Im\MiHiiifor OCHS nembers only

1 1 1 I I 1 i i71 t i l l i

O E M S BULLETINT H F

D U K E F LlI N G T O N M U S I C S O C I E T Y S W E D E N

1987/1 MAR-APRNEW MEMBERS are asked to read the following!

As t DEMS washer you'll get access frca tiaa to tiae to unique Duke arterial. Please bear in mindthat such aeterial it to be handled with care and ooaaon sense.It aust under no circumstances be

ercial purposes. Anyone aeaber being caught with having passed on such aaterial for

ooaaercial purposes will result in cancelling his aeabership, his naae published and informationhanded over to other societies similar to XENS. As a DEHS aeaber please help see to that thissimple rule is followed. Thus we will be able to continue future special offers, such as tapes,AZURE-releases, etc etc.

used for c

ALL FDR THE LOVE OF DUKE !

NEW RELEASESA N D R E - R E L E A 8 E 8

"X'MAS FROMGREAT OLD FRIENDS"

Alty (J) AY22-0013i

o'

Same as Stash ST-123. (Yuze)

"DE AND HIS ORCHESTRA""VOLUME FOUR"

Circle CLP-104"DUKE ELLINGTON""CONCERT AT CARNEGIE HALL 1952" (2-LP Set)

Atlantis (E) ATSD-2

Same as FDC-1005/1006 "DE - 25TH ANNIVERSARY CONCERT !Dec43 It Don’t Mean A Thing (3 takes)(14Nov52)

/ JohnnyCome Lately (2 takes) / Creole Love Call (3 takes) /Somebody Loves Me / Jack The Bear / Harlem Air Shaft(3 takes)This, the fourth volume in the series, is just asinteresting as the previous ones. Jack Towers re-ports that the producers, George H. Buck, Jr. andWendell Echols, plan to have all nine volumes outby the end of 1987.

(Towers)"NEW YORK CITY STORY"CBS Sony (J) 30AP-3200

"Take The A Train" (same as on Columbia(Yuze)

includesCS-8515.

i "MONEY JUNGLE" \JBlue Note BT-85129 "NEW MOOD INDIGO"Doctor Jazz FW-40359Same as the "old" Money Jungle but 4 additionaltitles: Rem Blues / A Little Max (Parfait) /Switch Blade / Backward Country Boy BluesThese additional titles are issued fortime. And worth observation is that theall selections are now superior due todigital technique.DEMS: George Wein is

The New Mood Indigo (-24) /The Feeling Of Jazz

(-2) / Veldt

SIDE A: 18Mav65:Jump For Joy (-1) /

29Mar66: West Indian Pancake< -the firstsound on

remix with(Nielsen)

on the sleeve completelymistaken about the three titles as now being issuedfor the first time. It seems traditionally to be avery hard thing to do correct liner notes.

Amour (-3)SIDE B: !QMav66:In The Alley /

Wings And Things (-?) / 5Jan66:Sassy / UPH / Portrait Of Pea /

(Nielsep)'Mood Indigo" is the 9*me as 12F (ir. the Radio

Denmark series), but on the sleeve said to be fromJapan, June 1964. "Joy" is the same as 2E, andearlier issued on M.F.D. (2536-D). "Feeling" is thesame as 4D and 37G, and is NOT the same as theM.F.D. version. "Pancake" was not broadcast.

"Veldt-Amor", and the"Wings" is in our files as from

but in the liner notes as from 29Mar66.The Mercer Ellington

(RN, JH PG HC, Chick Corea(p) AB LBsn),which however means Mercer is not blowing his horn."Pea" is here not the same take as in 13F. "Mack" isthe same as 4E.

