04/2 August-November 2004


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Part 5. The New DESOR

The New DESOR explanations

DE4201a - A Practical Example

DEMS 04/2-49

See DEMS 04/1-30

While reading Luciano's and Giovanni's clear and thorough notes explaining how the New DESOR works (see Bulletin 04/1 DEMS 30), it occurred to me that some DEMS members may still find the system difficult to follow. Take an example from towards the end of their explanation: cod8OP(ce.) translates into 'an 8-bar coda played on 'cello by Oscar Pettiford, whose usual instrument while he was with Ellington was the double bass'. This little cluster of letters, punctuation marks and the figure 8, eleven symbols in all, thus contains a remarkable amount of information to the reader who has 'cracked the code' of this astonishing book. It would be hard to over-value the rewards of cracking this code.
In the example which follows I have tried to apply Luciano's and Giovanni's explanation to a single Ellington recording, the original Victor version of Perdido, from 21 January 1942. I've chosen this particular piece because it is both straightforward to follow and very familiar.
The date points us without difficulty to the bottom of page 60 in Section One of the New DESOR, the chronological listing of Sessions. The entry starts with the date and location, plus the recording company and the name under which original issues from the session appeared. Below this general information the three titles recorded on 21 January appear, in a column. On the right is a column of matrix numbers and to the left of this are listed the original release numbers of the titles, plus later key releases. We see at once that two takes of Perdido were recorded on 21 January 1942, and we may infer that BS070682-1 was the one chosen for issue, since three releases are listed for this take and only one for BS070682-2. A closer look confirms this. The first release given for BS070682-1, Vi27880, clearly refers to a 78 rpm issue. The only release number given for take 2, RCA 07863-66790-2, is of a CD issue listed in Section Three, on page 1404. So we know that BS070862-2 remained unissued until the CD era. In the list of tracks on RCA 07863-66790-2 on page 1404 the title is underlined thus, Perdido, confirming that this 1997 CD was a first-time release of this take.
You may wonder what (2nd) means in this column, on the line below the three release listings. It certainly puzzled me for a time. It refers to the release on RCA FXM1-7274, an LP which appeared in two successive editions, and on which Perdido will be found only on the second. This is confirmed on page 1403, in Section Three, Discs. It is unfortunate that (2nd) appears in isolation on the line below the release to which it refers, and at the far end of the column too; but the absence of a comma between the two bits of information tells us that they belong together.
Much information of this sort can be found in the other comprehensive Ellington discographies, Nielsen and Timner. What sets the New DESOR apart from these fine works is the material contained in Section Two, Titles; and the key to unlocking this material is Perdido's unique recording number, DE4201a, given in the left-hand column of the entry on page 60. DE4201a contains four items of information. DE means simply that this is a Duke Ellington recording within Luciano's and Giovanni's definition of that term; 42 means it's a 1942 recording; 01 indicates that this was the first Ellington recording session of that year; 'a' tells us that Perdido was the first piece recorded at the session.
There is one further point to note, before we let DE4201a lead us into the fascinating world of Part Two of the New DESOR. There appears to be no mention on page 60 of a personnel listing for the 21 January 1942 session. In fact this is not so. 4124 is another unique recording number, like DE4201a but with the initial DE taken as read; and with no final letter, since it refers back to the general information for the session, and not to a particular recording from it. 41 indicates a 1941 Ellington session, while 24 points us to the 24th such session of that year. It is now a simple matter to locate that session, at the bottom of page 59. Here we find a full personnel listing by initials, arranged in the usual way, trumpets, then trombones, then reeds in the order clarinet, alto, tenor and baritone saxes, followed by piano and rhythm section. Two vocalists are also listed but we know they aren't relevant to Perdido, since vocalists are always listed individually in the New DESOR for the recordings on which they perform. Singers apart, session 4201 has the same personnel as session 4124.
Section Two takes up most of the second volume of the New DESOR. It is another listing of Ellington recordings, this time alphabetically by title and chronologically of each title by unique recording number. It is therefore easy to find the entry for Perdido starting on page 1068. As with Section One, the entry begins with some general facts about the piece. It is a Juan Tizol composition, with a lesser known title, Tizol's Stomp, which reflects its origin. AABA32 tells us that Perdido is a 32-bar piece cast in AABA song form. This information is important for the chorus-by-chorus description that follows, and it's worth spelling out that AABA32 means that the 32 bars of the tune divide into an A section which occurs twice up to bar 16, and which reappears at bar 25 for the final 8 bars. From bar 17 to bar 24 there's a different section, B, which musicians call the bridge, the middle 8, or, less usually, the release or channel. (An AABA 32-bar song doesn't have to divide into 4x8-bar sections in this way of course, but the chances are it will, and Perdido certainly does). Thus prepared, we can now apply the New DESOR 'code' to our recording.
