A Lark Ascending

He had the whole world...in his hands.

Good idea. I've been trying to do that, but the list I'm using also has parts of suites credited individually. Some slip through. Let me know every time I miss one (I know I missed one earlier with 'Fugue-a-Ditty' from 'A Tonal Group').

Ellington-a-thon: 8 VIRGIN ISLAND SUITE - Jungle Kitty, Island Virgin, Virgin Jungle, and Fiddle On The Diddle - 1965 [Duke Ellington-Billy Strayhorn] Blue Reverie - 1937 [Duke Ellington-Harry Carney] Cincinnati Daddy - 1929 [Duke Ellington] Hottentot - 1928 [Jimmy McHugh/Dorothy Fields] Ebony Rhapsody - 1934 [Arthur Johnson/Sam Coslow] Lily Belle - 1945 [irving Taylor-Dave Franklin] New World A-Comin’ - 1943 [Duke Ellington] Mexicali Rose - 1937 [Jack B. Tunney-Helen Stone] Georgia Grind - 1926 [spencer Williams] Purple Gazelle - 1962 [Duke Ellington]

'Grievin' is on the Ellington album with Rosemary Clooney ('Blue Rose'). Nice song on an excellent album (Clooney apparently taped the vocals on the other coast whilst pregnant!) Will return to this record as it contains one of my favourite Ellington tracks! I heard 'Cowboy Rhumba' the other day on one of the Classics discs - it passed by unnoticed. Edit: Just did my duty on 'Cowboy Rhumba' - silly song sung by a lounge vocalist about a Texan meeting a Latin lady and the sparks that fly. Latin rhythm, silly words that draw in nonsense from country and Latin music. The instrumental bit in the middle is pleasant enough - a bit of mariachi trumpet followed by brief exchanges between wah-wah trombone and trumpet. Your life will still be complete if you never hear this.

Had this lodged in my mind as the last great British TV drama since I first saw it as a TV series in 2003. Still gripping 7 years on. Sadly UK TV no longer seems interested in this sort of thing - a multilayered, complex drama with 3D characters taking 6 episodes to unfold. Everything now is done at such speed, polishing it off in 90 minutes and frequently with a dose of the 'paranormal'. I believe there's a Hollywood blockbuster take on the series.

Wyatt is one of those voices that you either love or hate. Like Dylan, it's not a conventional 'good' voice (Ian Partridge or Smokey Robinson!). I've always found him one of the most moving voices in my collection; coupled with a restless spirit, always prepared to think round corners, I find his records irresistible. But I can see exactly why others would be mystified by the appeal.

It's been a while since I've heard it, but I think that might be Jimmy Hamilton, whose tenor playing was quite the "conceptual" opposite of his clarinet playing, You are correct, Jim: http://www.jr.com/product/music/pm/_478939/#productTabCredits

Thought I'd listen to a few other Chelsea Bridge's later on today. AMG tells me I can choose from: Some of those are overlaps of name who appear on the same track. But it seems quite popular! ************* Sauntering back and forth across Chelsea Bridge: Ben Webster - Played three versions back to back. All gorgeous, thought the 1957 version (on 'The Soul of...') made least impression. The version with strings (and Strayhorn on piano and arrangement) sounded amazing - surprised me as I'm usually a bit iffy about jazz and strings. The sound canvass was very deep. Then the version with Gerry Mulligan which really benefits from the contrast between the two horns; some lovely, yet very restrained, counter melodies from Mullligan in the opening and closing. Kenny Burrell - Off the first volume of his Ellington albums. Given a slightly Latin feel - nice version with a half a chorus Burrell solo. Sounds very much of the 70s - the way the bass is recorded. Louis Stewart and Heiner Franz - Very beautiful version - two guitars bringing out the harmonic richness, not straying far from the original in pace or feel. Each guitarist takes a solo during the second chorus - I'd guess its Stewart in the main section, Franz in the bridge, then back to the written arrangement for the lasst few bars. Ella Fitzgerald and the Duke Ellington Orchestra - From the 'Songbook'. A wordless vocal that keeps the mystery of the original. The percussion gives it all a twilight in the jungle feel; some lovely clarinet rising out of the orchestra and then a tenor rips in, very different to Webster. Gonsalves? Tina May - With so many female jazz vocalists over here, Tina May often gets overlooked. She's probably too jazz-rooted to make the crossover successfully. This is probably the bleakest of all the versions that I've listened to. She's accompanied by the Britten Quartet (arranged by Colin Towns). Very slow, very wide-awake at 3 in the morning with your world falling down around you. Not sure where the lyric is from - did Strayhorn write one? Absolutely spine-tingling coda. Worth chasing down. The NDR Big Band - A fairly conventional big band version with tenor player sounding like a strange mix of Webster, Gonsalves and Archie Shepp! Comes across as much more of a blues than normal. Very nice piano from Walter Norris. Tomasz Stanko sweeps in towards the end, sounding more Cootie Williams than Tomasz Stanko! Would be interesting to hear him do this in his own quartet - would suit his bleak approach. A smattering of vibes before the tenor takes the piece out with band and piano playing up the blues again. Arrangement by Francy Boland.

