DUKE ELLINGTON MUSIC SOCIETY
05/3 December 2005 - March 2006
Our 27th Year of Publication.
FOUNDER: BENNY AASLAND
HONORARY MEMBER: FATHER JOHN GARCIA GENSEL
EDITOR: SJEF HOEFSMIT
ASSISTED BY: ROGER BOYES
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Guitarist Billy Bauer
Billy recorded as a member of the Metronome All-Star Band under
Duke's direction on 15Jan46 in the number Metronome All Out.
He also appeared at the Third Esquire All-American Concert on the
next day (16Jan46) as a prominent member of the Woody Herman Band. He
also participated in recording sessions of small groups under the
direction of Harry Carney, Rex Stewart and Johnny Hodges. He died on
17Jun05, according to a message in the Newsletter of the Toronto Duke
Ellington Society of Sep05.
See DEMS 05/1-29
Alfred Benjamin McKibbon, double bass player; born Chicago 1 January
1919 died Los Angeles 29 July 2005. These are the last words of Steve
Voce's obituary in the Independent of 1Aug05. Steve has sent his
article to the Duke-LYM list. That made it accessible to almost all
the DEMS Bulletin readers. If you have missed it and you are
interested, I will be happy to send you a copy through e-mail or a
hard-copy through normal mail.
This sad news coincided with a discussion about Al McKibbon's
participation in the Ellington recording session of 3Mar61. This
discussion was continued with Patricia Willard, the author of the
liner-notes of the Columbia re-release of "Piano in the Background"
(DEMS 04/3-31), who responded to my statement on the Duke-LYM list
from 31Jul05: "Alfred Benjamin McKibbon replaced Aaron Bell during
Ellington's studio session of 3Mar61."
The following discussion with Patricia Willard confirms the statement
by Steven Lasker that Al McKibbon actually never recorded with
Ellington (DEMS 05/1-29).
Patricia wrote: "see page 9 of my notes on the reissue CD of 'Piano
in the Background.' Al McKibbon explains how he almost was on that
track [Harlem Air-Shaft, 3Mar61] but ultimately was not. I
have the tape of my phone interview with Al in which he explains the
I mentioned that if Al only played at the start of the session, it
could not have been in Harlem Air-Shaft, since that selection
was the last one in the session.
Patricia answered: "When Sony sent me the data on the music to be
released on the CD, McKibbon's presence was stated for the Harlem
Air-Shaft track so I called him to ask about the session. He
never mentioned Harlem Air-Shaft or any other specific
selection. He just said that the session was ready to start and Aaron
had not shown up so he, McKibbon, was called. He arrived with bass
and ran through the first number, as related in the notes, and just
as the first "take" was called, Aaron arrived and took over. Al
stayed to listen. Al confirmed that he was on the session sheet and
was paid for the session because that is the union rule. He was
called, he responded and was ready to play. Since Aaron was the one
who actually recorded, both were paid, and both names were on the
official documentation. Al was most definite that, although he "ran
through" the first number with the band, he did not have the
opportunity to record. I admit that I did not check the order
(sequence) of selections recorded that day."
This settles once and for all that Al McKibbon is not on any of
Duke's records. Corrections should be made in discographies which say
otherwise (see New DESOR Small Corrections, 05/3-57). As soon as we
ever find recordings of the rehearsals at the start of the 3Mar61
session (there are recordings of rehearsals later on in the session!)
Al should probably be reinstated as a temporary Ellingtonian.
Another great bassist has gone.
From the Washington Post, taken from the obituary written by Adam
Bernstein: "Keter Betts dies at 77. He was found dead at his home in
Silver Spring on 6Aug05.
William Thomas Betts was born in Port Chester, N.Y., 22Jul28, and was
raised by his single mother, a domestic worker. He got his nickname
when a family friend said the baby was as cute as a mosquito.
Mosquito became Skeeter, then Keter.
He met Fitzgerald through his golfing partner, bassist Ray Brown, the
singer's ex-husband and business manager. Mr. Betts played with
Fitzgerald in the mid-1960s and again from 1971 to 1993, often doing
weeks of one-nighters around the world."
