The Washingtonians is essentially known as the original name of Duke Ellington's band, before they migrated to New York City in 1923. The group actually evolved from a band that was led by banjoist Elmer Snowden, which included Ellington's Washington D.C. crew of saxophonist Otto Hardwick and trumpeter Arthur Whetsol. Before moving to New York, the band would often be booked in D.C. and in Atlantic City, New Jersey. The way the stories go, Snowden was ripping off the band members and took work with the Broadway Jones Band, and Ellington became the leader. Even when Snowden returned later that year, Duke remained in charge, and the band was forever to be his. The band earned a residence at the Hollywood Club (later the Kentucky Club), from 1923 until 1927. However, once the band moved to the Cotton Club in 1927, the name "Washingtonians" was dropped and seldom used again. On this album, we present the totality of the recordings by Duke Ellington during his "Washingtonian" period.
Duke Ellington was of course known as a bandleader and one of the greatest of all American composers, but as a pianist, he was equally as great and influential, yet often overlooked. Here for the first time on CD and digital release, we present Ellington at his refined best, in the mid 1960s. This recording was made at Columbia University in New York City, and for the most part it's pure solo piano by Duke. He gives us several of his jewels, such as Fleurette Africaine (Little African Flower), Melancholia, as well as a previously unrecorded solo version Bird of Paradise, which dates back to 1935. Of course as usual, there is the standard medley of Ellington "hits" where he is joined by bassist Ernie Shepard, and drummer Sam Woodyard for a trio setting. This 1964 Solo Piano concert reaffirms what a wonderful experience it is to hear "The Piano Player" live, doing his thing.
During the mid 1960s, Duke Ellington was constantly recording his own musical ideas and projects with the hope and intent that a label would pick them up, as albums, and then commercially release them. However in some cases the projects were never fully completed in terms of an album's length of work, or were just never accepted by the labels and were otherwise left in Ellington's vault of recorded masters, as well as unmixed sessions. In this release, we explore some such works; parts of an Ellington album that was planned as a feature for trumpeter Ray Nance, a few miscellaneous studio versions of important songs he was playing out on the road, as well as a very obscure small group led by his son Mercer Ellington, featuring a very young Chick Corea on piano. The sessions range from 1962 to 1966, and they contain a whole lot of important music that Ellington fans need to hear.
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Here we have a very early snapshot of what that band was like at the world famous Village Vanguard club in 1987, New York City. This is the third time Jacquet had played the Vanguard, and had previously broken attendance records in the club with what seemed to be a guerrilla marketing campaign in the streets of NYC in order to launch the debut of his Big Band. Some NYC Jazz fans may recall flyers being distributed all over town, especially in the Times Square area, revealing that the "missing in action" Jazz Legend Illinois Jacquet was indeed "back" with a full 15 piece Big Band on tow. Well, the promotions worked effectively, announcing that "The King" was back to take the jazz world by storm! This is the band after returning from their first major European tour for five weeks during the Summer of 1987, and their last engagement before hitting the studio to record "Jacquet's Got It" for Atlantic Records. As listeners will easily hear, this band rocked the house, and swung hard! Illinois himself is in rare form, playing soulfully and strong, ripping through all his classics with fervor and fire. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, Phil Wilson, and Jimmy Mundy. Featured here within the band are veterans such as Irvin Stokes, Rodney Richardson, Johnny Grimes, Eddie Preston, Richard Wyands, Eddie Barefield, Rudy Rutherford, Babe Clarke, and the great Cecil Payne; as well as young lions such as Duffy Jackson, Frank Lacy, Henry Scott and Joey Cavaseno. Young Joey Cavaseno, who now has moved up to what will become a full-time position as lead alto with the band, who has now gained Jacquet's trust, brings in two new excellent young talents in the form of high-note specialist Henry Scott on trumpet, and trombonist Frank Lacy on trombone, working that plunger as well as swinging hard. This performance also features a very relaxed and deeper Jacquet than on most of his recordings; including a funny moment when Jacquet admonishes a patron who is smoking too close to the bandstand, to extinguish their cigarettes. We hope you will enjoy!
