Ellington-a-thon

[cih]

Total musical illiterate here, but the way the piano notes are stabbed out has me in mind of Monk. It's not as off-centre as Monk, but it might be leading that way.

Me too - reminds me of something like 'Raise Four'

[jeffcrom]

Ellington-a-thon 12

Misty Mornin’ 1928 [Duke Ellington/Arthur Whetsel]

I've been meaning to reacquaint myself with "Misty Mornin'," so I listened to the Okeh and Victor versions this morning. It alternates a simple blues theme (but one that gets under my skin) with a beautiful, lyrical melody played by Artie Whetsol. Whetsol was Ellington's "sweet" trumpet player in the early days and in his own way, he was as individual as Bubber Miley. Both versions feature tenor solos by Barney Bigard - we think of him as a clarinetist, but as a young man in New Orleans and Chicago, he was known as one of the hottest young saxophonists around. The Okeh version has the added attraction of a Lonnie Johnson guitar solo. I've always loved those Ellington records on which Johnson plays.

On the Okeh record, which was the first recording, Wellman Braud bows the entire piece, except for Johnson's solo. By the time the band recorded "Misty Mornin'" for Victor, Ellington had figured out how to use Braud's bass more effectively. He only uses the bow during the introduction and coda, but sometimes plays a straight four, sometimes plays running countermelodies, and sometimes lays out, letting Ellington's left had take the bass. It's worth listening to the Victor recording once just to concentrate on the bass.

[A Lark Ascending]

Ellington-a-thon 13

• 
  
  
• El Viti -
  
• Diminuendo In Blue - 1937
  
• Crescendo In Blue - 1937
  
• Chant For F.D. Roosevelt - American Lullaby 1945
  
• CONTROVERSIAL SUITE - 1951
  
• Kentucky Avenue, A.C. - 1967
  
• Brotherhood (The)- 1973
  
• Jet Strip - 1959
  
• Me And You - 1940
  
• Poinciana - 1944
  

Apologies for falling behind on this - to Jeff especially who has put so much into the thread.

Here's a Xmas special!

Edited December 28, 2010 by A Lark Ascending

[jeffcrom]

Ellington-a-thon 12

Diminuendo In Blue - 1937

Crescendo In Blue - 1937

Okay, I'll start with the confession that I don't much like the most famous version of this piece. More on that later.

Although Ellington often played "Diminuendo" without "Crescendo" in the 1960's, I definitely think of the two as a unit. The original 1937 recording is a masterpiece, and I judge other versions on how close they come to realizing the musical values set forth in that first recording.

The titles of each movement summarize what's going on, but that's not the whole story. Yes, "Diminuendo" starts out at full volume and gets gradually softer, but at the same time there's a diminution of the musical density. The same thing happens in reverse in "Crescendo" - the piece doesn't just get louder, it gains intensity and complexity at the same time.

On top of this, Ellington plays with the 12-bar structure of the blues. He extends some choruses and drops measures from others, and at times blurs the boundaries between choruses by making the last note of one chorus the first note of the next. And the piece is full of Ellington's wonderful tone colors. To point out one example, listen to the three clarinets playing in unison in their lowest register at the beginning of "Crescendo" - what a cool sound. And both parts swing like hell.

It's interesting that, in its original form, there's almost no improvisation in the "Diminuendo and Crescendo." The only real improvised solos are twelve bars by Harry Carney in "Diminuendo" and twelve by Johnny Hodges in "Crescendo." This is a composition, not a blues to blow over. In later versions, Cat Anderson was turned loose to wail over the ending of "Crescendo."

The original recording was issued on two sides of a 78, but when performed live the suite needed a bridge to link the two parts. The simplest solution was the one adopted by Ellington on the excellent 1945 V-Disc recording (and presumably at many live performances around this time) - a short piano solo. At the January, 1946 Carnegie Hall concert, Ellington uses his piece "Transblucency" to bridge the sections, making for a nice three-part suite. In later years the responsibility for connecting "Diminuendo" and "Crescendo" was given to Paul Gonsalves, who took advantage of the opportunity to play that famous 27-chorus solo at the 1956 Newport Fest.