At the start of this article I called DE4201a 'the original Victor version'. So it is, but a glance at page 1068 shows it to be the second recording of Perdido which survives. Alongside its unique recording number we read in the New DESOR code its sequence of events, which looks like this:-
The semi-colons are the key to this sequence, since they show where one event ends and the next one starts. Usually they separate one chorus from another, and where they do they appear next to a number in the series 1°, 2°, 3°, etc., indicating the first, second and third choruses, and continuing for as long as further choruses follow. 4201a has three choruses. Once this bit of the code is understood, along with the chorus description AABA32, the rest is easy. Commas separate different musical events within a chorus, in the same way as semi-colons separate one choruses from another. Initials refer to musicians; numbers (other than chorus numbers) refer to bars within the chorus.
Thus Perdido starts with a 4-bar piano introduction from Duke, leading into the first chorus:- int4DE;1°.....
The first chorus features Harry Carney's solo voice for 16 bars (by which we understand the first two eight-bar A sections), followed by Ray Nance for the 8-bar bridge, B, and with Harry returning for the closing A, before we move on to the second chorus:- 1°16HC,8RN,8HC; 2°.....
The second chorus is shared equally by Rex Stewart and Ben Webster, who have 16 bars each. By this we understand that Rex takes the first two A sections, Ben takes the bridge and the closing A, then we move on to the third chorus:- 2°16RS,16BW;3°.....
This final chorus spotlights the full band for the first half, after which Ray Nance has the bridge, as he had in Chorus 1°, and continues to solo above the rest of the orchestra in the closing A section:- 3°16BAND,8RN,8BAND&RN.
And so Perdido ends, in this classic version. A great 1942 recording is condensed into less than a line of print on which anyone who cares to can follow the succession of events with ease and also identify the soloists who take part. Note also that the soloists' contributions are described within the structure, unlike simple lists of soloists such as the one offered in the Record Guide in Peter Gammond's 1958 book. (Not that I'm knocking that Guide; I found it invaluable when finding my way into Duke's music 40 or so years ago).
The New DESOR's coded descriptions become even greater marvels of condensation in the case of more complex scores than Perdido. But before leaving page 1068, there are a few further points to note, even at a casual inspection. Firstly, DE4201b. The message 'same as 4201a' tells us that, whatever differences there are between the two takes cut on 21 January 1942, they are structurally identical. Secondly, 4126j. A glance at its coded description shows that, at two choruses only, but with the second structurally the same as the third on the Victor of 21 January, this first of all known recordings of Perdido appears to be a work in progress; the closing chorus is in place on 3 December 1941, but the rest still needs sorting out. You don't even need to have access to the December recording to realise that Duke knew how his score of Tizol's Stomp would finish before he knew how it would start.
Next, look down the listing of 1940s performances of Perdido following DE4201a. Never again does Harry Carney appear as a solo voice in the first chorus. I have heard very few of these recordings, but on the ones I do know, the theme statement is scored for saxes (with Harry's sheet-anchor voice a powerful presence, as it so often was). Maybe these voicings weren't quite settled even when Duke came into Studio 'A' in Chicago on 21 January to record 4201a, and so the line that would eventually be scored for the reeds was entrusted on that occasion to the ever dependable Harry. Who knows? Finally, note that after 4612q in 1946, there are no more surviving performances of Perdido until 5009a in 1950. Why the four-year gap? Especially as after 1950 there's not a single year without at least one recording, right up to 1974, the year of Duke's death. Fascinating questions! No other discography points the inquiring listener towards such speculations.
I hope that some DEMS members will find this explanation of how the New DESOR works, in the case of one very straightforward and well-known recording, a useful one. I'd welcome any feedback about it. Also, let me know if you think it would be worthwhile repeating this exercise with a different recording, to show how the system Luciano and Giovanni outlined so fully in general terms, applies to another piece. Best of all, select a recording and do the exercise for yourself. There could be no better compliment to the extraordinary achievement which is the New DESOR than that it stimulates such enjoyable investigations.
Roger Boyes

