DUKE ELLINGTON AND HIS ORCHESTRA – 1927-1928 | The Classics Chronological Series – 542 (1990) FLAC (tracks+.cue), lossless

As usual with the Classics series, the music on this CD is released complete and in chronological order, covering the music originally released by several record labels but without including alternate takes. In the case of Duke Ellington, because he would frequently record the same song slightly rearranged on several occasions for different companies, there are multiple versions of some titles on this CD, but the alternate versions that he made for the labels have been left out. During the very important period covered by this disc, the Duke Ellington Orchestra (having recently found their sound) was hired by the Cotton Club as the house band and they hit the big time. Certainly it is obvious that they deserved fame since this set has classic versions of such songs as "Creole Love Call" (famous for being the first entirely wordless vocal, featuring Adelaide Hall), "Black and Tan Fantasy," their theme song "East St. Louis Toodle-Oo," "Jubilee Stomp," and other hot numbers. Featured along the way are such greats as trumpeter Bubber Miley, trombonist Joe Tricky Sam Nanton, and altoist Otto Hardwick. Scott Yanow    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1928 | The Classics Chronological Series – 550 (1990) FLAC (tracks+.cue), lossless

During 1928, the main stars of Duke Ellington's orchestra (in addition to the leader/pianist/composer/arranger) were trumpeter Bubber Miley, trombonist Joe Tricky Sam Nanton, clarinetist Barney Bigard, and (starting in June) altoist Johnny Hodges. All of the master takes (including ones for different labels) are being reissued in the Classics series. This disc is highlighted by "Black Beauty" (particularly Ellington's solo piano version), the heated "Hot and Bothered" (featuring guest guitarist Lonnie Johnson and singer Baby Cox), "Louisiana," and "I Can't Give You Anything but Love." Two songs feature singer Ozie Ware backed by a small combo taken from Ellington's big band. This CD has plenty of timeless classics, most of which are also available in other reissue programs. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1928-1929 | The Classics Chronological Series – 559 (1990) FLAC (tracks+.cue), lossless

 The main change for the Duke Ellington Orchestra during this period was that the increasingly unreliable Bubber Miley (an alcoholic) was fired by Ellington in January 1929 and quickly replaced by Cootie Williams. Otherwise, the personnel was stable, featuring trombonist Joe Tricky Sam Nanton, altoist Johnny Hodges, and clarinetist Barney Bigard as key soloists along with trumpeters Miley, Arthur Whetsol, and Freddie Jenkins. Most of the selections from this era border on the classic, with highlights including Miley's spot on "Bandanna Babies," "I Must Have That Man," "Harlemania," and a two-part version of "Tiger Rag." Scott Yanow    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1929 | The Classics Chronological Series – 569 (1991) FLAC (tracks+.cue), lossless

Duke Ellington's 1929 band found Cootie Williams gradually developing into a major trumpet soloist alongside the contrasting styles of Arthur Whetsol and Freddy Jenkins. Also in the band during the era was the remarkable trombonist Joe Tricky Sam Nanton, altoist Johnny Hodges, clarinetist Barney Bigard, and baritonist Harry Carney. Among the many underrated gems on this CD are "The Dicty Glide," "Stevedore Stomp," "Freeze and Melt," "Cotton Club Stomp," "Saturday Night Junction," and the intriguing two-part "A Nite at the Cotton Club," which is narrated by Irving Mills. Scott Yanow     Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1929-1930 | The Classics Chronological Series – 577 (1991) FLAC (image+.cue), lossless

Trying to make sense of Duke Ellington's massive catalog is one of the more daunting tasks facing jazz lovers. His early output alone includes scores of songs, often with several different versions and a variety of record labels to consider. For completists, the Classics label offers a chronological route covering the mid-'20s through the mid-'40s (without a lot in the way of alternate takes). And while not as strong in content as roundups on Bluebird or Columbia, these discs offer one the thrilling opportunity of witnessing Ellington go from novelty jungle material to sophisticated early swing and on into the annals of jazz legend with those stellar early-'40s sides. This Classics title takes in Duke's 1929-1930 period, and is squarely one for die-hard fans: It mostly includes minor cuts, many bearing the residue of the band's Cotton Club set pieces (hence the presence of washboard player Bruce Johnson and the Whoopee Makers). On the more serious side, there are a good number of cuts showing off Ellington's burgeoning writing talents, like "Flaming Youth," "Saturday Night Function," and "Jazz Lips," and loads of fine playing by Joe Nanton, Johnny Hodges, Barney Bigard, and the newly arrived Cootie Williams. All in all, a fairly solid collection, but one that's best heard after checking out a few early Ellington retrospectives first. Stephen Cook       Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1930 | The Classics Chronological Series – 586 (1991) FLAC (tracks), lossless