In 1955 the great Duke Ellington and his Orchestra performed for the 10,000 seat D. C. Armory, in his hometown of Washington, D. C. As Ellington fans will of course remember, Ellington had an incredible rebirth at the Newport Jazz Festival the next year, after reacquiring alto saxophone star Johnny Hodges and his writing partner, the great Billy Strayhorn. New drummer Sam Woodyard would also prove to be an invaluable part of the new Ellington sound, but as this concert is from 1955, none of these changes had as yet taken place, which is why this performance is so very significant to the Ellington aficionado. In this performance we have the great alto saxophonist Rick Henderson, who was a very capable arranger as well as bebop altoist. Here we get to hear a rare glimpse of his playing and writing on 'All The Things You Are'. He was not featured as the band's lead alto, as Russell Procope had taken over after brief stints in which Willie Smith and then Hilton Jefferson played lead in the band. We also hear from the great drummer Dave Black, for whom Strayhorn composed and arranged 'Gonna Tan Your Hide', and here he is most interestingly heard in his interpretation of 'Tone Parallel to Harlem'. Perdido is used as a swinging vehicle for Clark Terry's prodigious and sassy story telling, along with some sidebar commentary by other brass members Nance, Anderson, and Woodman. 'Just Squeeze Me' features Ray Nance's soulfully swaggerful singing as always. Pay attention to the 'pep section' (brass with plungers) as they squeeze so much juice out of this song it should be a crime! Cat Anderson does his usual Spanish tinged feature on 'La Virgen', full of suspenseful dramatics and prowlery of 'el gato' himself. Duke announces a fully descriptive introduction of the 1946 composition 'Happy Go-Lucky Local' complete with his subliminal shot at ex-Ellingtonian tenor saxophonist Jimmy Forrest, who essentially 'borrowed' the main theme of the tune for his huge hit record 'Night Train'. More great Ray Nance vocals on 'A Train', the very song he recorded his very famous trumpet solo on, but this is the early 50's version of course, complete with an incredible performance by tenor sax giant Paul Gonsalves. The tune called 'John Sanders' Blues' appears to actually be a slight reworking of 'Happy Go-Lucky Local' part 1, again from the 1946 composition, Deep South Suite.
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Here we have a very early snapshot of what that band was like at the world famous Blue Note Jazz Club in New York City. This is the first time Jacquet Big Band had played the Blue Note, after previously breaking attendance records at the Village Vanguard, with what seemed to be a guerrilla marketing campaign in the streets of NYC in order to launch the debut of his Big Band. Some NYC Jazz fans may recall flyers being distributed all over town, especially in the Times Square area, revealing that the "missing in action" Jazz Legend Illinois Jacquet was indeed "back" with a full 15 piece Big Band on tow. Well, the promotions worked effectively, announcing that "The King" was back to take the jazz world by storm! As listeners will easily hear, this band rocked the house, and swung hard! Illinois himself is in rare form, playing soulfully and strong, ripping through all his classics with fervor and fire. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, Jimmy Mundy and Phil Wilson. Featured here within the band are veterans such as E.V. Perry, Irvin Stokes, Johnny Grimes, Eddie Preston, Carmell Jones, Richard Wyands, Eddie Barefield, Rudy Rutherford, and Babe Clarke; as well as young lions such as Eric Allen, Frank Lacy, Jesse Davis and Joey Cavaseno. Young Joey Cavaseno, who now has moved up to what will become a full-time position as lead alto with the band, and Cavaseno, who has now gained Jacquet's trust, brings in two new excellent young talents in the form of Jesse Davis on second alto, and trombonist Frank Lacy on trombone. On this recording the listener will be delighted to hear trombonist Lacy really setting in with his natural plunger talent, sounding as good as the greats who preceded him. Cavaseno has now become quiet assertive in what would become his trademark lead alto sound for years to come. The most special aspect of this performance is it features the great trumpeter Carmell Jones, who demonstrates his amazing bebop dexterity, after not being heard from in years. Irvin Stokes plays the perfect foil to Jones, as his funky soulful plunger demonstrates the opposite side of the trumpet. This performance also features a very relaxed and deeper Jacquet than on most of his recordings; we hope you will enjoy!
The Jacquet Files, Vol. 7: Big Band Live at the Blue Note 1987 - In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors. Here is an example of that reality.