Keter is mentioned in the Duke Ellington discography because of his
association with Ella Fitzgerald. He played with her and with
Ellington and Bellson during the recording of the telecast "The Magic
of Ella Fitzgerald" in Apr68 in the numbers Don't Get Around Much
Anymore and Oh! Lady Be Good. (See DEMS 05/3-38). I
admired his great musicianship one evening in Alexandria when my
friends Don Miller and John Gallanan took me to the club where Keter
played. Good memories brought back by this sad message.
Barbara Winfield, who, as a teenager, sang with Duke Ellington for
more than a year and recorded with Tadd Dameron and his Orchestra a
decade later, died Wednesday (10Aug05) at a New York hospital. The
cause was complications of cancer. She was 72.
Saxophonist Al Sears alerted his former leader to Ms. Winfields
fresh-voiced singing after they shared a bill at the Rockland Palace
on New Years Eve, 1949, and Ellington invited her to join his
band on a European tour that spring. The 17-year-old singer, a high
school senior claiming to be 19, told the bandleader that she could
not interrupt her college classes. In July, 1950, with her high
school diploma, she flew to Boston to join the Ellington Orchestra,
and, to her surprise, his three female singers, June Norton, Chubby
Kemp and Marian Cox. The others soon departed, and Ms. Winfield sang
with Ellington until January, 1952, alternating occasionally with
Yvonne (Lanauze). Ms. Winfields only recordings with Ellington
for Columbia Records were never released because of her slight lisp,
more evident on record than in live performance. Ellington arranged
for corrective surgery.
Ms. Winfield was born October 9, 1932 in New York City. Her marriage
to Valdo Williams ended in divorce. She is survived by her sister
Nancy and by her sons Derek and Tracey Williams of Manhattan. Another
son, Adrian Williams, died in February of heart failure. She
abandoned music performance during her child-rearing years, earned a
Bachelors degree in urban studies and a Masters degree in
education at Fordham University and became an education evaluator for
the New York City Schools. In the past five years, she had resumed
performing, fulfilling club dates in the New York area, appearing as
guest vocalist with trumpeter Clark Terry, a colleague from both the
Ellington and Dameron aggregations, and singing with the Barry Harris
Chorus. In February, 2004, she participated in the Ellington Alumni
Reunion Project of concerts, symposia and videotaped oral histories
at the American Jazz Institute of Claremont McKenna College,
Claremont, Ca. Most recently, she appeared on the Duke Ellington
Birthday Concert, April 29, at Manhattan Plaza and in May at Marge
Elliotts Living Room Concerts in New York.
Milt Grayson stayed in the Ellington band from Mar60 until May63. He
died on 3Sep05 at the age of 68 from cancer. Participants of the
Ellington Conference in 1986 in Newark had the opportunity to meet
Milt Grayson. Apart from being a very fine singer, he also appeared
to be a very nice gentleman. When I met him, I asked him about his
father who worked with Ellington, because Milt looked much younger
than I had expected him to look with his low voice. He must have been
49 years when he attended the conference and took part in the
concerts at Rutgers University. He also sang for us, accompanied on
the piano by Aaron Bell, during the reception at the start of the
conference on 11Jun86 in the studio of the station WBGO-FM Jazz 88.
He is on my very first video recording made at Ellington conferences.
He was also video-recorded on 7Feb63 when Alice Babs first performed
with the band for a Swedish telecast called "Indigo". He did not take
part in the show "My People" in spite of what was written in the New
Pittsburgh Courier of 27Jul63, Vol. 4, issue 15 on page 20. That was
not Milt Grayson but Jimmy Grissom. The New DESOR does not mention
the exact date of birth in 1937 of Milt Grayson. If anybody can
provide that, the discography can be updated.
I regret to have to tell you that Gloria Nance passed away Thursday,
10 November, in New York. She was 77. She had been suffering with
lung cancer, diagnosed about 18 months ago. Gloria was an actress and
writer and, as Gloria Harper (her maiden name), had appeared in
principal roles in many Off-Off-Broadway plays in New York as well as
in several independent films and had small roles in two major films,
"Awakenings" and "Bright Lights, Big City."
