa Fe18. Every Hour on the Hour
19. How Deep Is the Ocean
20. Victory Drive
21. Autumn Serenade
22. Take the "A" Train (into broadcast closing)
La Maison du Duke (Duke's Place in
Paris)
DEMS 11/1-25
See DEMS 10/3-14
Probably the most famous collector of unissued Duke Ellington recordings in
France was Dr. Charles Clavié. La Maison du Duke has acquired his tape
collection from which our French friends have released a CD: "Duke
Ellington: the 1962 Museum of Modern Art Recital". This first CD has been
given to the members of the association as a present. How future releases have
to be distributed without having conflicts with the copyright is under
discussion with official labels. They have also planned the release of CDs with
recordings of "The Duke Orchestra" of unknown Duke material that will
be transcribed from the recordings in the Clavié collection.
See for more information www.maisonduduke.com.
The recital at the Museum of Modern Art was given on 4Jan62. It started as
usual with Duke as soloist playing:
1. New York City Blues
2. Blue Bells of Harlem
3. The Clothed Woman
4. Melancholia
5. Janet
6. Reflections in D
7. There Was Nobody Looking
8. New World a-Comin'
This was followed by the trio: Duke, Aaron Bell and Sam Woodyard, playing:
9. Take the "A" Train
10. Lotus Blossom
11. Satin Doll
12. Single Petal of a Rose
13. Kinda Dukish
14. Medley:
Do Nothin' Till You Hear from Me
Solitude
Don't Get Around Much Anymore
Mood Indigo
Cops (Asphalt Jungle)
I'm Beginning To See the Light
Sophisticated Lady
Caravan
15. Dancers in Love
ELLINGTONIA
The New DESOR corrections
DEMS 11/1-27
We remind you that these
corrections are merely suggestions. They are not (yet) accepted by the authors
of the New DESOR.
Pages 33, 36 and 1369. Session 3803, 2Feb38: add after Lost in
Meditation: JP LP-14.
Session 3814, 5May38 should be deleted.
LP 0449, Jazz Panorama LP-14: track B01 is 3803c and not 3814a. It should no
longer be underlined. See 11/1-12
Page 60. Session 4201, 21Jan42. My copy of Victor 27856 has take 2A in
the wax on side A Moon Mist. This is also reported in the booklet of the
24 CD box Duke Ellington, The Complete RCA Victor Recordings (1927-1973), RCA
09026-63386-2. The alternative take -1 was originally issued on the French LP
RCA FXM1 7301.
Bo Scherman
Moon Mist, take -2, has pauses in the intro, which
take -1 doesn't have.
Sjef Hoefsmit
Pages 376 and 1359. The New DESOR states that DE6439nj, the second
version of Mood Indigo from the 6439n medley, is unissued.
However, it is included on the Foxy 9001 LP. Both versions of Mood Indigo
are present, and the medley appears to be complete on the LP.
Brian Koller
You are right. This must have
been a slip of the pen, because the Medley is listed as completely issued in
the old Desor as 934l on page 688 of Volume 13. Maybe the confusion is due to
the fact that this last part of the Medley was not mentioned on the jacket of
the Foxy LP, although other errors on that jacket have not been copied. The
structure is documented in The New DESOR on page 1029, but I prefer the
structure as mentioned in the old Desor, with a coda of 2 bars.
Sjef Hoefsmit
Page 433. Session 6650, 26Jun66. The Medley 6650a is released on the
DVD "The Best of the Dean Martin Variety Show Volume 20" Guthy-Renker
DV0046 copyrighted 2004
This Medley was followed by an awful "sing along with Dean" Medley
(see 04/1-31), which is not on this DVD.
Brian Koller
Page 984. DE3605b, Kissin' My Baby Goodnight, should be
2°IA&DE instead of 2°IA.
Brian Koller
Page 993. DE3610, Lazy Man's Shuffle. The New DESOR
describes this as
1°4BAND,8JH;2°4BAND&CBk,8CBk;3°(nc)8LB;4°BAND&JH;5°(nc)8HC;6°4BAND,8RS;cod8CBk
but RS, the composer, is often in the foreground, and it appears the
description should be
1°4RS,8JH;2°4RS&CBk,8CBk;3°(nc)8LB;4°RS&JH;5°(nc)8HC;6°4BAND&RS,8RS;cod8CBk&SG
Brian Koller
Page 1036. Moonlight Fiesta. The description for 3502c
should be "Same as 3502b" since it also has "cod2BAND,2DE".