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his 'little big band' of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled 'Jacquet's Got It' on Atlantic Records, in 1987. Here we have a very early snapshot of what that band was like at the world famous Village Vanguard club in 1986, New York City. This is the second time Jacquet had played the Vanguard, and had previously broken attendance records in the club with what seemed to be a guerrilla marketing campaign in the streets of NYC in order to launch the debut of his Big Band. Some NYC Jazz fans may recall flyers being distributed all over town, especially in the Times Square area, revealing that the 'missing in action' Jazz Legend Illinois Jacquet was indeed 'back' with a full 15 piece Big Band on tow. Well, the promotions worked effectively, announcing that 'The King' was back to take the jazz world by storm! As listeners will easily hear, this band rocked the house, and swung hard! Illinois himself is in rare form, playing soulfully and strong, ripping through all his classics with fervor and fire. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, and Jimmy Mundy. Featured here within the band are veterans such as E. V. Perry, Irvin Stokes, Johnny Grimes, Kiane Zawadi, Richard Wyands, Eddie Barefield, Rudy Rutherford, Bill Easley, and Hugh Brodie; as well as young lions such as Robert Trowers and Joey Cavaseno.
The Jacquet Files, Vol. 5: Big Band Live at the Village Vanguard 1987 - In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his 'little big band' of the 1940s. - Acoustic Bass - Fred Hunter, Alto Saxophone - Jesse Davis, Alto Saxophone, Clarinet - Joseph Cavaseno, Baritone Saxophone - Rudy Rutherford, Drums - Clyde Lucas, Piano - Richard Wyands, Tenor Saxophone - Babe Clark, Eddie Barefield, Tenor Saxophone, Leader, Alto Saxophone - Illinois Jacquet, Trombone - Frank Lacy, Kiane Zawadi, Robert Trowers
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Here we have a very early snapshot of what that band was like at the world famous Village Vanguard club in New York City. This is the third time Jacquet had played the Vanguard, and had previously broken attendance records in the club with what seemed to be a guerrilla marketing campaign in the streets of NYC in order to launch the debut of his Big Band. Some NYC Jazz fans may recall flyers being distributed all over town, especially in the Times Square area, revealing that the "missing in action" Jazz Legend Illinois Jacquet was indeed "back" with a full 15 piece Big Band on tow. Well, the promotions worked effectively, announcing that "The King" was back to take the jazz world by storm! As listeners will easily hear, this band rocked the house, and swung hard! Illinois himself is in rare form, playing soulfully and strong, ripping through all his classics with fervor and fire. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, and Jimmy Mundy. Featured here within the band are veterans such as E.V. Perry, Irvin Stokes, Johnny Grimes, Kiane Zawadi, Richard Wyands, Eddie Barefield, Rudy Rutherford, and Babe Clarke; as well as young lions such as Robert Trowers, Frank Lacy, Jesse Davis and Joey Cavaseno. There as an interesting story behind this gig, as some may notice, this date being the second night at the Vanguard, during the same stint as our last release, The Jacquet Files, Volume 3. However, significantly, Norris Turney, former lead alto saxophonist with Duke Ellington is now missing from the lineup. During the March 14th date, Jacquet, a newly reformed and "clean" alcoholic, (due to the watchful eye of his common-law wife Carol Scherick) took not that altoist Turney was missing parts due to being drunk off whiskey. Noone knows what words were exchanged between Turney and Jacquet, but the next night we find that Turney has been suddenly replaced by young Cavaseno, who now has moved up to what will become a full-time position as lead alto with the band, and Cavaseno, who has now gained Jacquet's trust, brings in two new excellent young talents in the form of Jesse Davis on second alto, and trombonist Frank Lacy on trombone. This performance features some of the most raw and exciting Jacquet tenor solos on record; we hope you will enjoy!