That Newport version is the one I don't care for, although I'm glad for the effect it had on Ellington's career. The band flattens out the dynamics which are such a large part of the point of the piece. They don't diminuendo that much, and start out "Crescendo" so loud that there's not much room to build. And although I'm surely in the minority, I don't think Gonsalves' famous solo is very interesting.

But in its original form, "Diminuendo and Crescendo in Blue" is a masterpiece.

Edited December 28, 2010 by jeffcrom

[jeffcrom]

Ellington-a-thon 12

Me And You - 1940

Bev, I've never heard of several of the pieces in edition 12 - I hope someone weighs in on "Chant for FDR," "Jet Strip" and Ellington's version of "Poinciana." But I just listened to "Me and You" on an airplane last week. It's an Ellington pop song, sung by Ivie Anderson, and although it's not among Duke's best works, I'm kind of surprised it wasn't more of a hit at the time. It's catchy and very singable - more so than "Sophisticated Lady" or "Prelude to a Kiss." And the band's performance is great - catch Cootie's trumpet at the beginning, with Harry Carney's interjections. Overall a little ordinary for Ellington, but I'm surprised it didn't catch on.

[jeffcrom]

Oh, and this is actually chapter 13 in the Ellington-a-thon, not 12. And "Controversial Suite" was discussed back in #6.

The pressures of Ellington-a-thon leadership are starting to take their toll on Bev.

[JSngry]

Ellington-a-thon 12

Me And You - 1940

Bev, I've never heard of several of the pieces in edition 12 - I hope someone weighs in on "Chant for FDR," "Jet Strip" and Ellington's version of "Poinciana." But I just listened to "Me and You" on an airplane last week. It's an Ellington pop song, sung by Ivie Anderson, and although it's not among Duke's best works, I'm kind of surprised it wasn't more of a hit at the time. It's catchy and very singable - more so than "Sophisticated Lady" or "Prelude to a Kiss." And the band's performance is great - catch Cootie's trumpet at the beginning, with Harry Carney's interjections. Overall a little ordinary for Ellington, but I'm surprised it didn't catch on.

Also re-recorded on the R. Clooney/Duke album. Not really a great song, imo, but definitely "pleasant", in a good way.

[A Lark Ascending]

Oh, and this is actually chapter 13 in the Ellington-a-thon, not 12. And "Controversial Suite" was discussed back in #6.

The pressures of Ellington-a-thon leadership are starting to take their toll on Bev.

More old age, I think! Thanks for that.

I remember a discussion of 'The Controversial Suite' but thought that was on another thread! I usually cut and paste the 10 random tracks from the main list - must have copied and pasted. If I'm losing track now God knows what I'll be like by 2038 when we should finish!

Re: the unknown tracks, I'm just copying from a database mentioned at the start of the thread. Some of the things there are oddities in films and the like.

Interesting thoughts on "Diminuendo" and "Crescendo". I'm saving my listening until my Mosaic arrives. Your comments on the Newport version open up a whole can of worms. Are we really hearing a thrilling performance or are we just responding as we thing we're expected to because of all we've read about the performance?

'Me and You' is a tune that has stuck in my head over the years; I like both the Ivy Anderson version and the Rosemary Clooney.

[JSngry]

Not really "crazy" over Gonsalves' solo on the Newport version of D&C, but unlike Jeff, I prefer the band's reading of the chart itself. I understand his preference for the earlier, but for me, the writing itself is just so nuts (in the good way) that the more "blatant" rendition at Newport really drives that aspect of it home.

Funny story (perhaps) - the first time I heard the Newport version was on a radio show. At the time, I knew just a little of Ellington, and knew of Sun Ra almost exclusively by reputation. It wasn't until the Gonzalves interlude that I realized that I was hearing Ellingotn instead of Sun Ra, that's how wack the writing and the band seemed to me then.

[golfcrazy1984]

Not really "crazy" over Gonsalves' solo on the Newport version of D&C, but unlike Jeff, I prefer the band's reading of the chart itself. I understand his preference for the earlier, but for me, the writing itself is just so nuts (in the good way) that the more "blatant" rendition at Newport really drives that aspect of it home.

