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 – 1930-1931 | 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 – 1938, Vol. 2 | The Classics Chronological Series – 717 (1993) FLAC (tracks+.cue), lossless

The music on this CD was all recorded within a four-month period, featuring performances by Duke Ellington's Orchestra and small groups led by trumpeter Cootie Williams and altoist Johnny Hodges that include Ellington as pianist, arranger, and organizer. Ellington fit right into the swing era yet his music was far too individual to be associated with any of the soon-dated fads the pervaded the era. In fact, these performances might be from 1938 but most still sound quite fresh today. Highlights include "I'm Slappin' Seventh Avenue," "Rose of the Rio Grande" (a longtime feature for trombonist Lawrence Brown), "Pyramid," "Empty Ballroom Blues," and "Jitterbug's Lullaby." Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1938, Vol. 3 | The Classics Chronological Series – 726 (1993) FLAC (image+.cue), lossless

Duke Ellington's very busy year of 1938 resulted in enough music (counting small group dates led by his sidemen) to fill up more than three CDs. This disc has big-band dates plus outings headed by Cootie Williams and Johnny Hodges. Although 1939-1942 is often thought of as the peak of Ellington's career, his output from 1938 was very impressive too. Among the high points of the sessions on this CD (which feature such soloists as trumpeter Cootie Williams, cornetist Rex Stewart, trombonists Lawrence Brown and Tricky Sam Nanton, altoist Johnny Hodges, clarinetist Barney Bigard, baritonist Harry Carney, and Duke on piano) are "Love in Swingtime," "Prelude to a Kiss," "The Jeep Is Jumpin'," "Mighty Like the Blues," "Battle of Swing," and "Hodge Podge." Scott Yanow          Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 765 (1994) FLAC (tracks+.cue), lossless

The 1939 Duke Ellington Orchestra was a mighty force, with eight major soloists and a genius as their leader. Billy Strayhorn first worked with Ellington during this period and on this CD he contributes "Something to Live For" (which is surprisingly sung by Jean Eldridge rather than the band's regular vocalist, Ivie Anderson). This disc has ten selections from the full orchestra, eight from small groups led by altoist Johnny Hodges, two from clarinetist Barney Bigard's combo, and two vocal features for the Quintones. Highlights include "Rent Party Blues," "Portrait of the Lion" (Ellington's tribute to his idol, Willie "The Lion" Smith), a remake of "Cotton Club Stomp," and "Serenade to Sweden." Scott Yanow       Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 780 (1994) FLAC (tracks+.cue), lossless

The biggest change for the Duke Ellington Orchestra in the relatively brief period covered by this CD is that on "Little Posey," Jimmy Blanton became the band's new bassist, taking over for Billy Taylor. While Taylor was a fine supportive player, Blanton was the first great soloist on his instrument and an innovative player who was a decade ahead of his time. This CD in Classics' extensive Duke Ellington chronological series, as usual, has all of the master takes from both Ellington's big band and the small groups led by his sidemen (trumpeter Cootie Williams and altoist Johnny Hodges), but skips over the valuable alternate takes. Among the most memorable selections are the spirited "I'm Checkin' Out Go'ombye," "Black Beauty," "The Sergeant Was Shy," two versions of "Grievin'," "Little Posey," and "Tootin' Through the Roof" (which has a brief trumpet battle by Cootie Williams and Rex Stewart). Scott Yanow    Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 790 (1994) FLAC (tracks+.cue), lossless

This CD has Duke Ellington's final recordings for the Columbia and Vocalion labels before switching over to Victor and beginning what many consider to be his greatest period on record. During this period, Ben Webster joined the band on tenor, taking his first solo on "Solitude." The band was up to ten major soloists and, whether heard as the full orchestra or in small groups led by altoist Johnny Hodges, clarinetist Barney Bigard, or trumpeter Cootie Williams, the music was generally very rewarding. High points of this intriguing transitional disc include an Ellington piano solo on "Blues," "Lost in Two Flats," and several remakes (including "Solitude," "Mood Indigo," and "Sophisticated Lady"). In addition, a pair of unprecedented bass-piano duets ("Blues" and "Plucked Again") for the first time really show off the solo abilities of bassist Jimmy Blanton. Scott Yanow     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1940, Vol. 2 | The Classics Chronological Series – 820 (1995) FLAC (tracks+.cue), lossless

The Duke Ellington Orchestra in 1940 may not have been as popular with the general public as that of Glenn Miller, but they were one of the great big bands of all time. The best way to acquire their music is to get all of the alternate takes, which are available through RCA/Bluebird, but the Classics series has done a fine job of reissuing all of the master takes. This particular disc has a small-group session apiece led by altoist Johnny Hodges and cornetist Rex Stewart along with nine songs from the big band. Among the gems are "In a Mellotone," "Five O'Clock Whistle," "Warm Valley" (heard twice), "Daydream," and "Linger Awhile." In addition, the four classic Jimmy Blanton-Duke Ellington bass-piano duets (which include "Pitter Panther Patter" and "Mr. J.B. Blues") are included and find Blanton sounding quite futuristic, almost like Charles Mingus 15 years later. Scott Yanow Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 851 (1995) FLAC (tracks+.cue), lossless

