Reflections on “The Far East Suite” (Podcast #17-007)

Examining different interpretations of Ellington’s Far East Suite Continue reading



This podcast episode features three looks at Ellington/Strayhorn’s Far East Suite. The original, of course and then two interpretations that bend, yet don’t break, the  material to fit their creative impulses and their very different instrumentations.

The Tony Overwater Trio in conjunction with the Calefax Reed Quintet, has no keyboard or brass.

Slavic Soul Party! is in the brass band tradition, with accordion and tuba supplying the rhythm section’s harmonic functions.

Both groups creatively use their unique configurations to add stellar interpretations of the Ellington/Strayhorn canon.



Mount Harissa



“We especially thank Ellington and his colleagues for filling life with beauty and grace when so much was denied to them.”

– from the liner notes from Slavic Soul Party! Plays Duke Ellington’s Far East Suite



 

ellington and gonsalves in iraq

Paul Gonsalves and Duke Ellington sharing a hookah in Ctesiphon, Iraq during their State Department Tour in 1963.



 

The Ellington band was broadcast on TV on November 14, 1963 from Khuld Hall, Baghdad, Iraq. The resulting video, “Le Roi du Jazz Americain DUKE ELLINGTON ET SON ORCHESTRE” (The King of American Jazz, Duke Ellington and his Orchestra) is available to view (or download for free, courtesy of the National Archives and Records Administration) at this link.



 

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Duke Ellington and the accordion



The recordings heard on this podcast episode:



 treasury show vol 23

Take the “A” Train (CD: “The Treasury Shows, Volume 23” Storyville 9039023)

Recorded 24 August 1946. Radio broadcast from the Meadowbrook Gardens Cafe in Culver City, California

Duke Ellington – piano


 

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Tourist Point of View//Depk//Blue Pepper (Far East of the Blues)//Agra//Amad//Ad Lib on Nippon (CD: “The Far East Suite” Bluebird 7640-2-RB)

Recorded 19-21 December 1966, New York City

Cat Anderson, Herbie Jones, Mercer Ellington, Cootie Williams – trumpets; Lawrence Brown, Chuck Connors, Buster Cooper – trombones; Jimmy Hamilton,  Russell Procope, Johnny Hodges, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; John Lamb– bass; Rufus Jones– drums.


 

overwater

Tourist Point of View//Depk//Agra//Amad//Ad Lib on Nippon (CD: “Ellington Suites” Jazz in Motion Records JIM 75219)

Recorded 16 February 2005, live at the Bimhuis, Amsterdam

Maarten Ornstein – tenor sax; Tony Overwater – bass; Wim Kegel – drums; Oliver Boekhoorn – oboe, English Horn; Ivar Berix – clarinet; Raaf Hekkema – alto sax; Jelte Althuis – bass clarinet; Alban Wesly – bassoon.


 

slavic soul party

Tourist Point of View//Depk//Blue Pepper//Amad//Ad Lib on Nippon (CD: “Slavic Soul Party! Plays Duke Ellington’s Far East Suite” Ropeadope RAD-314)

Recorded November 2014, live at the Barbes, Brooklyn

John Carlson, Kenny Warren – trumpet; Matt Musselman, Tim Vaughn – trombone; Peter Hess – reeds; Peter Stan – accordion; Ron Caswell – tuba; Chris Stormquist, Matt Moran – percussion.

Portrait of Mahalia Jackson (Podcast #17-006)

Gospel singer Mahalia Jackson and the Ellington orchestra meet in 1958.
Continue reading

“Bill Putnam, founder, builder, recording engineer, and President of Universal Recording Studios in Chicago, was having a party on a yacht one evening out on Lake Michigan. There were a lot of bigwigs from the Loop there, and a representative of Columbia Records came up to me, all glowing.

“Say you must hear this new girl we’ve got signed up!” he said.

“Who’s that?”

“Mahalia Jackson.”

“Oh, yeah, she’s a good cook.”

“No, she’s a singer.”

“I know,” I said, “but she’s a good cook, too.”

She was the best, a great cook. I had been to her house several times before ever she signed with Columbia, and she always had fine soul food out there.

One of the memorable occasions was when we made “Come Sunday” with her in 1958. Billy Strayhorn was down in Florida, but I had told him the key and he sent the arrangement. Ray Nance was there with his violin, and it all came off well.”