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Here we have a very early snapshot of what that band was like at the world famous Village Vanguard club in New York City. This is the third time Jacquet had played the Vanguard, and had previously broken attendance records in the club with what seemed to be a guerrilla marketing campaign in the streets of NYC in order to launch the debut of his Big Band. Some NYC Jazz fans may recall flyers being distributed all over town, especially in the Times Square area, revealing that the "missing in action" Jazz Legend Illinois Jacquet was indeed "back" with a full 15 piece Big Band on tow. Well, the promotions worked effectively, announcing that "The King" was back to take the jazz world by storm! As listeners will easily hear, this band rocked the house, and swung hard! Illinois himself is in rare form, playing soulfully and strong, ripping through all his classics with fervor and fire. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, and Jimmy Mundy. Featured here within the band are veterans such as E.V. Perry, Irvin Stokes, Johnny Grimes, Kiane Zawadi, Richard Wyands, Eddie Barefield, Rudy Rutherford, Norris Turney, and Babe Clarke; as well as young lions such as Robert Trowers and Joey Cavaseno.
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Here we have a very early snapshot of what that band was like in a super rare and intimate rehearsal setting in the basement of Jacquet's own home in St. Albans, Queens NY, a space he lovingly named "Count Basement Studio". These legendary musicians would rehearse a full 5 day week, often 7-8 hrs per day to prepare for a week-long engagement, such as this one, which was preparing for a week at the Village Vanguard in New York City. (refer to SR-279, the release previous to this one). Some of the performances on this recording are of course, messy, raw and blemished, but they also reveal the pathos with which The Master dedicated himself to perfecting his craft. As the second in our Jacquet Files series, we are proud to unveil the warm sounds of this hard swinging band in all it's glory! One thing to note on these recordings is the difference between the publicly performing Jacquet, and the private-among-his-peers versions. In public Illinois was expected to play his well-known solos, very much in the tradition of his most famous solo of all, as on Lionel Hampton's "Flying Home." However, in this relaxed setting at home he was actually heard to be improvising more spontaneously, and that is the real value of this recording: the fact that Jacquet was still evolving and perfecting his skills as a soloist. Also notable are his performances on Alto Saxophone on the first take of Lester Young's Tickle Toe (track 1) and track 12, Duke Ellington's "In A Sentimental Mood". His alto playing shows an entirely different personality than his tenor, which is also rare to hear and of definitive value. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, and Jimmy Mundy. Featured here within the band are veterans such as E.V. Perry, Irvin Stokes, Johnny Grimes, Kiane Zawadi, Richard Wyands, Eddie Barefield, Rudy Rutherford, Bill Easley, and Hugh Brodie; as well as young lions such as Robert Trowers and Joey Cavaseno.
The tenor-sax legend fulfilled his lifelong dream of assembling a big band-like those he'd toured with in his youth-in the '80s. That band (esteemed vets as well as young lions) only recorded one studio album; here they are the previous year, swinging the roof off the Village Vanguard with "Woody 'n' You," "One O'Clock Jump," "Cottontail," "Tickle Toe," "Ghost of a Chance" and more! Squatty Roo.
In the mid 1980s Mercer Ellington, the son of legendary American Composer/Bandleader Duke Ellington made several attempts to get his father's posthumous big band in the studio to record albums in order to stay relevant. While recording in L.A., he employed both East Coast and West Coast nuclei, which were utilized for Mercer's touring band. On Harlem Throwbacks, the focus was to do modern recreations of records made in the Cotton Club days of the late 1920s up to the early 1940s. Several Duke Ellington alumni were present for this outing, such as Harold Minerve, Art Baron, Rocky White, Anita Moore, Barrie Lee Hall, and Chuck Connors. It is quite interesting to hear these classic arrangements re-recorded in digital stereo in 1984.
