LOUIS ARMSTRONG & DUKE ELLINGTON — The Great Summit Complete Sessions (1961-2000) RM | 2CD Deluxe Edition | FLAC (tracks+.cue) lossless

Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly -- or indirectly -- back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele's inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz. Armstrong blew his horn with authority and sang beautifully and robustly. "Azalea" is a harmonically pixilated melody with complicated, peculiarly rhymed lyrics composed by Duke many years earlier with Armstrong in mind. Other highlights include the bluesy "I'm Just a Lucky So and So," a smoking hot, scat-laden rendition of "Cotton Tail," and "The Beautiful American," a marvelously modern exercise composed on the spot by Ellington that leaves one with the curious impression that Armstrong has just finished sitting in with Charles Mingus. It's also a premonition of the Ellington/Mingus/Roach Money Jungle session that would take place the following year. Since Thiele had "borrowed" Ellington from Columbia without permission, Roulette compensated by "lending" Count Basie & His Orchestra for the big-band blowout album entitled First Time! The Count Meets the Duke. The Armstrong/Ellington master takes were originally issued on two long-playing records; Together for the First Time came out on Roulette in 1961 and The Great Reunion appeared in 1963. Both albums later resurfaced as a Roulette LP two-fer entitled The Duke Ellington/Louis Armstrong Years. This material is also available in a Roulette Jazz Deluxe Edition with The Making of The Great Summit, a fascinating supplementary disc containing an hour's worth of rehearsals, conversations, and alternate takes. Those who truly love and respect Louis Armstrong and Duke Ellington will want to obtain, absorb, study, and cherish the Deluxe Edition of The Great Summit. arwulf arwulf
The Great Summit | The Master Takes    
1    Duke's Place    5:00
 Duke Ellington / Bob Katz / Bob Thiele
2    I'm Just A Lucky So And So    3:06
 Mack David / Duke Ellington
3    Cottontail    3:39
 Duke Ellington
4    Mood Indigo    3:54
 Barney Bigard / Duke Ellington / Irving Mills
5    Do Nothin' Till You Hear From Me    2:34
 Duke Ellington / Bob Russell
6    The Beautiful American    3:05
 Duke Ellington
7    Black And Tan Fantasy    3:57
 Duke Ellington / Bubber Miley
8    Drop Me Off In Harlem    3:46
 Duke Ellington / Nick A. Kenny
9    The Mooche    3:36
 Duke Ellington / Irving Mills
10    In A Mellow Tone    3:45
 Duke Ellington / Milt Gabler
11    It Don't Mean A Thing (If It Ain't Got That Swing)    3:56
 Duke Ellington / Irving Mills
12    Solitude    4:52
 Eddie DeLange / Duke Ellington / Irving Mills
13    Don't Get Around Much Anymore    3:29
 Duke Ellington / Bob Russell
14    I'm Beginning To See The Light    3:34
 Duke Ellington / Don George / Johnny Hodges / Harry James
15    Just Squeeze Me    3:56
 Duke Ellington / Lee Gaines
16    I Got It Bad (And That Ain't Good)    5:28
 Duke Ellington / Paul Francis Webster
17    Azalea    5:01
 Duke Ellington
The Making Of The Great Summit    
1 In A Mellow Tone    4:15
      a. warm-up
      b. take one - complete take
2 I'm Beginning To See The Light   6:56
      a. take one - false start
      b. take four - two false starts
      c. take five- complete take
      d. take six - conversation, false start
      e. take seven -long false start
3 Do Nothin' Till You Hear From Me    5:42
      a. take one - rehearsal, working out arrangement
      b. take two - discussion, complete take
      c. take three false start
4 Don't Get Around Much Anymore    10:43
      a. take two - breakdown
      b. take three breakdown
      c. take four - discussion, false start
      d. take five - complete take
      e. discussion and rehearsal of ending
5. Duke's Place    4:18
      take five - Lucky Roberts intro, complete take
6 Drop Me Off In Harlem    4:57
      take two - complete take
7 I'm Just A Lucky So And So    4:37
      a. conversation
      b. take one - false start
      c. take two - complete take,discussion
8. Azalea    8:05
      a. take eight - discussion, false start
      b. take nine - false start
      c. take ten - complete in two sections
9. Black and Tan Fantasy   7:13
      a. take three - false start
      b. conversation leading to take four
      c. take five - false start
      d. take six - complete take
      (this ending was usedwith take 4 as the master)
10 Band Discussion on Cottontail    1:08
Credits :
Bass – Mort Herbert
Clarinet – Barney Bigard
Drums – Danny Barcelona
Piano – Duke Ellington
Trombone – Trummy Young
Trumpet, Vocals – Louis Armstrong