She was a member of the famed Cherry Lane Players in New York and a
fashion model under contract to Vogue magazine when she and Ray Nance
met in the mid-1940s. They married in Chicago in 1952. As you know,
she participated in several Ellington conferences Oldham 1988,
New York 1993 Leeds 1997 and Chicago 1998. She attended Ottawa in
1990 but I can't remember if she participated.
Funeral services were held on Monday 14Nov in Queens, NY. Clark Terry
and Michael James attended.
Gloria is survived by her brothers Richard and Robert Harper and
Many of us met Gloria Nance at one or more of the Ellington
conferences. She participated often in panel discussions in which she
told stories of her travelling as a white woman with the band. Her
treatment as the wife of a black man was often disgraceful. Her
stories about it were hilarious, but at the same time they made me
feel ashamed to be a member of the human race.
In DEMS Bulletin 98/1-10 we published a letter from Gloria Nance to
Steve Voce in which she sets the records straight about why and when
Ray left the band. When leaving the Leeds conference in 1997, Gloria
made an appointment with Klaus Stratemann to meet again the following
year in Chicago. Gloria was there but Klaus was unable to keep his
promise. Maybe they are seeing each other now.
Important News for Ellington Fans In South Africa
DESUK member Lance Travis would like to start a South African Chapter
of the Duke Ellington Society.
Should you be interested, he can be contacted by e-mail on
Or phone him on (018) 381 55 81. He lives in Mafeking.
By joining The Duke Ellington Society UK (Subscription œ18 per year)
you will be availing yourself of the services provided by DESUK as
well as being a member of the first Ellington group in the rainbow
Deutsche Jazz Platten Sammelbörse
Michael and Bernd Ludwig asked us to publish that the 10th
German Jazz Record Collector Fair will be held on 1Apr06 from 9:00
until 16:00 in Hannover at the Pavillon, Lister Meile 4, am
Weiszkreuzplatz (direkt hinter dem Hauptbahnhof). Es handelt sich um
Schellack, Vinyl und CDs.
Jubilee broadcasts on line
The reason for putting the JUBILEE "files" on-line was to show what
we know so far and what programs we still are looking for. It is far
from being a finished product but still some steps further down the
road from what Lotz &Neuert did in the mid-80s. Go to my Web-site
http://home.swipnet.se/dooji and then
click on "Jubilee" for a link to my Jubilee site which gives new and
revised info about 100s of the programs including several
transcriptions with the Duke.
Florence Mills: Harlem Jazz Queen
See DEMS 05/1-4
Bill Egan's book Florence Mills: Harlem Jazz Queen has been
singled out for "Honorable Mention" by the panel for the
international award The Kurt Weill Prize 2005, awarded
biennially for "distinguished scholarship on twentieth-century
musical theater" by the Kurt Weill Foundation for Music. The citation
for 2005 can be seen at: http://www.kwf.org/pages/kwp/award05.html
The sub-titles in the New DESOR, now
traceable in both directions.
The New DESOR contains a list of alternative titles followed by their
"primary" counterparts. Starting on page XXXIII it covers eight
pages. This list is very helpful in researching the titles of Duke's
recordings. You can also use it to search for a title the other way
around, which means that you know the primary title and you want to
know the alternate title, if any. But using the list in the New DESOR
in this fashion is rather tiresome. That's why I have made a complete
listing with titles referring to each other in both directions. The
first two columns are the same as in the New DESOR. The supplementary
two columns bring the total to four columns. For example, you will
find Main Stem to have been named Altitude, On
Becoming a Square and Swing Shifters Swing but also
that Absinthe has four alternative titles. This complementary
form of listing has been approved by Luciano Massagli and revised by
him in September 2005.
This double listing has been written in Microsoft Excel where the
Excel-file is 58 kilo Bites in size. There are 408 lines in four
columns that on A4-size paper cover 9 pages.