It has happened many times that I have had to identify a recording of a concert for which I have no specific date, or even worse, a wrong date and location. Some concerts on tape consist of compilations put together from different concerts in order to construct a "fresh" concert with a date and location that seem to fit: we know that Duke was there that evening, no recording of the event was previously known to exist, so this must be genuine. The intention is to make us believe that a "fresh" recording has now popped up. We call these fabricated concerts on tape "fakes". In the old Desor there were not more than two or three "fakes" which were not detected by the authors. In the New DESOR the first "fake" has still to be discovered. No other discography which includes unissued recordings is as "fake-proof" as the New DESOR is.
When I am trying to identify an apparently unknown concert, I take one piece. I make my own description and then I look for an identical description in the New DESOR. Sometimes the % sign helps, indicating that the recording Giovanni and Luciano are describing is incomplete. If mine is also interrupted at the same spot, this suggests that we are likely to be dealing with the same recording. Sometimes I have had to go into my own collection and make several aural comparisons, but usually one of the selections has something special that makes it stand out in the list of descriptions in the New DESOR, and this identifies the description in the New DESOR with the piece I have taken. Once the first piece is identified, the remaining portion of the concert is mostly (though not always) easy to identify. There are even "fakes" in circulation in which Duke's comments in Paris (trying to speak French) have been interwoven with selections played in Germany, to try to fool you into believing that you have a "fresh" French concert at hand. I can assure you that using the descriptions in DESOR has saved me a lot of time unwinding tapes and finding specific selections, especially when looking for Satin Doll or Take the "A" Train. Another great advantage of the New DESOR compared with the old set of 16 small DESOR discographies is the fact that now for the first time we have a complete list of all the recorded performances of each piece, whereas we had to jump from one concert to the next in the old set, which took much more time. The New DESOR is indeed a blessing for fanatic collectors. I am very happy that Roger Boyes has given it such a favourable review.
Sjef Hoefsmit

The New DESOR corrections

We remind you that these corrections are merely suggestions. They are not (yet) accepted by the authors of the New DESOR. Unsigned suggestions were brought in by Hoefsmit.

DEMS 04/2-50

Pages XXXIII and 1057. And Then Some has been copyrighted in 1962 and the title appears on a list of ASCAP as composed by Ellington and Hodges and belonging to Tempo Music. This list is the origin of the listing in MIMM (p513).
It has been recorded by Hodges and Wild Bill Davis (plus Les Spann, Sam Jones and Louis Hayes) on 24Aug61 and released on Verve 10273, MGV(6)8406 and English HMV CLP 1579. I recently heard it for the first time. It is the same as One More Once and I suggest to add it to the sub-titles on both pages.**

Pages XXXIV and 812. If the authors mean what they say on page 812, the sub-title Cotton Head should have the # sign according to the explanation in DEMS Bulletin 04/1-30.
Jørgen Mathiasen

One could also suggest that Cotton Tail is a sub-title of Cotton Head. On the tape-box in the Danish Arkiv and on the release (Private Collection Volume 8), Cotton Head has been falsely called Cotton Tail (DEMS Bulletin 86/3-2). A third solution would be to say that Cotton Head is the same as Cotton Tail, since it is merely a head arrangement based on Cotton Tail. I would wonder if there is any written score of Cotton Head.
Sjef Hoefsmit

Pages XXXV, 118 and 1255. See discussion in DEMS 03/1-28. If you want to maintain How Blue Can You Get as another title for Ultra Blue, you should put the # sign after the title on pages XXXV and 1255. You should mention the subtitle between parentheses after Ultra Blue, 4581b on page 118.**

Page 45. Session 3922, 1Nov39. The one surviving air check from the Club Caprice [in the Coronado Hotel] is dated 2Nov39 from WJR, a CBS station in Detroit.
Ken Steiner

See also Jerry Valburn in DEMS 91/1-3 and Klaus Stratemann p160.

