anyone heard this one? live trio recorded in 72.
― tylerw, Tuesday, 26 April 2011 18:47 (2 years ago) Permalink
yeah, in re: to finances, it's obvious he could've, at some point, just dissolved his band and just become a kind of freelance celebrity musician, and probably been a lot more successful in a business sense. have you ever read music is my mistress? i haven't and the descriptions in this new book don't make it sound very essential.
True about how he could've otherwise dealt with his financial situation, but with his band as his instrument, he would have probably felt somewhat adrift and unfulfilled.
I've read MIMM, and it's kind of goofy and all over the place. It's not chronological, and one chapter is usually a non-sequitur to the previous chapter (i.e., Chapter 4: Louis Bellson was a great drummer! Chapter 5: I really enjoy a good steak!) I mean, it's a fun read, kind of like going to dinner with Duke and listening to him talk for about six hours. But it's not the least bit revealing, unless you count an exact account of every single restaurant meal he ever ate in his entire life.
― Funky Mustard (People It's Bad) (Tarfumes The Escape Goat), Tuesday, 26 April 2011 18:53 (2 years ago) Permalink
ha, well, that does sound kind of good. my library's got it, so i'll probably get around to it sometime soon.
― tylerw, Tuesday, 26 April 2011 19:09 (2 years ago) Permalink
The Whitney gig is a lot of fun; he plays some of his earliest material (and laughs with the audience about him being unable to play it now). Reminds me of James Booker just hanging out and reeling off medleys.
In the Uncommon Market has more trio stuff which I love.
― Brakhage, Tuesday, 26 April 2011 20:23 (2 years ago) Permalink
wow, never even heard of that one. looks like a cool set, though. amazing how much ellington there is!
― tylerw, Tuesday, 26 April 2011 20:25 (2 years ago) Permalink
It's not well known, but it's on iTunes and it's got a bunch of great live performances from the early sixties. The trio bits are recorded in this Italian garden, I think, so there's tons of crickets etc, which sounds awful but it's really magical.
― Brakhage, Tuesday, 26 April 2011 20:34 (2 years ago) Permalink
actually, I love all the room noise in his 60s recordings- he had a lot more open space in his work, and with recording fidelity improving there's cool little details. Like the guy going "dink-da-dink-dink" in between the call and response on "Limbo Jazz"
― bendy, Tuesday, 26 April 2011 20:59 (2 years ago) Permalink
eesh, didn't even know this was happening. mosaic, y u so expensive
The Definitive Songs. The Definitive Orchestra. And Now...The DEFINITIVE Edition.The Complete 1932-1940 Brunswick, Columbia, and Master Recordings ofDuke Ellington and His Famous Orchestra
After achieving youthful acclaim in Washington, and making a successful move to New York fronting (at first) small groups, Duke Ellington entered the 1930s with an expanded line-up and an increasingly creative approach to composing. Weekly radio broadcasts and swank guests in the audience spread the word; Hollywood noticed his marquee smile and musical brilliance; and the orchestra began touring extensively, including trips to Europe. His fame and popularity were on the rise.
But more importantly, Ellington entered the '30s having perfected his method of using the group to experiment with arranging and orchestrating. Ensconced at the Cotton Club in New York at the end of the previous decade, Ellington catered to a lot of musical interests and needs - he played for the dancers, and for the jazz lovers. He relied on ideas from his musicians, and wrote for them as individuals rather than as anonymous section players. With all that work and a line-up of marvelous, distinctive musical voices, Ellington began the most creative period of his life.
"Sophisticated Lady." "Stormy Weather." "Solitude." "In a Sentimental Mood." "Echoes of Harlem." "Caravan." All of them and many more are a part of "The Complete 1932-1940 Brunswick, Columbia, and Master Recordings of Duke Ellington and His Famous Orchestra," an unprecedented 11-CD set that compiles these recordings for the first, and quite possibly the last, time. There would be many more exceptional compositions in the years following, including his highly regarded suites and longer works, but the scope of our latest, lavish Mosaic collection is the period when Ellington would establish himself as the most important composer ever in jazz.