DEMS members will receive the extended list free of charge when
forwarded by e-mail. Just send me your request by e-mail to:
email@example.com. I can also deliver
the lists printed on 9 sheets of A4-size paper, or in digital form on
a 3,5 inch floppy disk, but would ask for cover of material and
postage. SEK 100 alt EUR 10 alt USD 15.
Dating "SYMPHONY IN BLACK"
In the last Bulletin (05/2-41) appeared a study by Steven Lasker
about the date of the recording and filming of this Paramount
picture. Maybe you have noticed that the last Bulletin (05/2) came
out a few days before the deadline of 1Aug05. When we "released" the
August Bulletin, Steven Lasker was still editing his article. He was
not aware of the fact that the Bulletin was ready and we were not
aware of the fact that he was editing his article. We decided to
exchange the first edition of his article (dated 21Jul05) with the
final edition (dated 5Aug05). This is another of the nice
possibilities of having DEMS on line. If you are interested in the
final version, you should go back to 05/2-41 where you will find it.
If you have downloaded the article, you should check the date at the
end. If it is 21Jul05 you could consider to download the new version
of 5Aug05. The conclusion of Steven's study is the same, but the text
is rather different.
Correct e-mail address please
If you do not receive my message that the most recent DEMS Bulletin
is on line, please let me know. You may be the one that caused this
message: "Your message was automatically rejected by Sieve, a mail
filtering language". Or your e-mail address is out-of-date.
It goes without saying that if you do not receive a message
announcing the release of another Bulletin, you are welcome to send
me your e-mail address and I will notify you in the future.
At the end of 2005
DEMS Bulletin is now two years on line. It is a great success. We
have the impression that we have not lost any of our original DEMS
members and we have experienced that there are quite a number of new
readers of the Bulletin.
I wish you all, new and old members a Merry Christmas and a very
happy New Year!
Amazing New FINDs
If you watched the documentary "Reminiscing in Tempo", you will have
seen Bob Udkoff as "a talking head" on screen. He was a close friend
of Duke, a founder of the Love You Madly Club, and he is mentioned
several times in MIMM (pp129, 396 and 405). Bob and Duke first met in
1934. Udkoff worked for a dry cleaner and dropped off Duke's clothes
at the Dunbar Hotel where Duke was staying. When Bob recently moved
to Beverly Hills he stumbled on a set of nine reel to reel tapes with
recordings of the Ellington band. He gave them to Mark Cantor with
the instruction that they should be made available to Ellington
aficionados on a non-commercial basis. Mark gave the tapes to Steven
Lasker, who has sent them to DEMS.
The most surprising set of tapes is a group of five which contain
copies from a more original set of seven, recorded at Bob Udkoff's
50th birthday-party on 17Apr68 at the El Caballero Country
Club in Los Angeles. Duke with the band and many other guests
attended the party and Duke played a lot of terrific piano solos and
sometimes the band joined in. The band members certainly did not use
their charts. They played more relaxed than we have ever heard them,
and this became more apparent as the evening progressed.
The balance between the two channels in this stereo recording is very
poor, there are rather a lot of interruptions, and the volume is not
constant; but the sound as such is great. The greatest drawback is
the almost constant loud chatter of the guests. Duke on the other
hand played the piano as if he was completely alone one would say,
but surprisingly he occasionally took part in the discussions even
during his piano playing.
Duke started with Salute to Morgan State and I Can't Get
Started. Then came I Let a Song Go Out of My Heart
followed by Don't Get Around Much Anymore, which was played by
the band with Johnny Hodges soloing. Jimmy Jones took over and
played the piano in Satin Doll with Cat Anderson as
soloist. I did not spot a piano part in I Left My Heart in
San Francisco, played by Lawrence Brown, but Duke was back at the
piano in order to play The Twitch with the full band. The band
then joined Duke after many introductions in Mood Indigo.