I too like the bands performance musically versus say, the original recording or even other live recordings from the 50s-60s. I LOVE Gonsalves' interval between movements. A masterclass on theme and variation and exploration of the blues. I listened to his solo over and over as a kid just getting into jazz and still can whistle it. I've transcribed it and it's wonderful. I wish there were tenor players around today like that. Oh well...there are some out there....but not like Gonsalves, Webster...sound mattered to them.

I think for me I get excited about Ellington at Newport '56 partly because of history and it was one of the first recordings that I studied at length when I was coming up. Reading all of the stories and tales from that night were exiting. Jo Jones rolling up a newpaper, keeping time and encouraging the band from the wings during D&C, etc. His output from Newport 1956-59 is just as inspired as the Blanton-Webster years and I actually prefer Such Sweet Thunder, Anatomy of a Murder, etc. to the 40s recordings. I really think his band turned around when Hodges came back into the fold and Sam Woodyard joined. Ellington had the best trumpet section at the time, Willie Cook, Clark Terry, Shorty Baker, Cat Anderson AND Ray Nance. What a musically rich time to be alive! Think of all that was going on in 1956!

Sorry for the ramble.

[A Lark Ascending]

Sorry for the ramble.

Feel free to ramble, Jaz Nut. That's what the thread is all about!

[jeffcrom]

Ellington-a-thon 13

Brotherhood (The)- 1973

Okay, the first Ellington-a-thon selection from the Sacred Concerts. The Sacred Concerts contain some of Ellington's best melodies ("Heaven" is melodically as good as anything he ever wrote, for example), but I hope it's okay to say in this music forum that I find the theology and lyrics pretty childish, for the most part. "The Brotherhood" is from the Third Sacred Concert, and is dedicated to the United Nations, who sponsored the concert in Westminster Abbey. I'm okay with it until the John Alldis Choir comes in. It's a catchy piece, and the band bites into it, but the very unswinging choir and lame lyrics about the United Nations are a drag. On the positive side, there's a long Harold Ashby solo.

[golfcrazy1984]

Ellington-a-thon 13

Brotherhood (The)- 1973

Okay, the first Ellington-a-thon selection from the Sacred Concerts. The Sacred Concerts contain some of Ellington's best melodies ("Heaven" is melodically as good as anything he ever wrote, for example), but I hope it's okay to say in this music forum that I find the theology and lyrics pretty childish, for the most part. "The Brotherhood" is from the Third Sacred Concert, and is dedicated to the United Nations, who sponsored the concert in Westminster Abbey. I'm okay with it until the John Alldis Choir comes in. It's a catchy piece, and the band bites into it, but the very unswinging choir and lame lyrics about the United Nations are a drag. On the positive side, there's a long Harold Ashby solo.

I too find his lyrics and his theology pretty undeveloped. I agree that "Heaven" is amazing. I think Ellington put his whole heart and soul into the Sacred Concerts and it's great that a composer such as him would devote so much time to his religious beliefs.

Edited January 1, 2011 by Jazz Nut

[A Lark Ascending]

Ellington-a-thon 14

• 
  
  
• Like A Ship In The Night - 1939
  
• I Can’t Stop Loving You - 1964
  
• I’m Hip Too - 1967
  
• Dusk - 1940
  
• Chocolate Shake - 1941
  
• Clementine - 1941
  
• Upper Manhattan Medical Group - U.M.M.G. 1956
  
• Admiration - 1930
  
• Bunny Hop Mambo - 1954
  
• NUTCRACKER SUITE - 1960
  

Edited June 10, 2012 by A Lark Ascending

[jeffcrom]

Ellington-a-thon 14

Bunny Hop Mambo - 1954

Oh, my god! Run! Save yourself!

This is truly awful. Look away!

[jeffcrom]

Ellington-a-thon 14

Dusk - 1940

I've been distracted by the new Mosaic Ellington set, which has been very enlightening for me - I thought I knew Ellington's output for these years pretty well. Nope, as it turns out.

But I went back and listened to "Dusk," one of my favorite minor masterpieces from the 1940 Victor sessions. It had the bad luck to be recorded during one of Ellington's most prolific periods - if "Ko-Ko," "Concerto for Cootie," "Cottontail," "Never No Lament," "Harlem Air Shaft," "All Too Soon," "Warm Valley," "Across the Track Blues," etc. hadn't been recorded in the same year, we might remember "Dusk" better.