3Jul62;OEMS ?: Mack The Knife (-2)

Century 20 EL-5503Contains the following(Metropolitan Opera House):

^Bells / Take The A Train

V/Beguine / Whitout A Song / Jun53:Squeeze Me

V'The 27Jun53 selections previously on Joyceand the last two selections previously on JoyceLP-4015. (Moule)

(Album title?) Thenext title is originally assame as 27E.10May66,Then follows 4 titles bySeptet

21Jan51DE tracks:The Mooche / Ring Dem/ 27Jun53: Blue Jean

Hy’a Sue / Justr\

LP-1079,VV'‘(Ctd. page 4)

D E A R b E M 3 U E U B E R:HOMEY TRAMSACTIONS with DEIS wist bt addressed and pay*abla tot Birgit lalund

Box 40®6 .. ..S* 175 04 JARFALLAS w t d m

.(Intonational Monty Order via your localOffice;- prwftrably tha SOB In Swedish C(• SEX). Bo axehanga eosts involvad.

Postrowna2) X.H.O

5) In European eontriaa you say, in aost easas to yearown advantage. usa tha following Postal Account(via

As a rasult of tha prasant intamational currency market your Post Office - or Bank) Mo axehanga eostst

srfcxww: “1** 1-1) Cash (tha easiest and fastart way. Ha exchar*e eosts S- 103 06 STOCKHOLM,

involved) S w e d e n ,In case you absolutely has to use a bank cheque: SEK 30:- Bust be added to cover banking charges!

0CM5 »•Mn- prrfit trariiWwt, OprcfvnQ or votontr ity offer metanc* m lime wti mrfrwl Sponwirt wetconwC fWmbenMp it fr* - write WMS lor further informalton

Page 2DEjgS BULLETIN 87/1

DISCUSSIONS - ADDITIONSCORRECTIONS

On the Victor issue of BLACK, BROWN & BEIGE repeating the error. Maybe Rex missed part of the

\J doesn't Rex Stewart play on the "WEST INDIAN DANCE"? session. But he’s there on the Dances. (Towers)

All discographies, including Wax Works, show that DEMS comment: The original Victor BB&B recording

Rex was not on the date and in fact joins the band a sheets state only four trumpet men (TJ RN SH CA).

days later. Apparently it is a case of someone Why? (Rex * name is added on the 4Jan45 recording

putting down wrong information, and everybody else date).

.<tl6'"C'‘/^ » •-

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MitriiAmp. 3ftXK.SELECTION, COMPOSER, PUBLISHER, COPYRIGHT, Etc. W »i

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I GOT TO BE A RUG CUTTER (latest discussed inDEMS86/1-1): A common belief is that this trackoriginated from a "demo” acetate record , cut whileDuke was on the West Coast in 1937 for "The Hit Pa-rade" picture, and that a copy lor the original?)found its way into the personal collection of TomHarris of the Duke Ellington Society's New YorkChapter. Interastingly, Leonard Feather, in "TheJazz Years" (Quartet Books Ltd., 1986), gives an

account of the production of just such an acetate of"Rugcutter" that leaves us with the question if TWOsuch recordings might exist. As told by Feather , El -lington agreed to sing and play the "novelty song"

onto an acetate at the end of a recording session(location and date undisclosed), for Feather to takethe special copy home with him to England. TrumpeterCootie Williams, "who was still in the studio andfor some reason playing the trombone", was persuadedto play some blues, with Ellington at the piano, forthe other side of the "Rugcutter" acetate. Featherconcludes: "The autographed copy of these two num-bers is still the only one in existence and remains

in ray possession after a half-century." As a re-sult of Feather's claim, there is plenty of room for

(Stratemann)

Your balance (Sw. Crowns) SEX t

DEMS Bulletin•ending eoits

Ot-7* 50

Remaining deposit t

F O R

RIEWs®ONLY

Spteitl frit*S E K65 : -A INICE *

ELLINGTON1067

speculation.

lSep41, Hollywood, NBC "Salute ToV portion from be (DE IA HJ & the *r choir)(MC: Melvyn Douglas): "SELECTIONSFOR JOY ’": The Brownskin Gal In The(vHJ) -into: Jump For Joy (choir) -into:

rtf\jpi.|ptri rrncpq" Bad (vIA) -into: Rocks In My Bed (v??)1 VCUJ rvcLcnociD OD/ J / For Joy ( c h o i r ) >

DEMS: New find. Note: "Wax Works"the date as 6Sep41.

