How has this brilliant recording survived all these years, more than half a century? There are not many releases which I recommend more highly than this one. It fills a tremendous gap in Duke's recorded work and it shows clearly that the decline in his career, which was supposed to have started around , had still to come if indeed it ever did.
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Alright, Johnny Hodges was still around, and the Columbia "Masterpieces" LP had still to be recorded at the end of but many black label releases and several collectors' tapes show that the band was still great during the so called "weak" years until Newport in The only remark I can make is the mention of Ted Kelly as the third trombone player. I strongly doubt his presence. Please do not copy this CD for your friends. It is close to Oldham and we are sure that many of our friends from the centre of the United Kingdom attended the Duke Ellington concerts.
Jerry Valburn discovered a set of recordings of all the complete concerts from up to and including He gave us permission to publish his finds. It is amazing, the quality and the quality are unbelievable. There are several tapes circulating from this occasion. One came from Eno Vittori and indicated truthfully that it came from Manchester 19Jan This tape or a similar copy of the original has been the source for our Italian friends for including the session in the old Desor and in the New DESOR.
Both sessions were included in Timner's third edition and found to be fakes. Now we know that there were two concerts on the same evening of 19Jan, both concerts containing exactly the same selections in the same order. There is no doubt that both concerts are different but to know which one is the first and which one is the second concert, one should listen to the opening Take the "A" Train.
If it is short actually not even two complete choruses it is the start of the first concert. If it is long actually a bit more than three complete choruses it is the start of the second concert. Also the difference between both versions of Kinda Dukish is very obvious. The long version is from the first concert and the short version only one chorus is from the second. The descriptions in Volume two of the New DESOR indicate that session is the second concert and that the first concert is missing.
Only one title is missing in session One More Once. He played again two concerts that evening, but we have only the recording of one of these concerts and it does even not seem to be complete. It is not included in the New DESOR for the obvious reason that Luciano and Giovanni didn't have the possibility of listening to it before they wrote the book but it will now be confirmed on a Correction-sheet.
There was a 29Feb64 concert mentioned in Timner 's third edition, but that was proven to be a fake, made from recordings from 2, 20 and from 21Mar In his fourth edition he dropped that recording and replaced it with the one we are going to describe here.
In his opening words Duke dedicated Black and Tan Fantasy; Creole Love Call and The Mooch to several of his young friends in the audience, whom he called "group seven". Maybe some of our friends from Manchester and the surrounding area can remember who these people were.
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Maybe they were members of the gropup themselves. Please let us know this historical fact. Almost exactly one year later, Duke was back in Manchester on 27Feb65 with two concerts, differing enough from each other to enable us to see that what we have on a tape from the Joe Igo collection came from the second concert. In the third edition of Timner, these concerts are missing. Before he wrote his fourth edition Timner had apparently access to recordings of both concerts. Duke toured through Europe with Ella Fitzgerald that year and they mostly played two concerts.
One of the very few items in which I do not agree with the authors of the New DESOR is the exclusion of those selection where Ella performed, backed by the band. There are enough recorded examples of occasions where Duke left the stage see Amsterdam during My Funny Valentine which were not omitted from the discography. I can accept that the selections on which the band does not play are not included, but why would we leave them out? Sometimes the band is still noticeable like at the end of Mack the Knife. See also Correction-sheet Harvey Cohen's book, "Duke Ellington's America".
In addition to this review, our April program was based of Dietrich's book to give you all a chance to hear a lot of fantastic trombone along with Dietrich's illuminating comments.
Pay Prof. Kurt Dietrich is also an accomplished musician. So all this is to say that his opinion on matters trombone is more valuable than that of your humble reviewer. The greatest strength of the book, of course, is telling the story of Duke's wonderful trombone section.
Our readers will probably enjoy a brief summary before a brief evaluation of the strengths many and weaknesses few of the book. Charlie Irvis, who joined the Washingtonians early in , became the group's first "distinctive voice" on trombone. While most of us will recall Bubber Miley and Joe Nanton as the best representatives of the growl plunger style of playing, Ellington recalled that "Charlie Irvis was first.
Miley and Irvis, who were boyhood friends, roamed Harlem nightspots looking to make a little extra money playing as a brass duo. The best guess seems to be that they developed their growling plunger styles together. Joe Nanton replaced his friend Charlie Irvis in the band in the middle of Nanton and Miley worked together in further developing the growling jungle sound for which Ellington was noted. Nanton stayed with the band for two decades and, unlike Irvis, was recorded extensively. Nanton, born in , suffered a stroke in and died in Juan Tizol joined Ellington in Tizol, of course, is best known as a composer of several well known pieces such as "Caravan," "Pyramid," and "Perdido.