Following it's international debut at Yale University in 1977, Mercer Ellington and the Duke Ellington Orchestra along with the Polish National Philharmonic, presented Duke Ellington's final extended piece, "Les Trois Rois Noirs" (The Three Black Kings) at the Polish Jazz Festival "Jazz Jamboree". This recording was released as a collectors item only in 1981, but has never seen light of day since. Here in 2017, we finally are able to present this truly incredible work, orchestrated by Luther Henderson, under the direct instruction of The Maestro himself, on his hospital bed in 1974 in New York City, where unfortunately Ellington would soon pass away from Cancer. Thanks to Henderson and Ellington's son Mercer, we now have these "concerto grosso" arrangements for Jazz Big Band and Symphony Orchestra. The piece itself is incredibly powerful and spiritual, based on Elington's vision of HIS Three Black Kings: The Black King of the Magi, King Solomon, and a man he admired and met personally, Dr. Martin Luther King., Jr. Some strong members of the later Ellington band remained in the band here, such as Barrie Lee Hall, Rocky White, Harold Minerve, and other posthumous Ellingtonians such as James Bolden, J.J. Wiggins, and David Young. It should be mentioned that this recording also includes a truly definitive version of Ellington's only Piano Concerto, "New World A-Coming", featuring guest soloist Adam Makowicz, the Polish Jazz Star who does an expressive and thorough interpretation, definitely up to par with Ellington himself. Finally, we get to hear the full blown orchestration of the Alvin Ailey Ballet piece The River, composed by Ellington in it's entirely, again with the assistance of Luther Henderson, orchestration, based on Ellington's own Big Band "demo" versions he recorded himself for Ailey's choreographic use. This rare rendition is a super-charged soulfully exciting journey through a man's life, perhaps autobiographical for Duke, taking us from the genesis of birth to old age and back again. However it is the complete and purely Ellingtonian official version of Three Black Kings that will kick your heart and soul into high gear, as you finally will get to hear Ellington's final vision the way he indeed wanted it heard
Duke Ellington - LIVE IN POLAND 1971 - The year is 1971 and the great Maestro Duke Ellington led his world famous orchestra on it's final European tour. To collectors and expert listeners alike this performance is a rare document of his final band which includes a few remaining veterans and a healthy sprinkling of young blood who would keep the Ellington flame lit for some time after Duke's passing, as members of the Ellington Orchestra led by his son Mercer, who is playing trumpet in the band on this recording as well. Johnny Hodges was now deceased. Norris Turney had aptly taken over his lead alto sax chair and added a powerful new twist. Cootie Williams was still pumping out those fat notes. Malcolm "Big Luv" Taylor shines with his own brand of "Things Ain's" showing himself to already become a master of the "plunger style" of Tricky Sam Nanton, while Booty Wood was still in tow. Vocalist Nell Brookshire was more a Soul singer than jazz, and brought Duke a quasi-Aretha Franklin vibe to "Everybody Wants to Know". At long last, we finally get another take of Harold "Geezil" Minerve bringing forth the "rock" blues "Addi", an amazing Ellington piece of exotica, which showcases his sinewy avant-garde-mixed-with-bop lines. Johnny Coles evokes Miles Davis in his prime with "Good", another wild Ellington take on the blues. Stalwart Harry Carney is majestic as always. This rare concert in Warsaw, Poland shows yet another glimpse of the "Rugged Jungle" band at it's most dark and mysterious. Acoustic Bass - Joe Benjamin, Alto Saxophone - Harold Minerve, Norris Turney, Russell Procope, Baritone Saxophone - Harry Carney, Bass Trombone - Chuck Connors, Drums - Rufus Jones, Piano, Lead Guitar - Duke Ellington, Tenor Saxophone - Harold Ashby, Paul Gonsalves, Trombone - Booty Wood, Jimmy Cheatham, Malcom Taylor, Trumpet - Cootie Williams, Eddie Preston, Johnny Coles, Mercer Ellington, Money Johnson, Vocals - Nell Brookshire
Toward the end of his career, Duke Ellington found himself filling up his calendar when home in New York City, with a residence at the famous Rainbow Room at Rockefeller Plaza. This afforded fans to hear a scaled-down version of his Big Band in the form of an Octet. On this album we present a rare stereo recording of Duke's Rainbow Room Octet as they were captured playing live in New York at the famous Rainbow Room, during the summer of 1967. This is the second of only perhaps two issued live recordings of this rare instrumentation, (the other was featured in a previous release entitled Contrapuntal Riposte, SQU 216) featuring some of Ellington's great sidemen, such as Johnny Hodges, Lawrence Brown, Paul Gonsalves, Cat Anderson, and Harry Carney. Listen closely as Duke has fun bantering with his band and the fans as well, in this very intimate setting, as he performs for this Rainbow Room radio broadcast, and you will experience some of the most swingingly warm moments ever captured on an Ellington recording.
1969 marked Duke Ellington's 70th year, and in honor of the occasion, Jazz Impresario George Wein sent Ellington and his band out on a European tour, a 70th birthday tour, so to speak. In a brief concert series entitled "Newport to Paris", for the first time on record we have the chance to hear Duke and the band performing live in Paris, and the Salle Pleyel in November, 1969. On this night we hear Duke and his orchestra in rare form, presenting a few of such newly written compositions, featuring luminaries like Cootie Williams, Johnny Hodges, Lawrence Brown, Russell Procope, Paul Gonsalves, Cat Anderson and more.