–Duke Ellington, Music Is My Mistress

 

mahalia-2 1970 nola jazz and heritage fest

Duke Ellington and Mahalia Jackson at the New Orleans Jazz and Heritage Festival, 1970



 

“Come Sunday” appears in the in the United Methodist Hymnal. C. Michael Hawn explains how it came to be. The song is also the subject of a “hymn study.”

 


 

Jazz_on_a_Summer's_Day_FilmPoster

Jazz on a Summer’s Day



The recordings heard on this podcast episode:



 

newport 1958

Take the “A” Train//Come Sunday//Keep Your Hand on the Plow (CD: “Live at Newport 1958” Sony Music Distribution 53584)
Recorded 21 July 1958, New York City

Mahalia Jackson – vocal; Cat Anderson, Harold Baker, Clark Terry – trumpets; Ray Nance – trumpet, violin; Britt Woodman, Quentin Jackson, John Sanders – trombones; Jimmy Hamilton,  Russell Procope, Johnny Hodges, Bill Graham, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.


 

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(Part IV) Come Sunday//(Part VI) 23rd Psalm (CD: “Black, Brown, and Beige” Sony Music Distribution 53584)
Recorded 11 February 1958, New York City

Mahalia Jackson – vocal; Cat Anderson, Harold Baker, Clark Terry -trumpet; Ray Nance – trumpet, violin; Britt Woodman, Quentin Jackson, John Sanders – trombone; Jimmy Hamilton, Russell Procope,  Bill Graham,  Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.


 

Girls Suite

Mahalia from “The Girls Suite” (LP: “The Girls Suite and The Perfume Suite” Columbia )

Recorded 19 September 1961, Los Angeles

Willie Cook, Edward Mullens, Cat Anderson, Ray Nance – trumpet; Louis Blackburn, Lawrence Brown, Chuck Connors – trombone; Jimmy Hamilton, Russell Procope, Johnny Hodges, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Aaron Bell – bass; Sam Woodyard – drums.



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Portrait of Mahalia Jackson (CD: “New Orleans Suite” Warner Bros. 7411644)

Recorded 13 May 1970, New York City

Cootie Williams, Cat Anderson, Mercer Ellington, Fred Stone – trumpet; Booty Wood, Julian Priester, Chuck Connors – trumpet; Russell Procope, Norris Turney, Harold Ashby, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Joe Benjamin – bass; Rufus Jones – drums.




 

Diminuendo in Blue and Crescendo in Blue (Podcast #17-002)

Duke Ellington’s career is given a boost by the 1956 Newport Jazz Festival by a spirited performance of
a pair of vintage compositions. Continue reading

 

“Nineteen fifty-six was an important year. The performance of Diminuendo and Crescendo in Blue (originally written in 1937) at the Newport Jazz Festival, with an epic ride by Paul Gonsalves on tenor saxophone, brought us renewed attention and the cover of Time magazine. It was another of those major intersections in my career…

Paul Gonsalves, Jimmy Woode, and Sam Woodyard lifted that stone-cold audience up to a fiery, frenzied, screeching, dancing climax that was never to be forgotten. One lovely society matron broke through her veneer of discretion, and jumped her thing for all twenty-seven choruses, adding a cherry and whipped cream topping to our sundae morning.” – Duke Ellington, Music Is My Mistress

Transcription of Ray Nance’s trumpet solo on this version of Take the “A” Train by Jeff Helgesen



Diminuendo – Instruction in music notation meaning to get softer

Crescendo – Instruction in music notation meaning to get louder



Paul Gonsalves in action at the 1956 Newport Jazz Festival:

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The first page of the score for “Diminuendo in Blue” in Ellington’s own hand:

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An excellent analysis of these two pieces can by found on Ethan Iverson’s blog “Do the Math,” written by guest writer Darcy James Argue

For example, he provides a form breakdown of “Diminuendo:”

[A] CHORUS 1: Blues in Eb (12 bars)

[B] CHORUS 2: Blues in Eb (10 bars)

[C] FALSE START+INTERLUDE: FALSE START (Eb) begins same as CHORUS 2 (4 bars) then INTERLUDE on VII pedal (2 bars)

[D] CHORUS 3: Blues in G (12 bars)

[E] CHORUS 4: Blues in G (12 bars)

[F] CHORUS 5: Blues in C (12 bars)

[G] CHORUS 6: Blues in F minor (12 bars)

[H] CHORUS 7: Blues in Db (12 bars)

[I] CHORUS 8: Blues in Db (12 bars)

[J] CHORUS 9: Blues in Db (12 bars)

[K] CHORUS 10: Blues in Db (12 bars)

[L] “STAGE FADE” CODA: Db7#9 vamp (6 bars)