Cootie soloed in Fly Me to the Moon. The band continued with a
second performance of Satin Doll. Dear late Terrell Allen
would have enjoyed the party because Satin Doll was played in
total five times. This second time Duke was at the piano and Paul
Gonsalves soloed. Duke played Dance No 3 from the Liberian
Suite as a piano solo, followed by Stompin' at the Savoy,
which also started with a great piano introduction. I would not be
surprised if the trumpet solo was played by Benny Carter. The next
selection was Blue Bells of Harlem, followed by
Meditation and New World a-Comin' as background music
for the chatter and the many sounds produced by people enjoying their
meals. This was followed by New York City Blues when the
waiters collected the plates. Fats Waller's Squeeze Me was
played by Duke and Jimmy Jones, probably together at one piano.
Johnny Hodges played his usual solos in Drag, Prelude to a
Kiss and Things Ain't What They Used To Be, which is
incomplete at the end because the tape ran out. Cat Anderson
soloed in I'm Beginning To See the Light. It was time for the
third performance of Satin Doll, this time as background for
Duke's talk and introduction of Bob and Evelyn Udkoff. After Bob's
speech everybody joined the band in Happy Birthday. A
brand-new Ellingtonian now has to be added to the discography, since
Marian Logan sang I Got It Bad and Tenderly with the
band and with Jimmy Jones at the piano. Jimmy stayed at the piano for
Joe Williams' renditions of Every Day I Have the Blues
and Jump for Joy. There was a lot of pressure put upon
Harry Mills (one of the Brothers) to sing Paper Doll. He
didn't but Lawrence Brown (famous for knowing every melody by heart)
played a wonderful solo. The community singing of Shine on Harvest
Moon was preceded by a lot of discussion between Patty Andrews
(one of the Sisters) and Harry Mills. They were joined by many
others. Several Duke LYM friends have helped me to identify this
song, which enabled me to put the tapes in the correct sequence. The
discussion in which the title is mentioned comes at the end of one
tape and the song (which I couldn't identify) is at the beginning of
another. Trish Turner continued the programme with Misty.
There is a voice in the audience asking for Johnny Hodges to play
Come Sunday. In the event Duke gave the responsibility to Tony
Watkins, whose rendition silenced the guests. What a relief! The
guests thankfully remained very quiet during Duke's Monologue.
Harry Carney gave his usual rendition of Sophisticated Lady
and Benny Carter played on his sax Body and Soul. Duke started
Tootie for Cootie, but since Cootie was not available at that
moment, he continued with It Don't Mean a Thing by Trish
Turner and Tony Watkins. This was followed by a complete rendition of
Things Ain't What They Used To Be. Duke invited Joe Williams
to join Trish Turner and Tony Watkins in what became more or less a
medley of blues themes with Jimmy Jones once again at the piano. The
one I could identify is Stormy Monday Blues. Duke returned to
the piano to play the fourth rendition of Satin Doll.
Apparently Cootie now showed up, because Duke was now successful in
starting Tootie for Cootie. Trish Turner did Me and
You, in which Paul played a nice solo, and Willow Weep for
Me. I have the impression that Benny Carter played trumpet and
Oliver Nelson tenor in this number. The full band continued with
Take the "A" Train, which is interrupted because the tape had
to be turned over. Duke played Solitude with Lawrence Brown,
an absolutely unique performance. After that Duke wanted to start the
band off in Ocht O'Clock Rock, but he changed his mind and
continued with Happy-Go-Lucky Local. Johnny Hodges played I
Got It Bad and then the full band played Ocht O'Clock
Rock. The evening came to a conclusion with the fifth version of
Satin Doll plus speeches by Duke and Bob Udkoff.
I copied the five tapes onto three CDs and sent sets to Steven Lasker
and Mark Cantor. Because of the low quality, the constant chatter and
their private character, these recordings are totally unsuitable for
a commercial release. Were I to offer to makecopies I wonder how many
people would be disappointed, considering the very loud presence of
There are four other tapes in Bob Udkoff's collection. Two of them
contain two Sacred Concerts at an identical location, Temple Emanuel
in Beverly Hills, on an identical date, 15Nov, but in two different
years, 1966 and 1970. The quality is absolutely terrible. It is just
about good enough to identify the selections. I will make copies for
Luciano Massagli and Giovanni Volonté for inclusion of these
concerts in the New DESOR. Nobody would be willing to listen to these
tapes more than once. Their significance is exclusively
The last two tapes contain well known released material. One has the
broadcast from Basin Street East in NYC on 14Jan64. I have compared
the tape with the CD release on Music and Arts 908 (see DEMS
96/2-10). The conversation between Duke and William B. Williams is
almost the same. There are a few words, like the repeat of a sentence
and one silly joke, which are left out to make the broadcast fit onto
one CD (77:51). No music and no words spoken by Duke are affected.