GEORGE GERSHWIN : The Complete George Gershwin Porgy And Bess (1956-1996) RM | 2CD MONO | Serie Mastersonic, ベツレヘム名盤マスター・トランスファー・コレクション – 11 | FLAC (image+.cue), lossless

The Bethlehem label didn't make it out of the '50s before folding, and one of the reasons why is the ambitious yet misguided George Gershwin's Porgy and Bess, a three-LP box set that represents a complete recording of the Gershwin classic (with narration and sound effects). Bethlehem certainly had the talent to pull it off -- appearing on the label, and this production, are Mel Tormé, Duke Ellington & His Orchestra, Johnny Hartman, Bob Dorough, Betty Roche, Frances Faye, and minor period stars including vocalist Frank Rosolino, bandleader Stan Levey, and arranger Russ Garcia. And long-playing versions of theatrical productions were huge in the mid-'50s (a few sold millions of copies). The most popular of these, however, were simply easy-to-digest highlights LPs that never attempted to present the complete production. This version is a gargantuan two hours long, difficult to sit through even if every performance was stellar (and, unfortunately, that's far from the case). The recording makes a virtue of being hip, primarily through the narration of Al "Jazzbo" Collins, a radio DJ who may have been hip for the times but whose counterfeit excitement and perfect diction make the proceedings sound like a period newsreel. ("Watch out, Porgy, here comes that mean Sportin' Life!") Tormé, as the most popular vocalist on the label, was a shoe-in for the role of Porgy, despite Johnny Hartman's clear superiority, and Frances Faye received the role of Bess despite Betty Roche's ability to handle the role much better. Those mistakes are compounded by Russ Garcia's period arrangements (the Ellington group makes only one appearance) and some decidedly subpar performances from Frank Rosolino early in the program. Still, it has to be admitted that a highlights compilation of this record would sparkle very brightly, driven by Mel Tormé's swinging "I've Got Plenty o' Nuttin'" with a super-enthused backing chorus, George Kirby's "It Ain't Necessarily So," and Betty Roche's reprise of "Summertime" during the second half. John Bush  
Tracklist 1
Porgy and Bess, opera
1 Part 1. Introduction / Summertime 01:25
George Gershwin
Frances Faye / Mel Tormé
feat: Duke Ellington / Duke Ellington & His Orchestra / The Russell Garcia Orchestra
2 Part 1. Narration 1:24
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
3 Part 1. Summertime 3:48
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Betty Roché
4 Part 1. Narration 0:12
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
5 Part 1. A Woman Is A Sometime Thing 2:39
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Frank Rosolino
6 Part 1. Narration / Here come de honey man... 1:20
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins / Joe Derise
7 Part 1. Narration 0:24
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
8 Part 1. Evenin' ladies, hello boys... 0:43
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
9 Part 1. Narration 0:15
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
10 Part 1. No, no, brother, Porgy ain't soft on no woman... 1:33
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
11 Part 1. Narration (Scene: crap game and murder) 4:31
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: The Russell Garcia Orchestra
12 Part 1. Narration 0:51
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
13 Part 1. Gone, Gone, Gone 2:20
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
14 Part 1. Overflow, overflow 2:08
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
15 Part 1. Narration 0:28
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
16 Part 1. I can't puzzle this thing out... 1:18
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
17 Part 1. Narration 0:11
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
18 Part 1. My Man's Gone Now 3:49
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Sallie Blair
19 Part 1. Narration 0:35
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
20 Part 1. Oh the train is at the station... 2:43
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
21 Part 1. Narration 0:37
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
22 Part 1. Oh I'm agoin' out to the Blackfish banks... 2:17
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Frank Rosolino
23 Part 1. Narration 0:34
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
24 Part 1. I Got Plenty o' Nuttin' 3:13
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: The Pat Moran Quartet