Her profile seems to have fallen of late. Ingrid Laubrock is back on tour in the UK next month with a new band - 'Catatumbo' I meant Monica. Ingrid seems hyper-active on the recording front of late!

Her profile seems to have fallen of late. I saw some outstanding concerts by her, often with Ingrid Laubrock a few years back. A particularly memorable one with Brazilian singer/guitarist Guinga. Ingrid seems to spend much of her time in the States now playing more abstract music. I suspect the lack of interest in Hih has held Monica back. A pity - it's such a good album. Available via e-music if you have an account.

Don't think Wyatt wrote it - it's from an song by a disco era band called Chic. But Wyatt was certainly arguing its case as a moving song. If we analyse the literacy of popular lyrics and dismiss them for platitudes or illogicality, well, we'll not be left with very much. Here's one of my favourite Wyatt lyrics: Utter nonsense read off the page. But in it's context (an album of largely, abstract, instrumental music), a really affecting expression of romantic rejection. I think where we differ, Allen, is that you are seeking absolute truths; I'm happy with meaning altered by contexts.

To my mind, awful lyrics - but I never wish Billie Holiday had rejected them and sung something else. I actually really like 'What a Wonderful World' and the Louis version. Yes it's a highly sentimental gloss on a complex and troubled world (a cousin of 'I'd Like to Teach the World to Sing' or 'Imagine', two songs I have no time for but which seems to speak to others). I think an objective argument can be made for a song being badly constructed or having bad lyrics; but not that they are beyond redemption when tackled by an imaginative musician. ***************** Just played the Wyatt and enjoyed it thoroughly. His most direct album...ever, probably. He's normally quite evasive, holding back on the heart warming except for key moments, but here he seems unafraid to just let the melody flow. But it's not just easy listening - the original pieces, and more particularly, Atzmon's sax, reference the Middle East and his political interests there. Some of the songs are done straight, others reformatted. The string are lean, never cloying. And 'What a Wonderful World' is just played straight; even Atzmon plays it straight rather than taking the opportunity to run a Middle Eastern scale in order to place an ironic spin on the song's sentiment. Anyone who likes this should give these two a go: The first is Atzmon's album that pulled together Israeli and Palestinian musicians (for the benefit of anyone not aware, Atzmon is Israeli but a bitter critic of the government of his homeland, a very controversial figure). The second is by an emigre Brazillian singer in the UK - on this album Wyatt sings on a few tracks and co-composed some too - it would probably be my choice for the most overlooked vocal album of the noughties. The songs are gorgeous and all new!

Not being contrary, but what is the difference between a bad song and a good song? (beyond 'a bad song is one I don't like and a good song is one I do'). And can an interpretation of a bad song turn it into a good performance that transcends the songs inherent badness (a claim endlessly made - and I've bought into it - about Billie Holiday and Fats Waller's interpretations of Tin Pan Alley tunes).

When he did his version of 'I'm a Believer' back in '74, that song (along with everything The Monkees had done) was a 'bad song'. Since then The Monkees and (somne of) their songs have been rehabilitated by all and sundry. Wyatt didn't start that. But his very individual take on 'I'm a Believer' allowed you to hear past the unhippness of The Monkees in '74 to the very nice song beneath. He's been doing that on and off ever since - most notably with 'Keep the Red Flag Flying', a song that has been somewhat overexposed! Turned it to a lament for the evaporation of socialist ideals. Assertion, not argument.

You need to know Wyatt! He's steeped in jazz...grew up with it all around him (comes from a well-off, arty, bohemian type London background). Has no need to show off he's heard Louis Armstrong any more than the rest of us. Here's a version of what he's often said: So it won't be a 'bad song choice' - whatever that is. It'll have been a very deliberate song choice. Though his very gentle way with irony won't be apparent to all. Album arrived today so I'll go and give it a listen.

Very much enjoyed this contemporary satire - skewers everything you'd hope for - high finance, hoorays, religious fundamentalism, critics who get off on despising others, reality TV etc. I can't say I understood the financial shenanigans but I got the gist.