Labor". DukeJump For Joy 1

FROM 'JUMPCalico Gown

I Got It-into: Jump(Valburn)

entry 41-25 has

Still available(2-LP value)

For details see

BROADCASTS and 85/4-5Each member may order

up to 3 copiesft JAZZ SOCIETY AAU4/VC ft

M Pablo 2308-247 (DEMS86/4-1): The errorregarding GUITAR AMOUR in the "DE IN THE UNCOMMONMARKET" album was not made lightly or politely , butcarelessly. It was, you might say, a case of fallingasleep at the switchl But I am glad Herr Renberg wasalert, because the album has not yet been issued in

the U.S. and I think it will be possible to cor-rect both this and the mistake made in the label co-py of IN A SENTIMENTAL MOOD. One advantage HerrRenberg had over me wasductions were not on the tapebut this is not offeredvery familiar withGUITAR AMOUR.

AN UNIQUE OCCASIONA very rare DUKE ELLINGTON Program from his firstTour in France in July 1933, 8 pages (25 x 20), au-tographed on both sides by Duke himself, and insideby Johnny Hodges. List of French DE records avail-able at this time included, also photos of the fullband and by instrumental sections, etc .

For sale to highest bidder.Please contact:

••that Duke's spoken intro-

from which I worked ,as an excuse, because I am

PARIS BLUES, more so than with(Dance)

Jean Carbonnel,189, Avenue Paul Hlnin,59500 DOUAI,F r a n c e. ( Ctd. 4)

Page 3DEMS BULLETIN 87/1Continuing Ken Rettenbury*» series

THE ELLINGTON SOLOISTSDUKE ELLINGTON

andJIMMY BLANTON

a definiteDuke Ellington's affectionate acknowledgement of the The final 32 bars (73 to 88) dl®P^y

stride/ragtime piano stylings of his early hero, Ja- shift of solo responsibility 5

Dies P. Jphnson, would seem to be well-confirmed by constructed, highly rhythmicand satisfying melodicthe confident, two-fisted piano work during Bars 37 variations are complemented bv Duke s bell-like in-

IKKBUtoB*pure Duke. And, «1? the while, those sparkling The concluding sections of this Pe^°T”®^e',coreexchanges with Jimmy Blanton go on. will appear in the next issue of our Bul}g^nbury)

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Tom Whaley, Duke's long ime copyist, arranger andfriend, died on Septembc J, 1986 in New York City."SAD NEWS:" Tony Watkins died on June 28, 1986 in

his home in Philadelphia.

Page 4DEM5 BULLETIN 67/1moreaque / How High The Moon / Cotton Tail / Lime-house Blues / CrosstownThe sequence "Brown Betty...Limehouse Blues" natur-ally suggests Carnegie Hall, 13Nov48. The othertracks might be 1945/46 AFRS transcriptions.(Moule)

NEW RELEASESy

Overseas (J) UXP 790 V "SWING JAZZ""BEST COLLECTIONS"n

i

Three DE items included: "Take The A Train", "Ain'tMisbehavin'" and "Sultry Sunset" (dates not yet

' traced). (Yuze)THINGS TO COME. "DE - THE STUDIO SERIES,

VOL.8 1933-1967"Up-To-Date UTD-2009"JAZZ VOCAL"

"BEST COLLECTION"Overseas (J) UXP 791 V

17Feb33 Blackbird Medley, Pt.2(-C) / 1134 (fromfilm s/t): Sophisticated Lady / 2Nov4Q Junior Hop(-1) / 11NQV40 Charlie The Chulo ("-2")(see below) /3QJun53Don11 Ever15May55(mx 14096)Body And Soul (mx 14304) / 19Mav55(mx 14103) / So Long (mx 14105) /La Willie Cook (no mx) / Slow Blues

Icludes one DE item, "Do NothinMe"(origin not yet traced)Hoefsmit:same as on Rosetta 1313 (see below).