The last tape contains the complete concert of 27May60 at the Civic
Auditorium in Santa Monica, in mono. The complete concert has been
released on two stereo LPs, Queen Discs Q-069 and Q-070. On my LP
Passion Flower is slightly mutilated. It is not mutilated on
another stereo tape from the Benny Aasland collection, or on the Bob
Udkoff mono tape.
Composers' Voices from Ives to Ellington
Benny Aasland published in DEMS Bulletin 82/1 on page M5 a letter
from Martha Oneppo from Yale University to Don Miller, the founder of
the Duke Ellington Conferences. In this letter she tells that "we are
working on an Oral History of Duke Ellington as part of a larger
music history project. We are building a collection of tape-recorded
interviews with the people who knew Duke Ellington first hand and who
worked with him." The letterhead of Martha's letter showed: School of
Music, Stoeckel Hall, ORAL HISTORY PROJECT, Vivian Perlis, Director".
In the letter Martha gave a list of family members, singers, band
members, colleagues, performers, managers, writers, friends and
buffs, with whom interviews had already been conducted. She asked Don
Miller for suggestions, which he gave in an answer which also
appeared in DEMS Bulletin 82/1.
For many years, I have wondered from time to time what would become
out of this undertaking. And here is the first result. A book by
Vivian Perlis and Libby Van Cleve, recently published by Yale
University Press, ISBN 0-300-10673-4.
It contains much more than only Ellington's history. Actually
"Composers' Voices from Ives to Ellington" is the first volume of a
series of four, titled "An Oral History of American Music". Figures
whose lives spanned the century, such as Copland and Ellington are
featured in Volume I and will reappear later, while younger composers
visit this volume with comments and observations. This first volume
has chapters about Charles Ives (I); Eubie Blake (II); The Early
Modernists (III) (Leo Ornstein, Edgard Varèse, Carl Riggles,
Dane Rudhyar, Charles Seeger and Henry Cowell); George Gershwin (IV);
Nadia Boulanger (V); From the Boulangerie [composers influenced by
Nadia Boulanger] (VI) (Virgil Thomson, Aaron Copland and Roy Harris).
The last chapter (VII) is dedicated to Duke Ellington.
So far I have concentrated on the Duke Ellington chapter, leaving the
very interesting looking other chapters for later. Chapter VII
occupies 66 pages of the total of 349. At the gala occasion of the
founding of the Duke Ellington Fellowship program at Yale University
(7oct72), Duke Ellington agreed to be interviewed for the Oral
History American Music (OHAM) project upon completion of his
autobiography. Unfortunately, he died before this was possible.
Nevertheless, an oral history project on Ellington was initiated by
OHAM shortly after his death in 1974. It eventually grew to
ninety-two interviews with musicians, family members, record
producers, jazz critics, cultural historians, and others in the music
business. A subseries included those who knew Ellington's close
collaborator, Billy Strayhorn. (For the entire list of Duke Ellington
Project interviews, see the OHAM website: www.yale.edu/oham/.)
The chapter starts with a short biography of Ellington, interspersed
with transcripts from taped Ellington interviews which are well known
to Ellington tape collectors. For me much more interesting are the
interviews with others about Duke. Two of these are rather revealing.
On page 359 is the interview with Luther Henderson (7Jul81) speaking
of the collaboration between Duke and Billy: "They literally could
think together. I mean, Ellington would start something, and he would
give it to Strayhorn and see if he could finish it. Strayhorn really
did a great deal of the exposition in Beggar's Holiday, but
all the tunes were written by Ellington."
Another striking statement was made by Aaron Bell (25Nov77) on page
393: "You take a band like Count Basie's it's like a
well-oiled machine; it would always give a performance up to a
certain level. They would never go down to the level that Duke went,
but they never reached the heights that he'd reach either. So that is
the joy of working with him."