The study of these three make up a good portion of the book. They were so good that they acquired the appellation "God's Trombones. Juan Tizol left Ellington in Joe Nanton died in Although Tizol and Brown would eventually return, the trombone section was in a state of flux during the late s, which time saw the emergence of Tyree Glenn, one of the best musicians ever to play in Duke Ellington's orchestra.
Glenn's solo on the long version of "Mood Indigo" from the Masterpieces album is one of the finest solos in all Ellingtonia. The trombone section of the s was another notable group - Britt Woodman, Quentin Jackson on plunger, and John Sanders on the valve trombone. The three men also became great friends who enjoyed playing together, making for an exceptionally cohesive section.
In the s, the great events in the trombone section were the return of Lawrence Brown and the arrival of Buster Cooper and of Chuck Connors on bass trombone. Dietrich states that the addition of the bass trombone was the most significant development in the section since it became a trio in Indeed, the trombone section with Connors had a rumble and a roar of its own.
Buster Cooper was a unique voice in the history of ducal trombone, being a blues specialist who did not use plunger. Kurt Dietrich's descriptors of Ellington's pieces that feature trombones certainly had me listening with new ears.
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There are many transcriptions of trombones solos and of section playing that someone with a basic knowledge of music will appreciate. There are many fine photographs of our heroes and more than a few good stories. Buy the book! The book will cost Euro 30,00 including packing and postage and can be ordered directly from me.
Joe Farrier You are right. We should have written 'You hear a part of the interview'. You do not see it, indeed. Another small error is at of Part 2. By the way, the recording of Solitude you hear at the start and at the end of the DVD is the same as mentioned at in part 1. The titles of the DVDs and the contents are identical to Planet Song and respectively mind you! I was there. I could never have guessed that there would be one day, almost half a century later, when I would regret that I did not make notes during the concerts. From these concerts we have the recordings of 2 radio broadcasts, made by ourselves at home.
The speaker suggested in the first broadcast that this was from a live performance, but it must have been pre-recorded, since I could not be in the concert hall and at home in the same time. There are also several video recordings in the hands of collectors. Another one never released is 69 minutes long. It contains the same material plus four "fresh" selections.
Comparison of these video tapes reveals that as far as the selections they have in common are concerned, they contain the same selections. In the radio broadcasts there were three selections which were not on either of the two video tapes: Tenderly, Perdido and Sophisticated Lady. Moreover one title in the Medley Just Squeeze Me was missing from one radio broadcasts as well as from both video recordings and also from the DVD while another title Solitude was missing from the other radio broadcast. It seemed that one of these missing selections, Sophisticated Lady , was appearing now for the first time, released on the DVD.
But as I have I listened the past half century an enormous number of times to my first home-made audio tape from the radio broadcast, I immediately noticed some differences.
CARTE BLANCHE TO JEREMY DUMONT
And indeed my audio tape is different from the DVD! If we accept therefore that the DVD is from the second concert, we must conclude that this part of the broadcast came from the first concert. I am not sure about the two other missing selections, Tenderly and Perdido , but I believe that since these three selections can be fairly reliable linked with each other and seem not to have been tele-recorded, they also must belong to the first concert.
Furthermore, in many of the concerts during this tour the band played these three selections one after another in the same sequence: Tenderly, Perdido and Sophisticated Lady. The Medleys are not different however. Both Medleys are identical in as far as the titles are the same. The only strange difference between the two radio broadcasts was the identity of the missing selection Just Squeeze Me in one broadcast and the missing Solitude in the other. Only Just Squeeze Me could have been from the first concert because we do not see it on screen, but I do not believe this, because Duke thanked Ray Nance for both titles at the end of the Medley in the second concert.
Another sequence in which Duke was thanking Ray Nance made me suspicious. It is at the end of the opening Take the "A" Train. On the DVD Ray Nance was not credited after the opening Take the "A" Train , which actually was only represented on the recording by a very last blow on the drums no cymbal without an image from the concert at the beginning of the DVD. On my audio tape I have a full recording of the opening Take the "A" Train as described in the New DESOR under number a, which means that the 4o chorus had only 8 bars before the coda of 2 bars.