Page 46. Session 4001, 8Jan40. The correct date is 12Jan40.
Session 4002, 9Jan40. Ben Webster is not heard. He stayed with Teddy Wilson until the end of their Golden Gate Ballroom run (in NYC). Teddy left there for the road on 11Jan40. (New York Amsterdam News 13Jan40 and 20Jan40 p24)
Ken Steiner

Pages 177 and 1337. Hans Christian Dörrscheidt reported on 17Mar04 in a message to the Duke-LYM group that he had found a slight difference in the joint of the coda of Harlem on the latest re-release of "Ellington Uptown" compared to the earlier release on CD: Columbia CK 40836. The fact that an insert had replaced the coda of Harlem has been mentioned on page 1337 in the New DESOR and has been commented on by Hoefsmit in 00/2-19/p177 and again in 03/3-25/p177. However, this difference in the joint was not detected earlier. This is quoted from Hans Christian's message:
"The trumpet section squeeze before the big drum roll in the coda ends quite abruptly on the new issue, so it's obvious there's a cut at about 13:12 in the track. This wasn't as obvious on the old CD, so first I wondered if the producers of the new one had maybe chosen to paste another take of the coda. After comparing the two codas via PC and headphones I'm quite sure they are the same, but on the old CD issue there was some 'doctoring' done to disguise the cut, making the trumpet squeeze more smooth by means of echo or some other gimmick."
I agree. I have compared all the recordings I have of Harlem of 7Dec51. I could not compare it with the Philips release 07008L, because that LP is no longer in my collection. It was given to Jerry Valburn and is probably in the Library of Congress. Nevertheless, I compared the new Columbia release CK 87066 with the LPs CBS 62686 and Encore (CBS) P 14359 and with the CD Columbia CK 40836. These releases are all identical and they show the smooth connection of the coda as described by Hans Christian with the exception of the recent re-release CK 87066.
I also compared the connection with the acetates I received from Steven Lasker (described in DEMS Bulletin 03/3-25/p177). Here the connection is the same as on CK 87066!
Going over my comments in 03/3-25, I found that I was not clear. Describing the comparison of Harlem on Steven's acetates, I stated: "Comparison revealed that there is a slight difference in the C section of chorus 20°. I found no other differences between Steven's acetates and take -1 (5127e) until I reached chorus 24°. On the Columbia releases chorus 20° is different from both take -1 and take -3."
This seems all rather cryptic. Before re-stating my point I compared everything once again and I have found that my earlier conclusions were correct: I found no difference between take -1 on the studio tapes and Steven's acetates until I reached chorus 24°. That means that chorus 20° is the same on Steven's acetates as it is in take -1 from the recording session. Chorus 20° has a slight difference in the C-section when take -1 is compared with all the Columbia releases including the most recent one. This difference in chorus 20° must have motivated the statement in the New DESOR on page 1337 ("Ellington Uptown", Columbia ML-4639) that starting from chorus 20° take -3 was used. This is not correct. I have not found back in the studio recordings the same chorus 20° as on any of the Columbia releases. It is different from take -1 and different from take -3. (Take -2 did not reach chorus 20°).
The choruses 21°, 22° and 23° on all Columbia releases (and on Steven's acetates) are very much different from take -3 and identical with take -1. Starting wiith chorus 24° on the Columbia releases, take -3 has been used until the joint with the insert coda.
Sjef Hoefsmit

You are right about the choruses 21°/23°: all the Columbia releases are identical with take -1 and not with take -3 as written in DESOR. About the chorus 20° we suspect that it could be from take -3 with the part of BWo, who mis-played his solo, replaced with a more accurate one. We don't know if this technical process at the and of 1951 was possible, but that could explain why the chorus 20° sounds different from take -1 and take -3.
Luciano Massagli

If what you suggest is true it must have been a switch over from take -1 onto take -3 and back in such a fashion that only the second part of chorus 20° was replaced, because take -1 has something wrong at the end and take -3 has something wrong at the beginning. Both "errors" have been eliminated from the Columbia releases.
Sjef Hoefsmit

I found the time to take another listen to the coda on the various issues of Harlem. I could compare these issues:
Columbia ML 4636 [LP] (should read i.m.h.o. ML 4639)
Columbia CK 40836 [CD]
Columbia COL 512917 [CD] (= the same as CK 87066)
Classics 1282 [CD]
and Up-to-Date UTD 2005, the alternate.
The trumpet fall has the exact same cut sound on ML 4636 and the recent COL 512917 CD reissue. Due to more reverb used in the re-mastering, the cut is not perceived quite as harshly on CK40836 and Classics 1282, but it is still there.
The only proper natural fall is audible on UTD 2005. Here the drum roll is about 2 seconds longer. Also, the sound of the drum roll is different! While on UTD2005 it sounds like a low-tom roll, possibly supported by a double-bass-drum roll, on all other issues it sounds very much like a timpani roll. Could also be just one of Bellson's smaller toms, tuned higher, but certainly not the same drum as on UTD 2005!
I guess one of the reasons for the coda insert was to replace the "pedestrian" regular drum roll with the more "dramatic" timpani (possibly high tom) roll. I'm sure that there would have been timpani readily available in the studio.
Hans Christian Dörrscheidt