Brian Koller
Page 1113. DE3612a, Scattin' at the Kit Kat. The New DESOR
describes this recording, 21Dec36, without a Cootie Williams trumpet
introduction. And, indeed, there is no CW trumpet intro on The New DESOR Disc
0269 [page 1324] Track D01 (CBS 2LP The Complete DE Vol. 7).
However, believe it or not, there is a Cootie Williams trumpet introduction on
the version of 3612a on The New DESOR Disc 0919, track B19, correction sheet
3030 (Best of DE Sony&BMG 4CD). This CW trumpet intro differs from that on
3702c and 3702d, 5Mar37, since Sonny Greer's drumming is readily audible on the
trumpet intro on those two later recordings but is not audible on the Sony 4CD
3612a.
Brian Koller
See also DEMS Bulletin 82/3-5 last item on
the page. Mosaic MD11-248, Disc VI, track 11 is (obviously) also complete.
DEMS
Page 1323. LP 266, CBS 88035, "The Complete Duke Ellington -
Vol.4":
A02 is 3205b not 3205a, A03 is 3205a not 3205b.
Brian Koller
Page 1323. LP 267, CBS 88082, "The Complete Duke Ellington -
Vol.5":
Both takes of Merry Go Round (B03 and B04) are DE3302a.
Brian Koller
Page 1324. LP 268, CBS 88137, "The Complete Duke Ellington -
Vol.6":
Track B02 Moonlight Fiesta is 3502c instead of 3502b. Track B04 is 3502b
instead of 3502c.
Brian Koller
Page 1327. LP 278, CBS 88653, "Duke 56/62-Vol. 1": Track D01 Track
360 is 5804xp instead of 5804a.
Also correction-sheet 1007, session 5804, 4Feb58 should be corrected.
Brian Koller
Page 1333. LP 236, Columbia CL-2365, "The Ellington Era Volume Two
- Part III", track A04 Pyramid is listed as 3819e but it is 3819d.
Brian Koller
Thanks to the new Mosaic release, your statement could be checked and
confirmed.
DEMS
Page 1422. LP 734, The Old Masters 44, "Duke Ellington Opens the
Cave - Volume One"
Track B04, the first listing of Don't Get Around Much Anymore from the
first column should be Don't You Know I Care? instead of
"same" in the second column.
Brian Koller
Correction-sheet 1053, session 3403, 26Feb34. All four takes of Ebony
Rhapsody are designated as unissued, but 3403a and 3403b have since been
issued on New DESOR Disc 0919 (4CDset "The Best of Duke Ellington",
Sony&BMG 88697302362, correction-sheet 3030), and 3403d is issued on New DESOR
DVD 0924 "Pre-code Hollywood Collection" Universal 61106092,
correction-sheet 3031).
Brian Koller
Correction-sheet 3029, 0915 DVD Eagle Vision "Duke
Ellington at the Côte d' Azur".
The first 12 seconds of Such Sweet Thunder (Track 103) are from DE6664m.
The rest is from DE6665j, as stated.
Brian Koller
I agree. I would say the first chorus is from 28Jul66, DE6664. The rest (chorus
2 - 7) is from 29Jul66, DE6665.
Sjef Hoefsmit
The New DESOR correction-sheets
Here are the latest
additions to the Correction-sheets:
DEMS 11/1-28
Sessions
1103 6108 NYC 2&3May66 11/1-23
9097 Highland Park, 1Jul57 11/1-6
Discs
3031 "On the Road" Docurama NVG-9502 02/2-22/7
"Paris
Blues" Optimum Classics OPTD-1348 09/1=11
3403d Universal 61106092 61106092 09/1-13
DE-Cotton Club Storyville 1038415 10/3-18
3032 Mosaic 1932-1940 MD11-248 10/3-5
3033/1 Mosaic 1932-1940 continued MD11-248 10/3-5
as soon as there are more sessions for 3033/1, the sheet will be
updated. The number will change into 3033/2 or 3033 (for the final version).
Small
corrections
5014 - Two pages with
small corrections, assembled August 2009, from page 18 until and including 1487
(see 09/2-22); assembled December 2009, from page 220 until and including 1504
(see 09/3-37); assembled April 2010, from page IX until and including 1461 (see
10/1-28); assembled August 2010, from page XXIII until and including 1498 (see
10/2-20). ); assembled December 2010 from page XXV until and including 1493 (see
10/3-24)
Al these "small corrections" are assembled
from the very first (5001) to the last one (5014) on what we prefer to call
sheets 6000, see http://www.depanorama.net/desor/
DEMS
DESOR small corrections
DEMS 11/1-29
These corrections are authorised
by Luciano Massagli and Giovanni Volonté.