Musicians Created Their Own Voices, and Interpreted His
"Jazz, if it means anything, means freedom of expression," he told writer Stanley Dance. And express himself is what he did, through the instruments of stalwarts and newcomers to the orchestra who not only created personality for Ellington's band - they were, in many instances, standard bearers in their own right for their respective instruments.
Barney Bigard on clarinet and tenor saxophone established links to the past with his New Orleans-style runs, executed with exceptional warmth. Harry Carney was the only important soloist on baritone saxophone for years, and the big bottom his instrument provided brought real gravity to the Ellington sound. The great trumpeter Cootie Williams joined to replace the fallen Bubber Miley, quickly perfecting Miley's growl and mute techniques while creating his own sound with the open horn. He was a master of establishing mood and emotion. Lawrence Brown had a ringing tone on trombone, which complemented Joe "Tricky Sam" Nanton's earthy growl and Juan Tizol's fat sound. Trumpeter Arthur Whetsel, saxophonist Otto Hardwick, and the inimitable Sonny Greer on drums were all associates from the earliest days in Washington. Ben Webster began perfecting his tenor saxophone style during a brief mid-'30s stint with the band before being offered a permanent position in 1940. Late in the decade, Ellington discovered Jimmy Blanton, who would revolutionize bass playing with his terrific sense of swing and dead-on intonation before illness led to a tragically early death. And what can be said about Johnny Hodges, the silky smooth alto saxophonist who influenced generations of musicians? He was, in a line-up of superstars, a cut above all.
Ellington made use of them all, for their personal styles as well as for his own unique voicings that placed trombones at the apex of their range and clarinets at the bottom, or by putting unusual notes in the baritone instead of giving the instrument the chord's dominant tone. His compositions, the unique personal style of his players, his innovative arrangements, and his confidence in his soloists to raise any composition to a new level, combined to provide him with a palette unequaled in music.
The Complete Collection
Our set comprises a massive 11 discs featuring well over 100 Ellington compositions. In addition to the above-named musicians, guest stars Bing Crosby, Ethel Waters and the Mills Brothers make notable appearances. Ellington's female vocalist Ivie Anderson proves she was tailor-made for the band along with other superb band-mates Freddie Jenkins and Wallace Jones on trumpet, Fred Guy on banjo and guitar, Wellman Braud, Billy Taylor and Hayes Alvis on bass, and the unique cornetist Rex Stewart.
The exclusive Mosaic booklet includes a complete discography of the dates, a revealing essay and track by track analysis by Steven Lasker, and a number of rarely seen photographs. We urge you to order early - like all Mosaic sets, this edition is strictly limited, and given the importance of the music it contains, we're expecting significant interest.
― tylerw, Tuesday, 17 May 2011 21:28 (2 years ago) Permalink
RIP Kay Davis, Ellington vocalisthttp://www.nytimes.com/2012/02/23/arts/music/kay-davis-91-dies-ellington-used-her-voice-as-instrument.html?_r=1
― tylerw, Thursday, 23 February 2012 15:54 (1 year ago) Permalink
Did anyone read that book from last year Ellington's America or whatever it was called?
― Can You Please POLL Out Your Window? (James Redd and the Blecchs), Thursday, 23 February 2012 15:58 (1 year ago) Permalink
Yeah, I read it, it was great -- a little discussion of it upthread. One of the rare autobios where I came out of it with even more respect for the subject. He wasn't a saint, but it seems like he lived his life in a generally admirable way. For a genius anyway.
― tylerw, Thursday, 23 February 2012 16:01 (1 year ago) Permalink
Sad news. Always loved the '44 "Creole Love Call." Had no idea she was from my hometown (or that that's where Duke discovered her).
― Let A Man Come In And Do The Cop Porn (Tarfumes The Escape Goat), Thursday, 23 February 2012 16:03 (1 year ago) Permalink
Yeah she was great -- not really what people think of when they think "jazz vocalist" but Duke used her well in a lot of songs. btw i made this spotify playlist of Duke in the 1970s - lots of cool stuff! http://open.spotify.com/user/tywilc/playlist/3KNtFDxQE5BBi9fCvNK5m6
― tylerw, Thursday, 23 February 2012 16:04 (1 year ago) Permalink
RIP Kay Davis.