Despite the rise of the Depression, Duke Ellington's orchestra was able to continue a hectic recording schedule, cutting the 23 selections on this CD (which are all master takes) within a four-and-a-half-month schedule. Some of the numbers are remakes or pop songs of the era (though those are usually excellent) and there are vocals by Irving Mills, Frank Marvin, and Dick Robertson that are not up to the level of Ellington's instrumentalists, but there are also such gems along the way as "When You're Smiling" (featuring Freddy Jenkins' trumpet), "Maori," "Sweet Jazz of Mine," "Jungle Nights in Harlem," and particularly "Shout 'Em Aunt Tillie." Scott Yanow  Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1930, Vol. 2 | The Classics Chronological Series – 596 (1991) FLAC (tracks), lossless

Although susceptible to some of the commercial pressures that other bands were feeling in 1930, which accounts for the inclusion of a few pop numbers and some added vocalists, in general the recordings of Duke Ellington were at the same high level in 1930 that they had been in 1929. There are many gems on this set, including "Double Check Stomp," a remake of "Black and Tan Fantasy," "Old Man Blues," and the two earliest recordings of "Mood Indigo," and even a throwaway such as "That Lindy Hop" is still worth hearing. The Rhythm Boys (Bing Crosby, Al Rinker, and Harry Barris) guest on "Three Little Words," and star soloists throughout the program include Cootie Williams, Tricky Sam Nanton, Barney Bigard, and Johnny Hodges. Scott Yanow     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1930-1931 | The Classics Chronological Series – 605 (1991) FLAC (tracks+.cue), lossless

With the rise of the Depression, most big bands were being pressured to record more dance band-oriented pop music. Duke Ellington managed to keep his standards high despite occasional vocals from Sid Garry, Dick Robertson, Chick Bullock, and Frank Marvin. Along with some lightweight material, this chronological study of Ellington's work during a six-week period (which has all of the master takes but none of the alternates) is most significant for its early versions of "Rockin' in Rhythm" and "Mood Indigo," a rollicking "Twelfth Street Rag" (with Benny Payne on second piano with Duke), and Ellington's first extended work to be recorded, the moody "Creole Rhapsody." Scott Yanow  Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1931-1932 | The Classics Chronological Series – 616 (1991) FLAC (tracks+.cue), lossless

 During the period covered by this CD, Duke Ellington added trombonist Lawrence Brown and singer Ivie Anderson to his group. Other than Frank Marvin on the opening "Is That Religion," the brief era of so-so outside vocalists came to an end. Bing Crosby's appearance on "St. Louis Blues" is on a much higher level. Other highlights of this very good set including the second (and superior) version of Ellington's extended piece "Creole Rhapsody," "It's Glory," "The Mystery Song," the original version of "It Don't Mean a Thing," two three-song medleys of Duke's hits and a classic rearrangement of "Bugle Call Rag." Scott Yanow    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1935-1936 | The Classics Chronological Series – 659 (1992) FLAC (tracks+.cue), lossless

All of the Duke Ellington Orchestra's recordings from 1935 plus their first two sessions from 1936 are on this enjoyable CD. The rise of the swing era may have resulted in many competing big bands being formed, but Ellington occupied his own private musical world and continued to flourish artistically and to an extent commercially. By 1935, his orchestra featured major soloists in Cootie Williams, Rex Stewart, Tricky Sam Nanton, Lawrence Brown, Johnny Hodges, Barney Bigard, and the leader on piano. During the era Ellington experimented by frequently using both Hayes Alvis and Billy Taylor on bass. Among the memorable selections that are on this disc are "In a Sentimental Mood," "Accent on Youth," "Clarinet Lament" (featuring Bigard), "Echoes of Harlem," and the melancholy four-part "Reminiscing in Tempo." The music may be available in more complete form elsewhere (since alternate takes are left out), but this is an excellent series nevertheless. Scott Yanow       Tracklist + Credits :