Page 153. Session 4735, 24Dec47. Add an alternate take of Dance No 5. (See DEMS 03/3-20/4)

Page 184. Session 5220, 8Nov52. Delete Skin Deep. This was recorded in Fresno on 29Feb52.
(See liner notes of recently released CD "Ellington Uptown" and DEMS 03/3-20/4)

Pages 266, and 268. Sessions 5856, 5861 and 5901; 20Nov and 31Dec58 and 4Jan59. Add after Violet Blue between parentheses Multicolored Blue. This title was explicitly mentioned by Ellington in each of these programmes.

Page 338. Session 6333. Thank you very much, Luciano, for your CD with the four takes of Solitude of 24Feb63. I am very sorry that I have to report to you that your take -1 is the same as your take -3 and that your take -2 is the same as your take -4.
You should make corrections (upon corrections). I found this error only after the correction-sheets were ready and mailed. There are no more than two different takes. The first one has one and a half chorus, the second has only one chorus. The issued one is the one with only one chorus. What is mentioned on correction-sheet 1058 is wrong. 6333xa, xb and xc are not all the same as the issued version. 6333xa should stay there and it should have one and a half chorus. xb and xc should be deleted.
Also the correction on page 338 should be edited!
Sjef Hoefsmit**

You are absolutely right and my disappointment is really great: we didn't listen to the takes of Solitude with our best attention, so now we must remake the session 6333 that we have recently corrected! Let us off this time for this big mistake not worthy of careful discographers!
Luciano Massagli**

Pages 473, 474, 665, 666, 686, 688, 689, 690, 693, 1439 and 1476. Amalbert, Juan. Born 20Feb34. His real name is Emmanuel Abdul-Rahim. Juan Amalbert is the name of his father, which he used early in his career. For some obscured reason he can even be found in some discographies under the name Aziz Latif (in the New DESOR spelled Lateef). He not only played on the "My People" recordings, but also in the recordings for "The Jaywalker" on 23Mar67 and in the session of 4Apr67 (liner-notes of "The Jaywalker", see DEMS 04/2-39).
Source: interview of Emmanuel Abdul-Rahim by Bjarne Busk on 19oct2001 in Copenhagen in an e-mail from Bjarne to the Duke-LYM list of 9Mar04.**

DESOR small corrections

These corrections are authorised by Luciano Massagli and Giovanni Volonté.

DEMS 04/2-51

DESOR small corrections 5008

Volume 1 (Corrections August 2004)

VII - Add: JC … Jazz Club U.S.A. (04/2-13)

XVII - Add: JRi … Jerome Richardson … b.s. (04/1-3 p426)

XXIII - Add: BFR … Bear Family Records (04/1-22)

XXV - Add: QL … Quantum Leap (03/2-4)

14 - Session 3010. Delete 3010e. On 3010g delete vcTRB, unissued; and add: Roan AED-2027. Add in the note: Three Little Words was recorded for this film, but used for the movie "The Lady Refuses", produced by R.K.O.; the version heard in "Check and Double Check" is sung by The Rhythm Boys and played by a studio orchestra. (04/1-4 and 04/1-31)

32 - Session 3716. Add: 3716xb   Dusk on the Desert unissued   M651-1
Correction-sheet 1060. (03/1-3/1)

32 - Session 3716. There is a new Correction-sheet 1060, replacing Correction-sheet 1051, the only difference with Correction-sheet 1051 is: NOTE - 3716xa Same as 3716g. 3716xb Same as 3716i. (03/2-14/1)

34 - Session 3806. 3806c, d, e, delete: unissued; add: BFR BCD-16340. Correction-sheet 3019. (04/1-22)

35 - Session 3812. This session has now four selections. Correction-sheet 1060. (04/1-6)