But it's a great little piece, using the "Mood Indigo" sound (middle-register muted trumpet, high-register muted trombone, low-register clarinet) for the main theme. Rex Stewart plays an unusual cornet solo that is very similar on both takes - it may have been written by Ellington as part of the composition. One of the most striking moments comes during the trombone trio after the trumpet solo - the saxophones answer the trombones' first phrase with a lovely phrase featuring three mordents. (A mordent is a musical ornament consisting of a quick flip up to a higher note and back.)

Two takes of "Dusk" were recorded, and there are minor differences between them - Ellington tinkered with arrangements even while they being recorded. But the first, originally issued, take has better balance and is a more well-played performance.

"Dusk" is a little gem.

[danasgoodstuff]

Listened to Ellinton's Nutcracker yesterday and loved it. Not too much else to say, just thought I'd stick that in here. And Nutcracker has so many good melodies to work with that theband just sounds like the're having fun...

[jeffcrom]

Ellington-a-thon 14

Upper Manhattan Medical Group - U.M.M.G. 1956

"U.M.M.G." was one of the two brand-new tunes that appeared on the Bethlehem album Historically Speaking, which was otherwise composed of older pieces. This didn't make any sense, but was the kind of thing Ellington liked to do - remember "The Twitch" on The Popular Duke Ellington, the greatest hits collection he recorded for RCA in 1966? Anyway, "U.M.M.G." was credited as an Ellington composition on the Bethlehem album, and my CD issue still credits it as such. But it reappeared credited to Strayhorn on Columbia's Jazz Party in 1959, and again on His Mother Called Him Bill, Ellington's 1967 Strayhorn memorial album. These days it's recognized as one of Strayhorn's best pieces, and has been "covered" a fair amount.

"U.M.M.G." has a remarkable, long-phrased, flowing melody. I've read in several places that you can sing the words "Upper Manhattan Medical Group" to the first phrase. I don't quite hear it, but maybe some others hear will. In any case, it's a real thing of beauty. Strayhorn or Ellington seems to have had a "modern" trumpet in mind for the piece - Willie Cook is the main soloist in the original version, guest star Dizzy Gillespie is featured on the Jazz Party version, and Clark Terry takes over for the 1967 recording. Harry Carney keeps his short solo spot in all three versions, which (a few tweaks aside) are all recordings of the same arrangement - Strayhorn's, presumably. The chart builds to a nice climax at the end.

The earliest "cover" of the piece (I think) is an unusual 1960 version by Bob Wilber, with Dave McKenna and Charlie Byrd, from Wilber's Classic Jazz album New Clarinet in Town. It's a good one, from an interesting albun that shows Wilber at a level far beyond the Sidney Bechet imitator some people still think he is.

[JSngry]

Claire Fisher's take on it was pretty interesting as well.

[jeffcrom]

Ellington-a-thon 14

I Can’t Stop Loving You - 1964

This is from Ellington '66, an album of pop tunes, including two Beatles songs. It's pretty cool to hear Cootie Williams growling "I can't stop loving you...." There are a couple of passages of trombone duets - Lawrence Brown playing the melody and Buster Cooper (I think) wailing over and around it. Johnny Hodges has some nice spots, and Sam Woodyard keeps up a great shuffle - light, but intense - throughout. This performance is a hoot.

[jeffcrom]

I miss this thread, but wonder how much I contributed to its demise by being the club bore.

My wife is a saint - she has to listen to me talk about music every day.

[jazzbo]

I give my girlfriend a break by also boring her by talking about ancient history.

I've gotten stuck on "Secret Ellington (Songs from Saturday Laughter)" again lately. I really like this one, not even sure why, the music just fits my world.

[A Lark Ascending]

I miss this thread, but wonder how much I contributed to its demise by being the club bore.

My wife is a saint - she has to listen to me talk about music every day.

Far from it Jeff. I stopped adding to it because it didn't seem to get much interest beyond yourself.

Quite happy to pick it up again if there is interest.

[Chuck Nessa]

I enjoyed Jeff's take on the tracks.

[EKE BBB]

I enjoyed Jeff's take on the tracks.

So did I!