The book is accompanied by two CDs. Duke's portion (CD 2 tracks
14-24) contains short pieces of recorded music and segments of
interviews with himself and with others. Some are the same as printed
in the text. This is not superfluous, because (as mentioned in the
Preface of the book) "The sound of a voice holds an intensity and
spontaneity that the written word cannot fully convey,
I cannot say that your Ellington library will be very deficient
without this book, but if you are not only interested in Ellington,
but also in American music in general, I can highly recommend it.
"Duke Ellington" by David
Bradbury (© 2005)
Haus Publishing Limited
(www.hauspublishing.co.uk) ISBN 1-904341-66-7
At one of the sessions in 1983 at the Ellington Conference in
Washington, Eddie Lambert and Klaus Stratemann told us about their
new books to come. On the question from the audience: "Will there not
be too many Ellington books?", Joe Igo replied: "There can never be
enough books about Ellington!"
This is not the only justification for recommending this new book to
you. It is new in many respects. Sure, it took me not more than a
full day to read it and many of the stories I knew by heart. Others I
had to check, but a remarkable number were totally fresh to me. That
is because David Bradbury has consulted many more sources than
normally is done. It is clear when one looks at the great number of
his quotations, a total of 231. Many of his sources were consulted
for the first time (anyway for me). Many interviews, articles, even
liner-notes for albums are quoted apart from the complete Ellington
Another pleasant surprise is the fact that there were close to none
spelling errors of names or other misinterpretations of facts in this
book. I have the suspicion that this is due to the fact that Roger
Boyes read the script before it was published. I even have the
impression that several statements in DEMS Bulletins articles have
had some influence on the final result of this book.
More than in many other books about Ellington the later years have
been rather well covered, although I missed sometimes a rigid
chronological sequence of events. Herb Jeffries is mentioned in
relationship to Flamingo, long before Billy Strayhorn arrived
on the scene.
The book has some unique qualities. It contains what has been called
a "Chronology" of events in Duke's life, in the general History and
in Culture. It starts with Duke at age 11 and goes on year by year. I
give you one of the striking examples: 1941. Duke's age is 42. There
is a dispute between song-writers' organisation ASCAP and radio
.. Germany invades Soviet Union
Hollywood novel, The Last Post, is published posthumously.
There are a few questions though: Did Ellington look indeed so young
in 1974 as shown on the picture on page 130? When I saw him for the
last time in 1973 he looked much older. There are a few more
questions but they are all of minor importance. I can recommend this
book fullheartedly and I wonder if you can find some of the small
inaccuracies, like calling Mary Lou Williams' arrangement of Blue
Skies, Trumpet All Out instead of Trumpet No End
ZYX Music DVD 3080
"The Duke Ellington Show"
I recently found this DVD.
1. Take the "A" Train G 6Jan62 6204a
2. Satin Doll G 6Jan62 6204b
3. Stormy Weather B 23May33 3308c
4. Wailing Interval (Blow by Blow) G 6Jan62 6204c
5. Jam with Sam G 6Jan62 6204f
6. Rockin' in Rhythm B 23May33 3308b
7. Things Ain't What They Used To Be G 6Jan62 6204d
8. V.I.P. Boogie G 6Jan62 6204e
9. Kinda Dukish G 6Jan62 6204g
10. Bugle Cal Rag B 23May33 3308d
11. Rockin' in Rhythm N 8Jul62 6233b
12. Black and Tan Fantasy
R Aug29 2913k
G = from picture "Goodyear Jazz Concert". I have
seen (and heard) better quality sequences of the Goodyear film in
color for instance on the Storyville Video SV 3002. I wonder why
tracks 5 and 8 are not played in the correct order (8/5).
B = from Paramount picture "A Bundle of Blues", earlier on the Video
"Blue Melodies" VSL 10042.
N = Newport Jazz Festival 1962, earlier on Toshiba Laser Disc NTSC
R = from RKO picture "Black and Tan", earlier on Storyville Video SV 6033.