The near riot at the 1956 Newport Jazz Festival resulted in Duke Ellington landing on the cover of Time Magazine:

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Backstory In Blue, Ellington at Newport ’56, by John Fass Morton (Rutgers University Press)

backstory in blue



A 1958 performance of Diminuendo In Blue and Crescendo In Blue from a Netherlands concert:



More from the same concert can be found on the DVD, Duke Ellington Live in ’58 from Jazz Icons 2.119001

jazz icons dvd



Eventually, Crescendo In Blue was dropped and replaced with Blow by Blow:



The recordings heard on this podcast episode:



EllingtonAtNewport

Take the “A” Train (CD: “Ellington at Newport 1956 (Complete)” Columbia Legacy C2K 64932)

Recorded 07 July, 1956 Live at The Newport Jazz Festival Newport, RI

Cat Anderson, Clark Terry, Willie Cook – trumpet; Ray Nance – cornet; Britt Woodman, Quentin Jackson, John Sanders – trombone; Johnny Hodges, Russell Procope, Paul Gonsalves, Jimmy Hamilton, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.

 




elling_duke_complete1_101b

Diminuendo In Blue/Crescendo In Blue (CD: “The Complete 1932-1940 Brunswick, Columbia, Master Recordings of Duke Ellington and his Famous Orchestra,” Mosaic Records #248)

Recorded 20 September 1937, New York City

Arthur Whetsel, Cootie Williams, Freddie Jenkins – trumpets; Rex Stewart – cornet , Lawrence Brown, Joe Nanton, Juan Tizol – trombones; Johnny Hodges, Otto Hardwicke, Barney Bigard, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Billy Taylor – bass; Sonny Greer – drums.

Diminuendo In Blue/Crescendo In Blue can also be found on The Essential Duke Ellington (Columbia Legacy)

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ellington hollywd bowl

Diminuendo In Blue / Transbluecency / Crescendo In Blue (LP: “The Hollywood Bowl Concert” Unique Jazz UJ-001)

Recorded 31 August 1947 Live at the Hollywood Bowl, Los Angeles

Shelton Hemphill, Dud Bascomb, Francis Williams, Harold Baker – trumpets; Ray Nance – trumpet, violin; Lawrence Brown, Claude Jones, Tyree Glenn – trombones; Jimmy Hamilton, Russell Procope, Johnny Hodges, Al Sears, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Oscar Pettiford – bass; Sonny Greer – drums; Kay Davis – vocal. 


EllingtonAtNewport

Diminuendo In Blue and Crescendo In Blue (CD: “Ellington at Newport 1956 (Complete)” Columbia Legacy C2K 64932)

Recorded 07 July, 1956 Live at The Newport Jazz Festival Newport, RI

Cat Anderson, Clark Terry, Willie Cook – trumpet; Ray Nance – cornet; Britt Woodman, Quentin Jackson, John Sanders – trombone; Johnny Hodges, Russell Procope, Paul Gonsalves, Jimmy Hamilton, Harry Carney – reeds; Duke Ellington – piano; Jimmy Woode – bass; Sam Woodyard – drums.



 David Murray Big Band

Paul Gonsalves (CD: “David Murray Big Band, Conducted by Lawrence “Butch” Morris” Disk Union DIW 851)

Recorded 05 March, 1991 in New York City

Hugh Ragin, Rasul Saddik, Graham Haynes, James Zollar – trumpets; Craig Harris, Frank Lacy – trombones; Vincent Chancey – french horn; James Spaulding, John Purcell, Patience Higgins, Don Byron, David Murray – saxes; Sonelius Smith – piano, Fred Hopkins – bass, Tani Tabbal – drums, Joel



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It’s Something You Ought To Know (Paul Gonsalves – “Ellingtonia Moods and Blues,” RCA Victor / RCA63562)

Recorded 29 February 1960, New York City

Paul Gonsalves- tenor sax; Johnny Hodges – alto sax; Ray Nance – cornet; Mitchell “Booty” Wood – trombone; Jimmy Jones – piano; Al Hall – bass; Oliver Jackson – drums.


 

 

 

Introduction (Podcast #17-001)

An overview of the format of the “Ellington Reflections” podcast series. Continue reading

 

“Jazz is many things to many people. To me, it has been a banner under which I have written and played most of life, almost all the way around the world.” – Duke Ellington, Music Is My Mistress

This blog, Ellington Reflections,  is the accompaniment to my bi-weekly podcast of the same name. The Ellington Reflections podcast is available for FREE on iTunes and Stitcher. Join me as I highlight different facets of the long and distinguished career of Edward Kennedy “Duke” Ellington (1899-1974). We’ll do this through his compositions, arrangements and recordings. We’ll also dive into the contributions of his sideman and other artists. There will no shortage of places to go!