1969 marked Duke Ellington's 70th year, and in honor of the occasion, Jazz Impresario George Wein sent Ellington and his band out on a European tour, a 70th birthday tour, so to speak. In a brief concert series entitled "Newport to Paris", for the first time on record we have the chance to hear Duke and the band performing live in Paris, and the Salle Pleyel in November, 1969. On this night we hear Duke and his orchestra in rare form, presenting a few of such newly written compositions, featuring luminaries like Cootie Williams, Johnny Hodges, Lawrence Brown, Russell Procope, Paul Gonsalves, Cat Anderson and more.
On February 21, jazz legend Clark Terry passed on at the age of 94. In honor of this world renowned Ellingtonian trumpet and flugelhornist, we present to you, for the first time, a rare performance from a 1986 live at the Carnegie Recital Hall. Terry teams up with Basie Alumnus Frank Foster on tenor and soprano saxophone, with additional support from alto saxophonist Joey "G-Clef" Cavaseno (Illinois Jacquet Big Band), and trombonist Clifford Adams, (Kool and the Gang), also recently departed (as of this writing) who are supported by Terry's working rhythm section at the time. What you will hear in this outing is a warm and loving tribute to Terry's mentor, the great Duke Ellington, transforming Carnegie Recital Hall into a private Jazz party in your own living room.
Here we have the great Maestro, Duke Ellington in a very rare performance of his later Sacred Music, which he termed his most serious efforts of the latter part of his career. Of the three Sacred collections, or "concerts" he composed, perhaps the most well-known was his Second Sacred Concert, which he recorded as a studio version for RCA Records, but also performed at religious venues throughout the world. Although Ellington was of the Christian faith, he saw to it that his spiritual music was accessible universally, for all faiths and beliefs, and it was played in Churches, Synagogue, Temples, and Mosques alike. In this album, we have an example of the Second Sacred Concert being performed in Paris France, at Eglise Saint Sulpice, while on a European tour in 1969. Featured as expected are his usual lineup of jazz superstars; Johnny Hodges, Cootie Williams Cat Anderson, Paul Gonsalves, and more, and on vocals the amazing contra soprano, Alice Babs of Sweden, as well as Toney Watkins and a choir called the Swingle Singers.
As the year 1967 rolled in on Duke Ellington, he found himself overlooking a steep cliff. His writing and arranging partner Billy Strayhorn had taken ill, and would pass on by the end of May of that year, and he, with 16 piece big band in tow, had just embarked on a European tour. The great challenge of Strayhorn being out of action was the fact that now Ellington would once again be tasked with doing the bulk of his writing alone once again, a role he had not had to fully assume since 1937. Now, at the age of 68, he had to set out to compose and arrange a new "book" for touring. In addition to his usual extended pieces, he would generally craft solo numbers which were specially arranged to present his soloists in their best possible light before crowds around the world. On this night in 1967 we hear Duke and his orchestra in rare form, presenting a few of such newly written compositions, featuring luminaries like Cootie Williams, Johnny Hodges, Lawrence Brown, Russell Procope, Paul Gonsalves, Cat Anderson and more.
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Released now for the first time is a live performance of that band in all their swinging glory. The place is Burghausen, Germany, and the year is 1996, featuring a younger lineup than our previous release, but swinging hard nonetheless. Yalloppin' Hounds' cohorts Joey "G-Clef" Cavaseno, and Brian "Lord" Sledge are featured, along with Mike Grey, the son of trombone legend Al Grey of Count Basie fan, and Gray Sargent, Jacquet's long time guitarist discovery.
