| THE INTERNATIONAL|
DUKE ELLINGTON MUSIC SOCIETY
01/2 August - November 2001
FOUNDER: BENNY AASLAND
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
The New DESOR corrections
Page 64. Session 4226. Tangerine was the closing
number of this broadcast. It should be at the end of this (or maybe
of another) session.
Tangerine is possibly the last title of the broadcast but
we are puzzled to make corrections to the session 4226 where not only
the order of the selections is probably wrong, but even the whole
session is uncertain.
Page 89 or later. Morris Hodara made me a copy on tape of
his disc (or discs) with a recording from a Carnation Contented Hour
broadcast in which Duke played Sophisticated Lady combined
with Mood Indigo, followed by a talk and a performance of
Dancers in Love. I cannot find this session in the New
We only know two Carnation Contented Hour broadcasts with Duke, on
7oct46 and 19May47. This one is different. Sophisticated Lady
and Mood Indigo are played with violins, probably by Percy
Faith and his orchestra. There is no connection between Mood
Indigo and the talk. It seems possible that the contents come
from two different broadcasts. The sound is quite different. The
structure of Dancers in Love is the same as 4594b, but it is
not identical. There is going something wrong in the beginning of the
first chorus in Richard's recording. I believe that we have one or
two unknown sessions at our hands.
Sophisticated Lady and Mood Indigo are undoubtedly
"fresh", as well as Dancers in Love that possibly, as you
suspect, comes from a different broadcast. We believe that we have
one (or two) "fresh" sessions to add to the New DESOR. We hope that
someone can help us with more details of the Carnation Contented Hour
Pages 179 and 865. Session 5201. Delete Fancy Dan 5201m.
It is identical to 5204y. Put Tulip or Turnip and Basin
Street Blues at the end of the concert after the Medley. Add two
titles, Do Nothin' till You Hear from Me and Once There
Lived a Fool between Blues at Sundown and Skin
Deep. Willie Timner has sent me a tape with these 4 titles. They
are nicely connected, which is not the case with the selections as
mentioned on page 179 in the 5201 session.
We agree and we will make a correction-sheet for this session.
Pages 180 and 1187. Session 5205. DESOR has only one
Take the "A" Train in this session. There are two more. One
after It Don't Mean a Thing, which is clearly prior to the
2nd intermission, and one after Blue Skies, which
is clearly the end of the performance. Duke says at the end of the
program that he will be in Portland on Monday, the day after
tomorrow. That fits. The sequence of the selections cannot be
correct. We may never know the correct sequence, I guess. See for the
final Take the "A" Train DEMS 85/2-5.
We will add two more Take the "A" Train themes in the
Pages 203 and 1104. Session 5407. There was a short
rendition of Satin Doll prior to an intermission between
Jam with Sam (5407 ab) and Things Ain't What They Used to
Be (5407 ac).
We have some doubts about Satin Doll (5407). This title is
clearly cut at the beginning and it is not connected with Jam with
Sam. We prefer to suspend any correction awaiting further
Pages 213 and 218. I have a recording of a live concert
that took place in Ann Arbor, Michigan on 2Jul56. I mentioned the
contents in a message to the Duke-Lym list. Sjef reacted and we
exchanged tapes. The result is that we are both totally convinced
that the six selections from the so called West Coast session from
probably Nov55, documented in the New DESOR as session 5518, belong
to and should be put at the start of the Ann Arbor concert of 2Jul56,
Roger's tape is of the highest quality (musically, technically and
historically, a week before Newport). Roger is trying to make this
concert commercially available on CD. I wish him success!
Pages 215 and 216. Sessions 5603 and 5604. Delete from the
NOTE: a later date. Add: Radio Recorders, Hollywood on 8 and 11Feb56.
Source: tape legends from Radio Recorders, which came courtesy of
Richard Weize of Bear Family.
Page 224. Session 5625. A-Flat Minor on the original
Columbia/CBS releases (5625 d) is take -6. Half the Fun on UtD
2006 (5625 e) is track -3. See page 6 of the liner-notes of the
Columbia Legacy CD CK 65568.
Page 350. Session 6362. Blues at Sundown track 14
(6362m) is not unissued. I have a D.J. copy, issued by Contact
Records, label JP-14502, matrix C-45104. It is identical with the
Azure cassette CA-23, produced in 1998.
The flip-side (C-45103) has Workin' Blues & Jail Blues which are identical with the original LP release CT CM-1. Note the artist's credit.
I agree with you that it should be mentioned in the New DESOR,
even if it was not a readily available commercial release. That was
also not the case with the AFRS records.
You appear to assume that Contact JP-14502 (45 r.p.m.) wasn't
released commercially. If this is your assumption, I'm not sure I
agree. Ask yourself this: Why would a record company manufacture and
distribute promo copies of an otherwise unavailable record? It
doesn't make sense. Perhaps a reader of DEMS can report a commercial,
non-promo, copy of this apparently uncommon disc?
Page 370. Session 6424 21Mar64.