25 Part 1. Mornin', Lawyer. Looking for somebody?... 4:23
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: George Kirby / The Pat Moran Quartet
26 Part 1. Buzzard Song 2:43
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
27 Part 1. Narration 0:28
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
28 Part 1. Bess, You Is My Woman Now 4:57
George Gershwin / Ira Gershwin 
Frances Faye / Mel Tormé
29 Part 1. Oh, I can't sit down (picnic music) 1:55
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Don Fagerquist / Don Fagerquist Group / Betty Roché
30 Part 1. Porgy, I hates to go... 1:00
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
31 Part 1. I Got Plenty o Nuttin' (reprise) 0:37
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
32 Part 1. It Ain't Necessarily So (instrumental) 1:52
George Gershwin
Frances Faye / Mel Tormé feat: Russell Garcia / Betty Roché
33 Part 1. Narration 0:34
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
34 Part 1. It Ain't Necessarily So 4:28
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: George Kirby
35 Part 1. Narration 0:53
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
36 Part 1. What you want wid Bess?... 2:12
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Johnny Hartman
37 Part 1. Narration 00:33
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
38 Part 1. Oh I'm agoin' out to the Blackfish banks... (reprise) 1:27
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Frank Rosolino
39 Part 1. Narration 0:30
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
40 Part 1. Oh, doctor Jesus...
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Sallie Blair
41 Part 1. Here come de honey man... / Oh dey's so fresh and fine... / I'm talkin' about devil crabs.. 3:31
George Gershwin
Frances Faye / Mel Tormé feat: Joe Derise / Bob Dorough / Loulie Jean Norman
Tracklist 2
Porgy and Bess, opera
1 Part 2. Narration 0:38
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
2 Part 2. I Loves You, Porgy 3:17
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé
3 Part 2. Narration (Scene: storm) 3:04
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Chorus / The Russell Garcia Orchestra
4 Part 2. Summertime (reprise) 1:22
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Betty Roché
5 Part 2. Narration 0:11
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
6 Part 2. Oh, dere's somebody knockin' at de do'... 1:03
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
7 Part 2. Narration 1:20
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
8 Part 2. If God want to kill me... 2:05
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Johnny Hartman
9 Part 2. Narration  0:06
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
10 Part 2. A red-headed woman... 1:48
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Chorus / Johnny Hartman
11 Part 2. Narration 0:59
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
12 Part 2. Oh, doctor Jesus (reprise) 0:38
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
13 Part 2. Narration 00:55
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
14 Part 2. Clara, Clara, don't you be downhearted... 1:36
George Gershwin
Frances Faye / Mel Tormé feat: The Pat Moran Quartet
15 Part 2. Narration 0:10
George Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins
16 Part 2. Summertime (reprise) 1:12
George Gershwin
Frances Faye / Mel Tormé feat: Betty Roché
17 Part 2. Narration 1:50
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
18 Part 2. Oh, Lawd, what I goin' do?... 1:21
George Gershwin
Frances Faye / Mel Tormé
19 Part 2. Narration 0:09
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
20 Part 2. There's a Boat Dat's Leavin' Soon for New York 1:28
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: George Kirby
21 Part 2. Narration 1:18
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Al "Jazzbeaux" Collins / The Russell Garcia Orchestra
22 Part 2. Narration 0:24
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
23 Part 2. How are you dis mornin'?... 1:41
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
24 Part 2. Narration 0:39
George Gershwin
Frances Faye / Mel Tormé feat: Chorus
25 Part 2. Oh, Bess, Oh, Where's My Bess 2:19
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Sallie Blair
26 Part 2. Oh Lawd, I'm on My Way 1:57
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: Chorus
27 Suite (editied instrumental suite from Russ Garcia's orchestration) 29:12
George Gershwin / Ira Gershwin
Frances Faye / Mel Tormé feat: The Russell Garcia Orchestra