35 - Session 3813. 3813c, delete: unissued; add: BFR BCD-16340. Correction-sheet 3019. (04/1-22)

36 - Session 3816. Make a note that the correct sequence is: f, g, d, b, c, a, e. (04/1-22)

38 - Session 3829. This session has now seven selections. Correction-sheet 1060. (04/1-6)

40 - Session 3905. Add 3905xa Hold Tight   unissued after 3905f. Correction-sheet 1061. (04/1-6)

47 - Session 4007. Delete: March 1940, New Lake Theatre, Salt Lake City, UT; add: February 1940, State Lake Theatre, Chicago, IL. (03/1-6/1)

118 - Session 4581. 4581b. Add, in parentheses: How Blue Can You Get #. (03/1-28 p1255)

125 - Session 4596. Make a note that the correct sequence is: e, f, g, h, i, a, b, c, d. (04/1-23)

165 - Add session 9040, Interview, 7Apr50. Correction-sheet 1062. (04/1-5)

170 - Session 5102. Add to the personnel listing: AM(t.)out;FW(t.)added.
Add after 5102j the "fresh" selection: 5102xa    Violet Blue    VoA     JC-13.
Add before 5102p the "fresh" selection 5102xb    St. Louis Blues    VoA     JC-13.
Correction-sheet 1062. (04/2-13)

237 - Add session 9041, Harry Rasky Interview, 29Apr57. Correction-sheet 1063. (04/2-15)

278 - Session 5928. The whole session (including V.I.P. Boogie and Jam with Sam) has been released on Columbia CK-87044. Correction-sheet 3019. (03/3-20/4)

309 - Session 6210. Delete: Civic Auditorium; add: The Armory. (04/1-20)

315 - Session 6228. 6228a, Taffy Twist: the take number is -01 instead of -10.

338 - Session 6333. A new Correction-sheet (1059) takes the place of the old Correction-sheet (1058). (04/2-51)

387 - Session 6502. 6502i, delete: Things Ain't What They Used To Be; add: Take the "A" Train    theme. (04/1-31)

390 - Add session 9039, Per Møller Hansen Interview, 31Jan65. Correction-sheet 1063. (04/1-31)

426 - Session 6636. Add, after Same as 6610: , but: HC(b.s.,cl., out; JRi(b.s.) added. Add, after 6636e: JRi(b.s.) out; HC(b.s.,cl., added. (04/1-31)

433 - Session 6650. Add, in the note: After the Medley 6650a the orchestra played another Medley, featuring Dean Martin and The Andrew Sisters; the titles were It Don't Mean a Thing, Hold Tight, Hubba Hubba Hubba, The Music Goes 'Round and 'Round, Swingin' Down the Lane: between the fourth and the fifth selection DE played 8 bars on the piano. (04/1-31)

447 - Session 6681. Add: NOTE - In Jam with Sam: Joe Bushkin, Skitch Henderson(p.) added. (04/1-31)

448 - Session 6683. 6683c, Interview by Carson. DE, Johnny Carson(tk.) instead of DE,UM(tk.). (04/1-31)

563 - Session 7015 should be deleted. It has been replaced by two sessions, 9042 and 9043 on Correction-sheets 1063 and 1064 respectively. (04/2-37)

671 - Session 7251. Add 7251xa Into Each Life Some Jazz Must Fall   Ti TX-11295 after 7251a. Correction-sheet 1061. (04/1-31)

Volume 2 (Corrections August 2004)

745 - Be Cool and Groovy for Me. Replace *7015f with *9042c, and replace the description as follows: int4DE,6BAND,2NT(t.s.);1°TW;2°16BAND,16TW;cod4TW,2BAND. (04/2-37)

750 - Birth of the Blues. Replace 7015i with 9043e. (04/2-37)

765 - Blue Skies, 5102p. FW instead of AM. (04/2-13)

780 - C-Jam Blues. Replace 7015a with 9043a. (04/2-37)

789 - Caravan. Replace *7015f with *9042c. (04/2-37)

803 - Come Off the Veldt. Replace 7015e with 9042b. (04/2-37)

838 - Do Nothin' Till You Hear from Me. Replace *7015f with *9042c. (04/2-37)

846 - Don't Get Around Much Anymore. Replace *7015f with *9042c. (04/2-37)

850 - Don't You Know I Care? Replace *7015f with *9042c. (04/2-37)