See discussions under "page 551" in Bulletins 00/4-23 and 01/1-28 concerning Fleurette Africaine = Little African Flower = Les Fleurs Africains. (4:00) piano solo by Duke Ellington.
This selection was not played during the 15Nov69 concert in Geneva. It was telecast by "TV Suisse Romande" (French speaking part of Switzerland) on 1Apr69. It was acquired from the ORTF (French TV) show "Jacques Dieval's Club du Piano". It was recorded in Paris on 21Mar64 in the same session as Take the "A" Train (6424a) for the same programme of Jacques (not Jack) Dieval. I suggest for Fleurette Africaine 6424b.
Maybe other Dieval's programmes exist with Duke Ellington's participation, but I have never found one.
Luigi Sanfilippo wrote me long ago that this Jacques Dieval
session does not exist. It is however confirmed by Klaus Stratemann,
by Timner and by Giovanni Volonté. François
Moulé has tried to find confirmation of this telecast, but he
could not find any trace yet. This does not mean that Claude
Perrottet must be wrong. Duke was in Paris that day where he played a
concert at the Théatre Des Champs Elysées.
Page 383. Session 6456 2Sep64, 6456q, Blues No.
09 is Isfahan.
Page 1071. The description of Perdido, 6509v from
Copenhagen 31Jan65, is wrong. Gonsalves did not play his solo. He was
fast asleep. Hamilton took over.
Page 1102. Theme Saddest Tale.
Duke said in the interview broadcast in the programme "Hot Corner" from the Earl Theatre in Philadelphia (New DESOR 4703) about the bass clarinet in Saddest Tale:
"No that was a 'mezzo'. It was a man who was a professor up in Connecticut there somewhere, who invented some in between instruments and he came down and loaned us his clarinet which was quite a thing. He called it a 'mezzo'. It was between the regular B flat clarinet and the bass."
Page 1228. You Left Me Everything but You The
Wonder of You. Recordings between 6Jun44 and 29Dec45.
There's something amusing to be mentioned concerning the lyrics of this song credited to Duke Ellington, Johnny Hodges and Don George (nothing to do with Everything but You by Duke, Harry James and Don George, except part of the title).
The first recording from 6Jun44 is titled You Left Me Everything but You (4431a) with vocal by Wini Johnson and indeed the refrain is based on the words "you left me everything but you". Fourteen months later the very same melody is re-titled The Wonder of You and recorded several times end of 1945 (4584g-4599d), now with Joya Sherrill singing and with completely different lyrics, always ending with "...the wonder of you".
In MIMMp503 the 1944 song You Left Me Everything but You is
credited to Duke and Don George. They are both mentioned as composer
and as lyricist. Johnny Hodges is not mentioned. The 1945 song The
Wonder of You is credited to Duke and Johnny Hodges as composer
and Don George as lyricist. These credits are mentioned in DESOR.
This is again one of the many puzzling copyright mysteries.
Page 1267. Jean Portier reported in Bulletin 00/2-19 to
have noticed discrepancies in the structures of Warm Valley.
Giovanni Volonté suggested in Bulletin 00/3-25 that take -1 (4018d) and take -2 (4031a) were invertted on disc 9 of the RCA Centennial Edition.
Hoefsmit wrote that if that is true, also the two takes on the French RCA LPs "Works of Duke - Complete Edition" were inverted.
Having inspected the metal parts, and after comparing a test of take one with what is heard on the 24-CD box, I can state with absolute certainty that the performances represented on the box as being takes one and two are in fact those takes.
Page 1440. I read in a press release from the Ascona Jazz
Festival: "Even though Satchmo always maintained that he was born on
the 4th of July 1900, there are no longer any doubts
regarding his true birth date, in August 1901."
Should we make a correction on page 1440? Does anyone know the exact day in August?
Ken Burns says in part 2 of his television series that the correct
date is 4 August 1901.
Page 1503. How sure are you about Cootie Williams'
birthdate being 24Jul? According to Cootie in an oral history
interview he was born 10Jul11 in Mobile, Alabama.
Annie's information is supported by a list of birth and death
dates in the Dutch journal "Names & Numbers". There Cootie's
birthdate is given as 10Jul11, giving the SSDI (Social Security Death
Index) and the Virgin Encyclopædia of Jazz as sources.
Rob van de Velde
According to John Chilton, Cootie was born in Mobile Alabama on 24Jul10.
Just to try and nail this once and for all. The statement of the
10Jul11 date goes back all the way to Hugues Panassié in the
liner-notes to Cootie's r-and-b recording live in Paris for French
Decca, and from there it went into "Jazz, The Rough Guide" (1995
edition). At that time I checked with John Chilton, who normally
relies on documentation such as you describe. At that time he had
seen nothing to prove conclusively that 1910 was wrong, and found it
hard to believe that Cootie was professionally active at age 14.
Nevertheless we stuck to 10Jul11, and I believe the Virgin
Encyclopædia picked it up from us.
DESOR small corrections 5004
New DESOR correction-sheets