DEMS
DESOR small corrections 5015
Volume 1 (Corrections April 2011)
XXV - Ret … Retrieval (08/2-27)
8 - Session 2819, 20Dec28. Vocal UF instead of AHa. (10/3-22)
17 - Session 3201, 2Feb32. Add: ARC studios.
(Steven Lasker Booklet Mosaic 11 CD set page 37 = SLBM37)
18 - Sessions 3203 & 3206, 4Feb & 16May32. Add ARC studios. (SLBM37)
18 - Session 3205, 11Feb32. Add: ARC studios. 3205xa, delete:
unissued: add: Ret 79053. (08/2-27)
Same corrections on Correction-sheet 1021. (SLBM37)
19 - Session 3207, 17May32. Add: ARC studios. (SLBM37)
19 - Session
3208, 18May32. Add: ARC studios. 3208xa, delete: unissued; add
Mc MD11-248. (10/3-5)
Same corrections on Correction-sheet 1053. (SLBM37)
19 - Session 3209, 19Sep32. Add: ARC studios. 3209b, delete:
Gp 040;
add: Ra RTE-23001 as 1st edition.
3209c, delete Ra RTE-32001; Gp 040 is the 1st edition. (SLBM37)
20 - Session 3212, 22Sep32. Add: ARC studios. 3212c issued on
Br 6432; 3212d issued on Co 35863
(SLBM38)
20 - Session 3213, 21Dec32. Add: ARC studios. (SLBM38)
20 - Session 3214, 22Dec32. Add: ARC studios. 3214f&g, delete: unissued ; add Mc MD11-248. (10/3-5)
Same corrections on Correction-sheet 1022. (SLBM38)
20 - Session 3301, 7Jan33. Add: ARC studios. Delete: OH. (SLBM38)
20 - Session 3302, 15Feb33. Add: Columbia studios. (SLBM38)
21 - Session 3303, 16Feb33. Add: Columbia studios. (SLBM38)
21 - Session 3304, 17Feb33. Add: ARC studios. (SLBM38)
22 - Sessions 3306 & 3307, 9 & 16May33. Add: ARC studios. (SLBM38)
22 - Session 3311, 15Aug33. Add 3311xa, take -B of Jive Stomp unissued.
(05/2-11)
Correction-sheet 1073.
22 - Session 3311, 15Aug33. Add: ARC studios. 3311xa, delete
unissued; add Mc MD11-248. (10/3-5)
Same corrections on Correction-sheet 1073. (SLBM39)
25 - Session 3414, 12Sep34. Add: ARC studios. Correct date is 13Sep34. (SLBM39)
25 - Session 3501, 9Jan35. Add: Brunswick studios. The personnel of
3501d, Moonlight Fiesta
(Porto Rican Chaos), is: CW, RS (t.); JT (tb.); HC (b.s.); DE (p.); FG
(g.); WB (b.); SG (d.); UN (mc.)
Delete: unissued; add: Mc MD11-248. The take number is -2. (SLBM39)
25 - Session 3502, 5Mar35. Add: ARC studios. Personnel, delete CW
& FG.
The personnel of 3502b&c, Moonlight Fiesta (Porto Rican Chaos), is:
CW, RS (t.); JT (tb.); JH (a.s.); HC (b.s.); DE (p.); FG (g.); WB, BT (b.); SG
(d.); UN (mc.) (SLBM39)
26 - Sessions 3503, 3504 & 3505, 30Apr, 19Aug & 12Sep35. Add: ARC studios. (SLBM39)
26 - Sessions 3601 & 3602, 3 & 20Jan36. Add: Brunswick studios. (SLBM39)
27 - Sessions 3604 & 3605, 27 & 28Feb36. Add: ARC studios. (SLBM40)
28 - Session 3608, 17Jul36. Add ARC studios. (SLBM40)
28 - Session 3609, 29Jul36. Add ARC studios. 3609b, delete: Br 8213; add Vo S-50. (SLBM40)
28 - Session 3612, 21Dec36. Add Associated Cinema studios.