Bensonality A rather brash, strip-club blues with some nice tenor – sounds like Paul Gonsalves. The Controversial Suite Thanks to Papsrus and Jsngry for providing context for this. There’s a section early on in the first part that has been borrowed from an earlier suite – I think one of the short passages at the end of BB&B though I might be wrong. The mechanical tick-tock rhythm that runs through the piece would seem to support that interpretation! Another Ellington piece I find more ‘interesting’ than engaging. Chelsea Bridge 1941 RCA version Surprised no-one has picked up on this one. A glorious melody that seems to show more than a passing nod to Ravel/Debussy. Love the piano runs at the start and finish of this by Strayhorn (they remind me, in a more melodic way, of those strange runs at the end of Koko). I’m right at the limits of my musical knowledge here but am I right in hearing the use of a more chromatic scale here? The piano opening is wonderful leaving you unsure where the music is going. The middle eight seems more conventional, ‘sweet music’ than the main section, but dovetails quite nicely and is beautifully played by Webster. Throughout the constantly changing orchestration really keeps your attention (especially in the second chorus). Tizol seems to be playing a written melodic line (does he fluff the last note second time round?).

Finally catching up. A few personal responses: Creole Rhapsody Just listened to ‘Creole Rhapsody’ with Jeff’s analysis in front of me. I don’t have the Brunswick version but the comments certainly opened up the RCA for me. It’s always been a piece I’ve found interesting rather than ‘loved’. I have to say I still find it a bit episodic (but that might have more to do with bringing [half understood!] European classical expectations to bear on music with rather different origins). The first part really works for me, but by ‘side two’ it all seems to drift a bit (and the rather manic ‘citiscape' part-way does recall Gershwin to these ears – An American in Paris). Limehouse Blues Always loved this tune and I really like the arrangement here – the ‘Donkey Serenade-ish’ opening and closing sections, the way the rhythms chop around and a marvellous clarinet/baritone exchange in the middle. Echoes of the Jungle Really love this. Marvellous Hodges and Williams in the main, major theme and then that fabulous central passage where it moves into the minor and seems to attempt a directly pictorial ‘jungle’ feel (must have been a part of those themed Cotton Club sets?) – ghostly clarinet, those shimmering banjo strums (which remind me of some of the cartoon soundtracks of the 30s), Nanton adding to the feel with wah-wah trombone. The Mystery Song Nothing I could possibly add to Jeff’s comments apart from to echo the impact of that first section; doesn’t seem a million miles from the mysterious centre of Echoes of the Jungle. Just to demonstrate my inattentiveness, I’d never noticed that the Steve Lacy ‘The Mystery Song’ was a version of the Ellington! Am I hearing a bossa nova rhythm at the start of that? Nice version overall – all the rich ornamentation removed to leave an Ornettish approach. I really like the Lacy/Cherry harmonies, especially on the way out. As always, apologies for any musicological gaffs – a musical inarticulate attempting to communicate what's affecting me. A bit more later.

More to be said about set 6, I suspect, but let me put up another set to tide us over until next Wednesday. I'll be away from the pc until then; hopefully have something to say about 6 and 7: Ellington-a-thon: 7 Bensonality [Duke Ellington] - 1951 If I Were You [Charles Strouse/Lee Adams] - 1962 Grievin’ [Duke Ellington-Billy Strayhorn] - 1939 A Foggy Day (In London Town) [George Gershwin/Ira Gershwin] - 1962 I Could Get A Man [Duke Ellington/Thornton Hee-William Coltrell] 1947 Blues Of The Vagabond [Duke Ellington] - 1929 Intimate Interlude [Duke Ellington] - 1971 Cowboy Rhumba [Duke Ellington/Don George-Paul Reif] - 1947 Chelsea Bridge [billy Strayhorn] - 1941 Lesser known stuff mainly, with one obvious exception. Really enjoying reading all the reactions. I think we should collect Jeff's for publication. EDIT: Withdrew Dazzling Creature from the list - will reappear as part of 'Night Creature' suite.

Supplementary question (top challenge the gifted and talented): How many notes did he play in his life.

Thanks, Jeff. I was just toying with balancing up a number from the same or adjacent sessions where there might be some commentary that overlapped, with lesser or less well known pieces. I'll revert to a more random approach, keeping just a couple of the really well known pieces in each time. Otherwise we're going to be overloaded with the lesser/lesser known towards the end. I won't have time for a few days but I'm looking forward to listening to Creole Rhapsody with your commentary.

I don't think politics that is not relevant to Des Moines is likely to excite any wild passions. Quite safe outside the politics forum.

"What Should I Do With...Trident?" Sorry, that should be on the Liam Fox website. I think my answer would be the same. "What should I do with Liam Fox?" Might be the one excuse for rescinding the hunting ban.

I like the Charlie Christian suggestion...though it would be more accurate to leave out 'more'. Be fascinating to hear what he might have done in the LP era.

One of those smiley icons! Very droll.