853 - Duael Fuel Part III, 5928c. The description should read as follows:1°/8°SW;pas6SW;9°/21°JJ;pas2JJ;cod48SW&JJ,16BAND&SW&JJ. (03/3-20/4)

890 - "Harlem". Replace 7015c with 9043f. (04/2-37)

900 - Make a note for Hold Tight on Correction-sheet 2004. (04/1-6)

915 - I Got It Bad. Replace *7015f with *9042c. (04/2-37)

932 - I'm Beginning To See the Light. Replace *7015f with *9042c. (04/2-37)

941 - In a Sentimental Mood. Replace *7015f with *9042c. (04/2-37)

944 - In Triplicate. Replace 7015j with 9042d. (04/2-37)

948 - Interview, 6313a. The correct spelling is Allroth (03/3-26 p331)

948 - Interview, 6683c. Add: By Carson. (04/1-31 p448)

950 - (Or on 947, 948, 949) Interview. Add 9029a DE(tk.) … Time: 19'35". Correction-sheet 1037. (99/5-1/1)

950 - (Or on 947, 948, 949) Interview. Add 9031a … Time: 24'50". Correction-sheet 1046. (02/3-16/3)

950 - (Or on 947, 948, 949) Interview. Add 9036a  By Smith … Time: 27'00".  Correction-sheet 1058. (03/3-26 p322)

950 - (Or on 947, 948, 949) Interview. Add 9037a  By Feather … Time: 29'30".  Correction-sheet 1058. (04/2-16)

950 - (Or on 947, 948, 949) Interview. Add 9038a  By Rosenkrantz … Time: 6'40".  Correction-sheet 1058. (04/2-17)

950 - (Or on 947, 948, 949) Interview. Add 9039a  By Hansen … Time: 5'13".   Correction-sheet 1063. (04/1-31 p390)

950 - (Or on 947, 948, 949) Interview. Add 9040a …Time: 4'45".  Correction-sheet 1062. (04/1-5)

950 - (Or on 947, 948, 949) Interview. Add 9041a  By Rasky … Time: 5'35".   Correction-sheet 1063. (04/2-15)

955 - It Don't Mean a Thing.  Replace *7015f with *9042c. (04/2-37)

962 - Jam with Sam, 5928k.
Add:int2HB,2BAND,2HB,2BAND;1°/2°IHB;pas4BAND;3°IIPG;pas4BAND;4°IIBWo;pas4BAND;5°IIRP;pas4BAND;6°IICA;pas4BAND&CA;7°IIQJ;8°/9°IBAND&CT(fl.);10°IBAND&CA;cod5CA,1BAND. (03/3-20/4)

DESOR small corrections 5009

Volume 2 (Corrections August 2004 continued)

988 - La Plus Belle Africaine. Replace 7015d with 9042a. (04/2-37)

999 - Long, Strong and Consecutive, 4596b: int6DE instead of int4DE. (04/1-23)

1003 - Love You Madly. Replace *7015f with *9042c. (04/2-37)

1012 - Meditation. Replace 7015l with 9043l. (04/2-37)

1017 - Medley. Replace 7015f with 9042c. (04/2-37)

1032 - Mood Indigo. Replace *7015f with *9042c. (04/2-37)

1067 - Passion Flower. Replace 7015g with 9043c. (04/2-37)

1080 - Prelude to a Kiss. Replace *7015f with *9042c. (04/2-37)

1110 - Satin Doll. Replace 7015k with 9043k. (04/2-37)

1134 - Solitude. Replace *7015f with *9042c. (04/2-37)

1147 - Sophisticated Lady. Replace *7015f with *9042c. (04/2-37)

1180 - Take the "A" Train. Replace 7015b with 9043b. (04/2-37)

1191 - Take the "A" Train (theme), add: 6502i Same as 5939h. (04/1-31)

1233 - Things Ain't What They Used To Be, delete 6502i. (04/1-31)

1237 - Things Ain't What They Used To Be. Replace 7015h with 9043d. (04/2-37)

1241 - Three Little Words. Delete 3010e. On 3010g delete the whole description and add: %;1°%,8BAND;2°BAND&BB;3°30BAND&FJ,2DE;4°BAND. (04/1-4 and 04/1-31 p14)

1255 - Ultra Blue. Add: # to the subtitle How Blue Can You Get. (03/1-28)