Till You Hear From(Yuze)

I belive the date to be 26Aug63 and the iasin Street Blues (mx 11623) / !Jul53Say Goodbye ("Untitled")(mx 11626)

Look what I've Got For You ("The Blues")/ Commercial Time (mx 14097) /

Once In29^an57

7

"DUKE ELLINGTON"IN THE UNCOMMON MARKET"

Pablo Live (J) 28MJ-3547 Blues Ansemble (no mx)

/ Three Trumps ("Spacemen") (no mx) / 1967Variations On A Single Commercial ThemeDEMS: Here is another UTD release with extremelyinteresting things. All selections are new on LPexcept for 'Junior Hop -1', pre- viously issued onTime-Life STBB-21, and 'Charlie The Chulo -2' is anedited version using the start of take-2 spliced to-gether with take-1 going into breakdown. The date15May55 is both in DES0R and DEMS84/1-6 as 17May55."Look What I've Got .." is arranged by Rick Hen-derson, and "Commercial Time" Is composed by RickHenderson. The out of sequence mx no.Soul * was assigned at the session 1,vocal by JGsm, is what might be called ariation/extension* of the melody 'Blue Moon'.29Jan57 selections are from a so called 'Stockpilerecording session', in this case with small bandcombinations. For the 'Five Variationsfor "Hot Shoppes" commercial use,additional details - the theme, however, is veryfamiliar, but at this time we are unable to tell thetrue title.

Five(Yuze)Same as Pablo 2308-247."DINAH WASHINGTON""WISE WOMAN BLUES"

Rosetta RR-1313Includes one DE item: 26Aue63: Do Nothin' Till YouHear From MeSee comments above for Overseas 791. (Hoefsmit)

for 'Body bSo Long', with

va-Thea "REPLAY - DE"

(Moule)

Sierra Records(E) FEDB-5027 i

Same as Allegiance AV-5007.

a Tobacco Road B-2650^ Alamo / In A Jam / Night Train / Bakiff / Just A-Settin * And A-Rockin' / Whitout A Song / I Miss Your

Kiss / Moon Mist / Solid Old Man / Brown Betty / Hu-

"DUKE ELLINGTON" , madewe have no...

\ DISCUSSIONS/ADDITIONS/CORRECTIONS(etd.)S.R.O. C-38-7680(compact disc)(see DEMS86/4-2)appeared first as a LP with catalogue number LRC

YX-7361-SL, but without the following three tracks:"Wings And Things/C Jam Blues/Hawk Talks". (Moul£)

V DEMS86/4-4 (Strateoann): According to the tapebox in the Mercer-collection (a tape apparently madeby CBC) Harry Carney and Mercer Ellington wereinvited by T,Henry (sic) Whiston (sic), CBC. Re-cording date 20Dec66. (Busk)

• \ J There'8 an audio from aV, program circulating among

following data: MAY. 1970. CBC-TV, Toronto,FRONT PAGE CHALLEflUE. I havedate, as Ellington mentions"stealing one of the men" from the program'sband. This, it seems to me, is a referenceStone, who initially joined the Ellington band forjust one week, in April, while they were playing theImperial Room of Toronto's Royal York Hotel (as theywere again in May, of course), do you, or doesanyone, have a precise date for the program?Aasland comment: I have the date as 3May70 forCBC-TV recording originating from Toronto, butunfortunately not the name of the program consistingof a 10' Duke interview. There is another interviewmade earlier, 8Apr70, but originating from Vancover.Can anyone clarify? -(Strateman)

Canadian interview TVcollectors, with the

Canada,my doubts about the

the fact that he ishouse

to Fred

a

The "Wax Works of DE, Vol.III" was years ago ready forpublication but postponed.To meet with the heavy demandfrom many many members Benny Aasland has finally beenconvinced to admit publication of the Chronological Sect-ion in the Bulletin, though not fully updated with thelatest LP releases, There are however so many discograph-ical values that we are quite certain that you will havea real goodtime investigating the material.The first eight pages are attached to this issue. Con-tinuation will follow. For this first portion we will putyour attention to the entry "45-7" where the various"The Mooche" release markings are left out. In this casewe would appreciate help from our readers.