Referenced in the first episode:

Transcription and analysis of Duke Ellington’s solo on The Clothed Woman, by Los Angeles based pianist Scott Healy.



Recordings heard during this podcast episode:



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Take the “A” Train (CD: “Duke Ellington and His Famous Orchestra 1941: The Complete Standard Transcriptions,” Soundies SCD4107)

Recorded 15 January 1941, Los Angeles

Wallace Jones, Ray Nance –trumpets; Rex Stewart – cornet; Lawrence Brown, Juan Tizol, Joe “Tricky Sam” Nanton – trombones; Otto Hardwicke, Johnny Hodges, Ben Webster, Barney Bigard, Harry Carney – reeds; Duke Ellington – piano; Fred Guy – guitar; Jimmie Blanton – bass; Sonny Greer – drums.


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Portrait of Bert Williams (CD: “The Webster Blanton Band,” Bluebird 74321131812)

Recorded 28 May, 1940 Chicago

Wallace Jones, Cootie Williams, Rex Stewart – trumpets; Lawrence Brown, Joe Nanton, Juan Tizol – trombones; Barney Bigard, Johnny Hodges,  Otto Hardwicke, Ben Webster, Harry Carney -reeds; Duke Ellington – piano; Fred Guy – guitar; Jimmie Blanton – bass; Sonny Greer – drums.


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The Clothed Woman (CD: “The Complete Duke Ellington, Vol. 2 (1947-1952),” Sony Music Distribution COL4629862)

Recorded 27 December, 1947 New York City

Al Killian, Harold Baker – trumpets; Lawrence Brown – trombone; Jimmy Hamilton, Johnny Hodges, Al Sears, Harry Carney – reeds; Duke Ellington – piano; Junior Raglin – bass; Sonny Greer – drums.


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(I’m Just Wild About) Animal Crackers (CD: 1924-1926: Birth of a Band, Vol. 1 EPM #HS151042)

Recorded 21 June, 1926 New York City

Bubber Miley, Charlie Johnson – trumpets; Joe Nanton – trombone; Harvey Boone, Prince Robinson, Otto Hardwicke – reeds; Duke Ellington – piano; Fred Guy – banjo; Mack Shaw – bass; Sonny Greer – drums.


MI0001691166

Thanks for the Beautiful Land on the Delta (CD: “New Orleans Suite,” Warner Bros. 7411644)

Recorded 27 April, 1970 New York City

Cootie Williams, Al Rubin, Mercer Ellington, Fred Stone – trumpets; Booty Wood, Julian Priester, Malcolm Taylor – trombones; Russell Procope, Norris Turney, Johnny Hodges, Harold Ashby, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Joe Benjamin – bass; Rufus Jones – drums.


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Thanks for the Beautiful Land on the Delta (CD: “Never Before Released Recordings (1965-1972),” Music Masters 5041-2-C)

Recorded 23 July, 1970 Milan

Cootie Williams, Cat Anderson, Mercer Ellington, Fred Stone, Nelson Williams – trumpets; Booty Wood, Chuck Connors, Malcolm Taylor – trombones; Russell Procope, Norris Turney, Harold Ashby, Paul Gonsalves, Harry Carney – reeds; Duke Ellington – piano; Joe Benjamin – bass; Rufus Jones – drums.


MI0002463979

Thanks for the Beautiful Land on the Delta (Stefon Harris, “African Tarantella: Dances with Duke” – Blue Note 41090)

Released 2006

Personnel: Stefon Harris – vibraphone, marimba; Xavier Davis – piano; Derrick Hodge – bass; Terreon Gully – drums; Anne Drummond – flute; Greg Tardy – clarinet; Steve Turre – trombone; Junah Chung – viola; Louise Dubin – cello.


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It’s Something You Ought To Know (Paul Gonsalves – “Ellingtonia Moods and Blues,” RCA Victor / RCA 63562)

Recorded 29 February 1960 in New York City

Paul Gonsalves- tenor sax; Johnny Hodges – alto sax; Ray Nance – cornet; Mitchell “Booty” Wood – trombone; Jimmy Jones – piano; Al Hall – bass; Oliver Jackson – drums.


Ellington Reflections

stevencbowie@gmail.com