1262 - V.I.P. Boogie, 5928j. Add: Same as 5106c. (03/3-20/4)

1270 - West Indian Pancake, 6636e. Add, after Same as 6611f: , but JRi instead of HC. (04/1-31 p426)

1311 - Add: 0872 CD. Bear Family Records BCD-16340. Correction-sheet 3019. (04/1-22)

1329 - Add: 0876 CD. Columbia CK-87044. Correction-sheet 3019. (03/3-20/4)

1331 - 0223 LP. Columbia CL-1400. Add, in the note: Track A05: 19°/21°JJ;pas2JJ omitted. (03/3-20/4)

1349 - Add: 0875 CD. D.E.T.S. 9039009. Correction-sheet 3019. (04/1-23)

1396 - Add: 0874 DVD. Quantum Leap QLDVD-0252. Correction-sheet 3019. (03/2-4)

1432 - Add: 0873 LP. Voice of America JC-13. Correction-sheet 3020. (04/2-13)

1444 - Bernhart, Milt. May 25, 1926 - Jan 22, 2004.

1446 - Brookshire, Nell was the stage name; Bobbie Gordon was the real name. (04/1-1)

1451 - Charles, Ray. Sep 23, 1930 - Jun 10, 2004. (04/1-4)

1489 - Add: Richardson, Jerome. Correction-sheet 4001. (04/1-31 p426)

1498 - The Rhythm Boys. Delete: "August 1930". (04/1-4 and 04/1-31 p14)

Correction-sheet 1058 - Session 6333. Delete 6333xb and 6333xc and edit the NOTE: 6333xa int4DE;1°BBj;2°(nc)16BBj;cod3BBj,1BAND.
You can also delete session 6333 on Correction-sheet 1058 and replace it with the same session on Correction-sheet 1059. (04/2-51 p338)

Correction-sheet 1059 - Session 6333. Correct the initials of Bea Benjamin in the description from BBJ into BBj.

Correction-sheet 3018 - item 0871 DVD Quantum Leap. The correct number is QLDVD and not QLDUK. (03/2-4)

The New DESOR correction-sheets

DEMS 04/2-52


1059 - 6333 Paris                 24Feb63 03/3-26
       6363 Chicago               21Aug63 03/3-27

1060 - 3716 NYC                   20Sep37 03/2-14/1
       3812 NYC                   29Apr38 04/1-6
       3829 NYC                    6oct38 04/1-6

1061 - 3905 NYC                   15Mar39 04/1-6
       7251 NYC                   23oct72 04/1-31 p671

1062 - 9040 Paris                  7Apr50 04/1-5
       5102 NYC                   21Jan51 04/2-13

1063 - 9041 NYC                   29Apr57 04/2-15
       9039 Kobenhavn             31Jan65 04/1-31 p390
       9042 Wellington             9Feb70 04/2-37

1064   9043 Wellington             9Feb70 04/2-37


2004 - 3403                Ebony Rhapsody 03/3-18/1
       3502                Tough Truckin' 02/1-25
       6338               Strange Visitor 00/2-4/1
       7136                          Toto 02/1-6/1
       3905                    Hold Tight 04/1-6


3019 - 2905-3816    Bear Family BCD-16340 04/1-22
       5928             Columbia CK-87044 03/3-20/4
       6946         Quantum Leap DVD 0252 03/2-4
       4550/96/53              DETS Vol.9 04/1-23

3020 - 5102 Voice of America Jazz Club 13 04/2-13
       Correction-sheet 3020 waits for more corrections.


4001 - Richardson, Jerome            6636 04/1-31 p426.
       Correction-sheet 4001 waits for more corrections.


Small corrections

5008 - Two pages with small corrections, assembled April 2004, from page 1218 until and including 1515 (see 04/1-32) and assembled August 2004, from page VII until and including page 962 (see 04/2-51)

See for older Correction-sheets: DEMS 04/1-33.


DEMS 04/2-53

Bear Family double CD BCD 16340 BL
Live from the Cotton Club
See DEMS 04/1-22

Hot Feet, disc one track 13. Is this a GREMLIN?
I cannot find a session for 27 March 1929. Should it have been 07 March?
Lance Travis

You are right. This was what I used to call a typo. Sorry!
Sjef Hoefsmit

The New DESOR corrections

See DEMS 04/1-31

First item is not Page 4. but Page 14.

These errors corrected online. pm 30jul2004