Toward the end of his career, Duke Ellington found himself filling up his calendar when home in New York City, with a residence at the famous Rainbow Room at Rockefeller Plaza. This afforded fans to hear a scaled-down version of his Big Band in the form of an Octet, plus occasional added vocalists. On this album we present a rare stereo recording of Duke's Rainbow Room Octet as they were captured playing a private party in New Jersey during the summer of 1968. This is one of only perhaps two issued live recordings of this rare instrumentation, featuring some of Ellington's great sidemen, such as Johnny Hodges, Lawrence Brown, Paul Gonsalves, Cat Anderson, and Harry Carney. Listen closely as Duke has fun bantering with his band and the fans as well, in this very intimate setting, as he performs for a group of cultured enthusiasts, and you will experience some of the most swingingly warm moments ever captured on an Ellington recording.
In 1981 Tenor Sax legend Illinois Jacquet pursued his career-long dream of assembling a truly great big jazz band in the tradition of his mentors, Count Basie and Lionel Hampton, bands with whom he recorded and toured in his youth. He would apply all the wisdom and experience he gleaned as their sideman, as well as from his years of leadership over his many small groups, and would include songs he made famous with his "little big band" of the 1940s. The Illinois Jacquet Big Band was filled with luminaries and young stars, but unfortunately would only record one studio album entitled "Jacquet's Got It" on Atlantic Records, in 1987. Here, for the first time in history, we have a snapshot of what that band was like on the road, playing live In Berlin at Philharmonic Hall. As listeners will easily hear, this band rocked the house, and swung hard! Illinois himself is in rare form, playing soulfully and strong, ripping through all his classics with fervor and fire. These wonderful arrangements are mostly by the pen of Eddie Barefield, Wild Bill Davis, and Phil Wilson. Featured here within the band are veterans such as Irvin Stokes, Johnny Grimes, Richard Wyands, Eddie Barefield, Rudy Rutherford, and Babe Clarke; as well as young lions such as Frank Lacy, Joey Cavaseno, Jesse Davis, and Henry Scott.
It is 1969, and the great pianist/composer Duke Ellington was on one of his many arduous European tours. However for the first time we are afforded a snapshot of one of his most intimate club performances ever recorded. The place is Cabaret L'Alcazar in Paris, France, and Ellington and his 'instrument', the Famous Orchestra are in rare form, bringing forth a funky, soulful energy sparked of course by his assistant arranger at the time, Hammond Organ pioneer Wild Bill Davis. The great Johnny Hodges, still within a year of his life's ending, is playing excellently still, showing no signs of slowing down here. The famous celebrity Maurice Chevalier was in the house, even gifting the Duke one of his famous hats. It's a party atmosphere entirely but the music is as consistent and swinging as ever. Luminaries such as Hodges, Cootie Williams, Cat Anderson, Harry Carney, Paul Gonsalves, and Lawrence Brown are all cooking here. This is truly a night to remember, and needs to be heard by Ellington aficionados and music lovers alike.
The year is 1973 and the great Maestro Duke Ellington led his world famous orchestra on it's final European tour. To collectors and expert listeners alike this performance is a rare document of his final band which includes a few remaining veterans and a healthy sprinkling of young blood who would keep the Ellington flame lit for some time after Duke's passing, as members of the Ellington Orchestra led by his son Mercer. The remarkable thing about this recording is that Ellington, despite being terminally ill, is still playing like a younger man, full of energy and fresh ideas. The material is standard fare, but the music has a certain urgency and abandon that will convince the listener that Duke had much more left to express before leaving the planet. The concert was produced by George Wein as part of the 'Newport to Paris' series, and features special guest pianists Raymond Fol and Claude Bolling, as well as Ellingtonians such as Harry Carney, Russell Procope, Harold Minerve, Johnny Coles, and many more.
Back in 1970, Duke Ellington was at the threshold of a new sound. Yet again like so many times before, he was to take in his surroundings, musically and otherwise, and bring forth a new style for his musicalinstrument, his Famous Orchestra. Billy Strayhorn, his writing and arranging companion was now dead, and the bulk of the writing was once again falling on Ellington's shoulders. Hammond Organ pioneer Wild BillDavis took up some of the slack, as he became Duke's assistant arranger, but Ellington seems to know at this point, that pushing hisown limits was needed. This outing documents the final days of star saxophonist Johnny Hodges. The setting is the Cave Theatre Restaurant in Vancouver, B.C. in Canada, and the feeling is warm and intimate, but there is a decided edge to the feel of the music. The exotic power of drummer Rufus Jones is making a mark, and Ellington is about to bring US on his final journey through "The Jungle" once again.