The compilers of this DVD had trouble with the identification of
Rockin' in Rhythm. Track 6 was called Bundle of Blues
and track 11 was called I Got Rhythm.
The Lou Rawls Show with Duke Ellington
Norbert Ruecker reported the release of a DVD with the complete Lou
Rawls Show. Duke recorded for the show late 1970 at the Royal York
Hotel in Toronto with Joe Benjamin, Rufus Jones, Lou Rawls and a
studio orchestra Satin Doll and Sophisticated Lady. He
also appeared silently at the end of the show in the finale on
screen. The recordings are documented in the New DESOR 7079 and in
Klaus Stratemann pp606 and 683. There seems to be a bonus track with
Ellington at the end of the DVD.
The Ralph J. Gleason recordings on DVD.
See DEMS 05/2-18
I've just received from CD Universe a DVD containing 2 Ralph Gleason
produced TV programs: "Love You Madly" and "A Concert of Sacred Music
at Grace Cathedral". I think there was some earlier discussion as to
whether the latter was even extant. Well it is and it's wonderful.
And btw the DVD cost $10.95 plus shipping! It seems to be region one
and region four. Where's region four?
There was no question about the existence of the video recording of
the first Sacred Concert in San Francisco on 16Sep65. We have seen it
on 25May95 when Patricia Willard showed it to us on the Ellington
Conference. I did not make a recording of her presentation, because
she asked us not to. The copy rights belong to the Ralf J. Gleason
estate and Patricia was allowed to show the video recording under the
condition that no copies would be made. It is great news that this
recording will now be officially released.
The documentary "Duke Ellington - We Love You Madly" made by Ralph
Gleason is circulating among collectors in audio as well in video. It
contains several recordings made from 25Aug until 20Sep65. If the DVD
is the same as my video tape I can provide the following overview:
The interviews, spread through the whole telecast have been made in
Aug/Sept65. They are documented in the New DESOR under number
The telecast started with In the Beginning God (replay),
20Sep-6554c. This first selection is missing on my video.
This is followed by Rockin' in Rhythm; Take the "A" Train; Chelsea
Bridge; Blue Bird of Delhi and The Opener, recorded at
Basin Street West on 25Aug-6548. The middle of Take the "A"
Train is taken from Monterey on 18Sep-6552a.
This is followed by Sugar Hill Penthouse and Unidentified
"L", recorded at the Fairmont Hotel on 20Sep-6553f & g.
Next: Solitude and Sophisticated Lady, recorded at
Basin Street West on 26Aug-6549n.
Next: Cotton Tail, Basin Street West on 25Aug-6548m.
Next: Satin Doll and Mood Indigo, Basin Street West on
Next: Jeep's Blues, Basin Street West on 25Aug-6548l.
Next: Short statement by Harry Carney in his car.
Next: From "Ad Lib on Nippon" Fugi and Igoo, Basin
Street West on 26Aug-6549a & b.
Next: Come Sunday; The Lord's Prayer; Come Sunday; David Danced
Before the Lord and Light, Grace Cathedral on
16Sep-6551a,m,n,o & b.
Next: Love Came, Fairmont Hotel on 20Sep-6553h. There is a
"fresh" narration over the playback of the recording by Billy
Strayhorn on 14Aug65 as released on Red Baron AK52760. This Billy
Strayhorn session is not documented in the New DESOR.
Next: From "Ad Lib on Nippon" Igoo and Nagoya, Monterey
on 18Sep-6552c & d.
Next: Comments by Earl Hines, Dizzy Gillespie, Russell Procope, Bunny
Briggs and Jon Hendricks. (Jon Hendricks comment is missing on my
Next: From "Ad Lib on Nippon" Tokyo, Monterey on 18Sep-6552e.
Next: In the Beginning God (vocal rehearsal, complete version
and replay), West Coast Recorders on 20Sep-6554a,f & c.
End: Things Ain't What They Used To Be, Basin Street West on
I hope that this DVD will come out with regional code "0", which
means that it will be playable all over the world. Region one is
America, region two is Europe. From region four, I have never