3612xa, delete: unissued; add Mc MD11-248. (10/3-5)
Same corrections on Correction-sheet 1023. (SLBM40)
32 - Session 3716, 20Sep37. Add ARC studios. 3716xa&xb, delete:
unissued;
add: Mc MD11-248. (10/3-5) Same corrections on Correction-sheet 1060. (SLBM41)
33 - Sessions 3801, 3803 & 3804; 13Jan, 2Feb & 24Feb38. Add ARC studios. (SLBM41)
34 - Session 3805, 3Mar38. Add ARC studios. 3805a, delete: Co 36108; add: Co DO-2137. (SLBM41)
35 - Session 3809, 11Apr38. Add ARC studios. (SLBM41)
35 - Session 3811, 24Apr38. 3811d&e should be played at the beginning of the session. (10/3-18)
36 - Session 3816, 15May38. NOTE - The correct and final sequence is: b, c, a, e, f, g, d. (10/3-18)
36 - Session 3819, 7Jun38. Add ARC studios. (SLBM41)
37 - Session 3820, 20Jun38. Add ARC studios. (SLBM42)
38 - Sessions 3825, 3826 & 3828; 4 & 9Aug & 2Sep38. Add ARC studios. (SLBM42)
39 - Session 3834, 22Dec38. The personnel of 3834a&b is:
WJ (t.); LB (tb.); BB (cl.); HC (bs.cl.); DE (p.); FG (g.); BT (b.); SG (d.).
(Steven Lasker Booklet Mosaic 7 CD set page 25, see 06/2-39; 07/1-39)
40 - Session 3906, 20Mar39, Add: World Broadcasting System studios. (SLBM42)
41 - Session 3907, 21Mar39, Add: World Broadcasting System studios. (SLBM42)
42 - Session 3912, 6Jun39, Add: World Broadcasting System studios. (SLBM42)
42 - Session 3914, 12Jun39, Add: World Broadcasting System studios. (SLBM43)
43 - Session 3917, 28Aug39, Add: World Broadcasting System studios. (SLBM43)
127 - Session 4605, 16Jan46. 4605h, delete: unissued; add: MoJ MJCD-1305. (10/3-22)
237 - Session 5722, Jun57. The date is 22Jun57. (10/3-22)
298 - Session 6108, 2&3May61. The selections issued on the LP
UA-4082 have also been issued on the
CD Ry RCD-10713. New DESOR page 1414.The Correction-sheet 1101 has been
replaced by 1103.
(98//2-14/2)
610 - Session 9069, 7May71. Correction-sheet 1089: DE, Arnold Dean
(tk.). 9069a Interview by Dean.
(10/3-22)
693 - Session 7342, prob. Sep73. The date is 6Sep73; the location is New York City, NY. (10/3-22)
Volume 2 (Corrections December 2010)
852 - Drop Me Off in Harlem, 3304h, 2nd chorus should read: 2°16AW,8FJ,8AW. (SLBM14)
866 - Farewell Blues, 3501b, 2nd chorus should read: 2°RS instead of: 2°CW. (SLBM18)
968 - Johnny Come Lately, 4309a Same as 4301v,
but:3°16BAND&JR,8DE,8BAND&BW;
4°(nc)16BAND. (10/3-22)
4325e, the 3rd chorus should read: 3°16BAND&JR,8BW&DE,8BAND&BW.
1051 - No Greater Love, 3604b, 2nd choruss should read: 2°8JH,8CW,8JH,8BAND. (10/3-22)
1083 - Pussy Willow, 3906d, 3910a and 39116g, 2nd chorus should read: 2°8CW,8LB,8RS,8BAND&RS. (SLBM30)
1122 - Shoe Shine Boy, 3608a, 2nd chorus should read: 2°IA&RS. (SLBM21)
1360 - Gaps 40, track A06: 3209c instead of 32099b. (SLBM37)
1399 - Raretone RTE-23001, track A01: 3209b insttead of 3209c. (SLBM37)
1452 - Collette, Buddy Aug 6, 1921 - Sep 19, 20010. (10/3-4)
1456 - Drakes, Jesse Oct 22, 1926 - Apr 2010. ((10/3-2)
1487 - Powell, "Benny" Mar 1, 1930 - Jun 26, 2010 (10/3-3)
1492 - Sears, "Al" - The birthday is FFeb 21, 1910 (10/3-22)
1497 - Taylor, William "Billy" Jul21,, 1921 - Dec 28, 2010 (11/1-2)