45" 44 yPHILHARMONIC AUDITORIUM, *ESQUIRE ALL-AMERICAR JAZZ CONCERT*SH RS RH TJ CA, JH CJ LB, AS JHtn JH ON HC, DE rc JR HBwn, MS, HE

APOLLO THEATRE MCA broadcastSH TJ RH CA , JH CJ LB, AS JHtn JH OH HC, DE FG JR HBwn

LM Angelas, 17 Jaa *5 H.Y.C., 29 Har Ui '1anj award winners, otrtaid# OEthO, partieipatat Villie SaitA, Anita O'Day,

BiUia Holiday, Sidnay Catlatt, and A1 Casey.SC, still on sick laava, “guested". r I I I r I I 11 I I I I I"T“!“T"fTT"

Pron broadcast:THIHGS AIH'T WHAT THEY USED TO KSUDDENLY IT JUMPED

Everybody* EV-3003Acetate exists

44- Recording sessions; VICTOR , STUDIO 2SH TJ RN CA, JH CJ LB, AS JHtn JH ON HC, DE PC JR XBvn, KD JSrl AHlr R1 Dee 44: / N.Y.C£ * tl

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(a) VEST INDIAN DANCE(b) EMANCIPATION CELEBRATION (2nd take)(c) SUGAR HIU PENTHOUSE

(3rd take)*TJ

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oOL r131 ycATRS mUSIC AKRICA LOVES BEST** 77

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DEHS BULLETIN B7/1 Page 9

Duke’s Canadian connectionGenius of jazzmade to feelwelcome here

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N the early 1970s, when theI Duke Ellington band was play-ing the O’Keefe Centre on one ofits last tours, the tenor saxophonesoloist Paul Gonsalves camedown from the stage and stoodbefore a middle-aged woman Inthe audience, affectionately sere-nading her as the band accompa-nied him. While Gonsalves playedand the woman shyly smiled, Ell-ington dedicated the number:“For Mrs. Anger, our dearfriend.”

She was the widow of Mr. Jus-tice Harry Dell Anger of theOntario Supreme Court, who hadformed a friendship with Elling-ton many years before. After herbusbandrs death Mrs. Anger andher son, also a lawyer, became theguiding spirits behind the DukeEllington Society in Toronto andRon Anger became one of themost learned Ellington scholarsanywhere.

Once, after a Mcert in 1960, thetended a meeting of the society atthe Angers' North Toronto home.The Angers were among manyfriends Ellington made in nis longyears of association with Canada— an anociation that will beexamined this spring when theInternational Conference Of TheDuke Ellington Study Groupsmeets in Canada for the first time(at the Inn on the Park, May 16-

Hall con-band at*

asseywhole

kind «f Ellington fan club.’Toronto was a unique place tothose days,” Ellington wrote inhis eutobiography, Music Is MyMistress (1973). “Artistic per-spectives were adjusted to estrong natural state of Individual-ity. Everybody in Canada seemedto listen to what they individuallyenjoyed, and nobody could tellthem what to like, or what waspopularEven today, it is verybrainwash a Canadian.”

The international Ellingtonconferences — this will be thefifth annual — combine scholar-ship and music. At the last one (atRutgers University in New Jer-sey) a Danish scholar discussedhis research on the chronology ofEllington compositions, someonegave a paper on Ellington's use oftrombones, someone else showedobscure Ellington films.

There are always musicians —some of them survivors of the Ell-ington band, some of the jazzplayers who felt Ellington’s influ-ence. Clark Terry, who playedwith Ellington, will be at theToronto conference; to will RayBryant, the wonderful U.S. pian-ist who now lives in Toronto. Thehost organization will be theToronto chapter of the Duke Ell-ington Society, which (as Elling-ton once noted) “has always oweda- greet deal ef its health1, to theAngers.