DUKE ELLINGTON AND HIS ORCHESTRA – 1924-1927 | The Classics Chronological Series – 539 (1990) FLAC (tracks+.cue), lossless

This CD contains the first 23 recordings released under Duke Ellington's name. The initial ten selections, dating from November 1924 to June 1926, are quite intriguing because, with the exception of the very first date (resulting in "Choo Choo" and "Rainy Nights"), the primitive band does not sound like Ellington's. While the first date has cornetist Bubber Miley, trombonist Charlie Irvis (Tricky Sam Nanton's predecessor), and altoist Otto Hardwick as the front line, the following eight numbers have shifting personnel and, despite the occasional presence of trombonist Jimmy Harrison (who takes two vocals) and clarinetist Don Redman, the music is under-rehearsed and rough. But on "East St. Louis Toodle-Oo" (the band's theme) and "Birmingham Breakdown" from November 29, 1926, the Ellington sound was finally together and from then on the band's output was often classic. Other highlights of this historic disc are "Hop Head" and the initial version of "Black and Tan Fantasy," with such soloists as Miley, Nanton, and Hardwick, and with Duke himself on piano. Scott Yanow    Tracklist + Credits :

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 – 1932-1933 | The Classics Chronological Series – 626 (1992) FLAC (image+.cue), lossless

Not the best Classics disc of Ellington's 1920s and '30s work (look to the label's mid- to late-'30s titles), this 23-track round-up of the bandleader's 1932-1933 output still offers enough in the way of quality originals and stellar playing to keep most Duke enthusiasts happy. The first half contains the choicest selections, including such top-notch ensemble vehicles as Benny Carter's "Jazz Cocktail" (his arrangement is used, too) and superb Ellington charts like "Slippery Horn," "Blue Harlem," and "Lightnin'." The latter half does sag a bit with several vocal novelties featuring Ivie Anderson, the Mills Brothers, and Adelaide Hall, but the always excellent contributions of Johnny Hodges, Lawrence Brown, Barney Bigard, and Cootie Williams keep things in check. An enjoyable slice of early Ellingtonia that's may be best left to the more trench-friendly of early jazz lovers. Stephen Cook     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1933 | The Classics Chronological Series – 637 (1992) FLAC (tracks+.cue), lossless

1933 found Duke Ellington going overseas for the first time, and the four songs (and a short interview) that he recorded in London are on this CD. Otherwise things stayed pretty consistent with no major personnel change (Otto Hardwick rejoined the band), Ivie Anderson proving to be a strong asset with her vocals, and such gems as "Merry Go Round," "Sophisticated Lady," "Drop Me Off in Harlem," and "I'm Satisfied" offering further proof that Ellington was the master of the three-minute record, making every bar count. As usual with the Classics series, all of the master takes are included on this CD (repeating songs if they were recorded on different days) but leaving off the alternate takes.  Scott Yanow          Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1933-1935 | The Classics Chronological Series – 646 (1992) FLAC (tracks+.cue), lossless

Decades after these recordings were made, an LP appeared as part of RCA Victor's superb Vintage series bearing the title Daybreak Express. Focusing on much of his best work from the mid-'30s, that album was a perfect introduction to the music of Duke Ellington. Number 646 in the Classics Chronological series serves this purpose just as effectively, shifting the frame of reference to include the autumn and winter of 1933, a broad sweep through 1934, and two originally unissued tidbits from January of 1935. From the first few bars of "Harlem Speaks," you know you are in front of what Fats Waller always swore was the greatest jazz orchestra in the world. Wellman Braud pushes the band around the room, his bass fiddle chugging along in fourth gear. Joe Nanton blows "ya-ya" smoke rings through the trombone. The trumpets are a bitch. And the reed section is the very bloodstream of Duke's orchestra. This band could play anything. Even "In the Shade of the Old Apple Tree" becomes radiantly hip under such conditions. Legend has it that "Rude Interlude" got its title in honor of a request for "Rude Indigo." As for that "Daybreak Express," a life-sized steam locomotive is conjured with almost aggressive clarity. You can practically smell the oil and feel the tracks vibrating as the band roars by with horns in the air. "Solitude" appears in two lovely takes recorded eight months apart. Number two is fleshier. "Stompy Jones," named for a courier and valet who traveled with the band, is the definitive hot jam. While Louis Bacon and Ivie Anderson were both fine vocalists, the toy surprise inside of this package is the first version of "My Old Flame," recorded in Hollywood on April 23, 1934, and issued on the world-renowned Biltmore label. The vocalist is none other than Mae West! Whoever thought of putting her and Duke together on the same record should have ordered up a dozen more sides, as this is one fascinating combination of personalities. Both were notably sensual individuals, incredibly dignified and strong-willed. Having carefully made way for Mae, Ellington's instrumentalists are able to play more expressively on Ivie's turf. Interesting comparisons could be made between Mae's and Ivie's takes and Billie Holiday's stunning Commodore rendition of 1944. "Admiration" introduces cornetist Rex Stewart, a brand-new addition to the Ellington troupe. "Farewell Blues," so beautifully rendered in 1934 by the Claude Hopkins Orchestra, receives the full Ellington treatment. arwulf arwulf   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 :