Nice playlist, Tyler! Thanks for the reminder to order a copy of Live at the Whitney, I need that.
― Brad C., Thursday, 23 February 2012 16:26 (1 year ago) Permalink
yeah, i have this thread to thank for letting me know about the whitney gig -- it is really fun. that duet discs with ray brown is rad too.
― tylerw, Thursday, 23 February 2012 16:28 (1 year ago) Permalink
"The three greatest composers are Bach, Delius and Duke Ellington"
(just came across this quote in Bernard Herrmann's biography)
― Axolotl with an Atlatl (Jon Lewis), Thursday, 23 February 2012 17:14 (1 year ago) Permalink
hee hee... Delius is like "who, me?"Speaking of Ellington in the 70s - just saw this:Duke Ellington ConcertMunicipal Auditorium New Orleans (New Orleans, LA) Apr 24, 1970http://www.wolfgangsvault.com/duke-ellington/concerts/municipal-auditorium-new-orleans-april-24-1970.html
― tylerw, Friday, 24 February 2012 16:29 (1 year ago) Permalink
Was just about to post that! Can't wait to listen. It seems a bit short and heavy on the standbys, but I guess that's to be expected.
― Let A Man Come In And Do The Cop Porn (Tarfumes The Escape Goat), Friday, 24 February 2012 16:31 (1 year ago) Permalink
yeah, festival date, crowd-pleasing mode. but those can be the best when it comes to duke.
― tylerw, Friday, 24 February 2012 16:40 (1 year ago) Permalink
Happy 113th, Duke! WCKR birthday broadcast here.
― Tarfumes The Escape Goat, Sunday, 29 April 2012 16:16 (1 year ago) Permalink
Thanks for the tip. Happy Birthday, Duke!
― Stars on 45 Fell on Alabama (James Redd and the Blecchs), Sunday, 29 April 2012 18:31 (1 year ago) Permalink
happy b-day! here he is 50 years ago
― tylerw, Sunday, 29 April 2012 19:17 (1 year ago) Permalink
― Tarfumes The Escape Goat, Sunday, 29 April 2012 19:34 (1 year ago) Permalink
Don't know why it took me a decade to get around to watching Ken Burns' Jazz doc, but there was a fascinating bit about Duke composing the ambitious but melancholy 13 minute "Reminiscing In Tempo" after his mother's passing in 1935. Critics savaged it at the time, but it sounds like a groundbreaking masterpiece. The version I found, however, from a 9 disc Complete Brunswick, Columbia and Master sounds like crap, recorded off a scratchy 78. Anyone know the best version? I'm guessing it's the Best of 1932-39, as it was restored by Harry Coster from the Dutch Jazz Archive. Ironically Sony released the budget priced set just in 2008, but it's already sold out and now fetching prices over $75. Trade, anyone?
The Best of Duke Ellington: 1932-1939 [4CD]Masterpieces 1926-1949 [4CD]Reminiscing In Tempo (1991 comp)
― Fastnbulbous, Friday, 15 February 2013 03:25 (4 months ago) Permalink
Further reading says the version I have is actually from the 11 disc Mosaic set, The Complete 1932-1940 Brunswick,Columbia and Master Recordings of Duke Ellington and His Famous Orchestra, and it's supposed to be the best. That can't be right!
― Fastnbulbous, Friday, 15 February 2013 03:59 (4 months ago) Permalink
Sadly, that's probably the case. I haven't heard, or heard of, a single instance of any Mosaic set having anything less than stellar mastering from the best available sources.
― Tarfumes The Escape Goat, Friday, 15 February 2013 14:43 (4 months ago) Permalink
Had never heard this one (but there's tons of Ellingtom I haven't heard). This original 78 sounds really nice!
― Nataly Dawn's echoey swamp sound (Dan Peterson), Friday, 15 February 2013 15:33 (4 months ago) Permalink