In the mid-1960s the band

called himself an “amateur play-wright” in the past. Such SweetThunder turned out to be one ofthe most durable of his ambitiousexercises in program music.

Ten years later, in 1967, be wasInvolved in a much more unusualevent. Louis Applebaum, who hadbrought him to Stratford, askedhim to perform with Ron Collier’sorchestra on a record of music bythree Canadian composers Col-lier, Norman Syrftonoa, and Gor-don Delamont. He would be play-ing music he hadn’t written, in ar-rangements he hadn't supervised,with a band he hadn’t chosen.

said he wanted to

played, with crest success, at theyoung Stratford ShakespeareanFestival Thatington’s imagination,to work with Billy Strayhorn on asuite called Such Sweet Thunder(from A Midsummer N i g h t ' sDream — “I never heard somusical a discord, such sweetthunder”).

First performed in 1957, SuchSweet ThunderStratford and to Ellington's Cana-dian friends. The individual tunescarried titles such as Sonnet ForCaesar and Sonnet To Hank Cinq.In one piece Ellington brought to-gether three trombones (thewitches f r o m Macbeth) and abaritone saxophone lago f r o mOthello) because he imagined thatlago and the witches had some-thing to say to each other. In apiece Inspired by A MidsummerNight’s D r e a m. C l a r k T e r r yrepresented Puck.

Such Sweet Thunder was writ-ten when the band was recoveringfrom the worst period in its histo-ry, when Ellington — deserted bysome of his best players — hadbegun to seem outdated and ir-relevant as well as unpopular. Inretrospect the idea of usingShake-speare — an idea that had occur-red to a good many composers be-fore Ellington — seems to havegiven him fresh energy.

It brought forth bis inherentof drama and his habit of

using the soloists in his band likecharacters in a play. Ellington bad

(This TORONTO STAR , January 10, 1987, article is borrowed froa a TDES Newsletter.)

event stirred Ell-and he set

18).Duke’s Presence And Influence

In C a n a d a is t h e conferencetheme. Ellington frequently tour-ed Canada, f r o m 1931 on, but inToronto he found an exceptional-ly warm welcome. He came often— to Shea's theatre, the RoyalYork,C N E, e v e nS i m p s o n sA r c a d i a nCourt — anddeveloped anintense localfollowing. Hew o u l d oftenmeet Torontomusicians (ashe r e c a l l e dlater in at y p i c a l l ya m b i g u o u sp h r a s e) “ * os i t a n d d r i n k t h e i r gorgeousCanadian rye all n i g h t whilebenefiting from their critique ofmy recent recordings.”

In the 1940s anddisc iocktys at the CBC — E>

d Glover, D i c k McDougall

was dedicated toor what waa the In thing.

hard to

Applebaumexploit Ellington’s genius to bringattention to the music — and, ofcourse, enhance the record. Ell-ington agreed. He fitted in twoToronto studio days between con-certs in Chicago and Kalamazoo,played beautifully,kind a remarkable record. Thatwas an important event in thelives of the other musicians. Oneof them, Fred Stone (who diedlast month), later played flugel*horn in Ellington's band.

Some of the visitors who ar-rived from E?urope, the UnitedStates and the Orient at the Innon the Park may find it surpris-ing that their hosts are emphiuiz-ing Ellington’s Canadian connec-tions; but those connections weresignificant to h i m. And, as hewrote, “Canada has a characterand a spirit of its own, which weshould recognize and never takefor granted.

the

and left be-

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1950s three

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Ellington®<37DUKE IN CANADA MAY 16-18 '\ >̂Y TOBONTO

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ELLINGTONSTUDY GROUP

ELLINGTON '87 - Duke in Canada95 Thorncliffe Park Drive , Suite 2906TORONTO , Ont.Canada

For details write:M4H 1 L7