DUKE ELLINGTON AND HIS ORCHESTRA – 1936-1937 | The Classics Chronological Series – 666 (1992) FLAC (tracks+.cue), lossless

Cut a few years before the Ellington band's golden run during the early '40s, this 24-track collection from 1936-1937 finds the group in top form. As is usual with any of Classics' chronological discs, the fare runs the gamut. In this case, the mix takes in novelties ("Love Is Like a Cigarette"), reprised classics ("East St. Louis Toodle-Oo"), and contemporary gems ("In a Jam"). And as a highlight, there are also several sides cut by clarinetist Barney Bigard and a small band made up of other Ellington sidemen ("Caravan," "Stompy Jones"). A treat. Stephen Cook     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1937 | The Classics Chronological Series – 675 (1992) FLAC (tracks+.cue), lossless

In addition to seven selections by the Duke Ellington Orchestra, this interesting CD has a number released by Ivie Anderson's name ("The Old Plantation") and small-group dates full of Ellington stars but led by Cootie Williams, Barney Bigard, and Johnny Hodges, plus four numbers by the Gotham Stompers (which mixes together Ellington and Chick Webb sidemen). No matter who is leading the particular group, Ellington is very much under control, often using the more spontaneous combo settings as a way of trying out new tunes. Among the more memorable selections are "Blue Reverie," "Whispering Tiger" (which is really "Tiger Rag"), "Caravan," and "Azure." Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1937, Vol. 2 | The Classics Chronological Series – 687 (1993) FLAC (tracks+.cue), lossless

During the period covered by this CD, the Duke Ellington Orchestra recorded nine performances (including vocal and instrumental versions of "All God's Chillun Got Rhythm") while combos led by Johnny Hodges, Barney Bigard, Rex Stewart, and Cootie Williams that were mostly filled with Ellington all-stars accounted for 14 other selections. Duke was overseeing everything while letting his star sidemen stretch out, and the result was a steady stream of fresh and high-quality recordings that both fit into the mainstream of swing and stood apart from other bands. Among the more memorable selections on this set (which contains quite a few obscurities) are "The Back Room Romp," "Tea and Trumpets," the remarkable "Harmony in Harlem," and the original versions of "Diminuendo in Blue" and "Crescendo in Blue." Scott Yanow  Tracklist : 

DUKE ELLINGTON AND HIS ORCHESTRA – 1938 | The Classics Chronological Series – 700 (1993) FLAC (tracks+.cue), lossless

1938 was a very busy year for Duke Ellington in the recording studios, whether making classics with his big band or being the pianist and organizer of sessions allegedly led by his sidemen. This disc has plenty of big-band sides and combo dates led by clarinetist Barney Bigard, trumpeter Cootie Williams, and altoist Johnny Hodges. Most notable among the selections are "Stepping Into Swing Society," "Echoes of Harlem," "The Gal From Joe's," "I Let a Song Go out of My Heart," and "Jeep's Blues," but there are no throwaways among these three-minute gems.  Scott Yanow      Tracklist + Credits :