Duke Ellington's last recordings before Pearl Harbor are on this CD. The band's personnel remained remarkably consistent, except that Jimmy Blanton was forced into retirement by tuberculosis before the final four selections on this disc, unfortunately passing away the following year. Included on this set are sessions led by cornetist Rex Stewart, altoist Johnny Hodges, and clarinetist Barney Bigard, which include the initial recordings of "Subtle Slough" (soon renamed "Just Squeeze Me"), "Passion Flower," "Things Ain't What They Used to Be," and "C Jam Blues" (initially called "'C' Blues"). The big band selections are highlighted by "Rocks in My Bed," Billy Strayhorn's "Chelsea Bridge," and "Raincheck." This is classic music, whether acquired in this series or with the alternate takes on its American counterpart through RCA/Bluebird. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1950-1951 | The Classics Chronological Series – 1258 (2002) FLAC (tracks+.cue), lossless

Volume 40 in the complete sequential recordings of Duke Ellington, as compiled and reissued in 2002 as part of the Classics Chronological Series, covers about a half-year's time from December 18, 1950 to May 24, 1951, beginning with two extended tracks initially issued on the Columbia LP Masterpieces by Ellington. With Sophisticated Lady and Solitude, Ellington took advantage of the new long-playing format to allow the band to stretch out as they'd been doing in live performance for many years. The vocalist on Sophisticated Lady was Yvonne Lanauze. In addition to the usual rich palette of Ellington and Strayhorn compositions, this portion of the chronology contains original works by trumpeters Charlie Shavers and William "Cat" Anderson; by valve trombonist and arranger Juan Tizol, tenor saxophonist Paul Gonsalves, and Luigi Paulino Alfredo Francesco Antonio Balassoni, commonly known as drummer Louie Bellson, who had recently migrated from the Harry James Orchestra with Tizol and alto saxophonist Willie Smith. The music heard on this disc was recorded at a time when all of the big bands -- even those led by Count Basie and Duke Ellington -- were struggling to keep their heads above water. This explains the inclusion of seven selections that were released on Mercer records -- a short-lived independent label managed by Mercer Ellington, and Leonard Feather -- featuring a scaled down group known as Duke Ellington's Coronets. The titles credited to the Coronets are "Night Walk (Cat Walk)," "Moonlight Fiesta," "She (Sensuous)," "Swamp Drum," "Sultry Serenade," "Indian Summer," and the "Britt and Butter Blues" which referred to a pair of master trombonists, Britt Woodman and Quentin "Butter" Jackson. arwulf arwulf        Tracklist + Credits : 

DUKE ELLINGTON AND HIS ORCHESTRA – 1951 | The Classics Chronological Series – 1282 (2003) FLAC (tracks+.cue), lossless

Volume 41 in the complete chronological recordings of Duke Ellington as reissued by the Classics label contains 16 master takes that came together during the second half of 1951, the year that saw the release of Duke's marvelous Uptown album. Although big bands were struggling to stay together during this period and Johnny Hodges was off making records with producer Norman Granz, the Ellington Orchestra sounds exceptionally fine throughout. Billy Strayhorn had a lot to do with the elegance that characterizes the 1951 recordings, and the soloists are in extraordinarily good form. "Deep Night" features trombonists Juan Tizol, Quentin "Butter" Jackson, and Britt Woodman. "Please Be Kind" belongs to alto saxophonist Willie Smith, an alumnus of the Jimmie Lunceford Orchestra. The "Duet" between bassist Wendell Marshall and clarinetist Jimmy Hamilton is mostly an orchestral number that ends as a duo. Hamilton also plays tenor sax on "Bensonality." "Jumpin' with Symphony Sid," a tune rarely associated with Ellington, here becomes a solid steady groove that you'll want to slip into more than once. "Before My Time" from the "Controversial Suite" was Duke's whimsical response to the language of music critics who used up a lot of energy defining Tradition and Modernity; the Suite's title also referred to the flashy progressivism of Stan Kenton. The vocalist on "Blues at Sundown" is Jimmy Grissom, a steady customer who also handles Strayhorn's "Something to Live For" and "Azalea," a love song that Ellington claimed to have designed for Louis Armstrong, who subsequently recorded it with Duke about ten years later on that utterly essential Roulette album, The Great Summit. arwulf arwulf       Tracklist + Credits :

HARRY JAMES AND HIS ORCHESTRA – 1942-1944 | The Chronogical Classics – 1227 (2002) FLAC (tracks), lossless

This is an unusual Harry James reissue in that, after the first four selections (which are from July 31, 1942), the remainder of the disc consists of James' V-discs of 1942-1944. The Musicians Union's recording strike stopped all recording for at least 16 months and, in the case of James' label Columbia, nearly two-and-a-half years. The trumpeter's last studio date of 1942 resulted in the final of three Helen Forrest hits, "I've Heard That Song Before." His wartime band is heard on V-disc versions of such songs as "Two O'Clock Jump"; "Back Beat Boogie"; "Blue Lou"; "Charmaine" (which has particularly inventive writing for the string section); "I'll Walk Alone" (Kitty Kallen's first vocal with the band); and "I'm Beginning to See the Light," the latter cut a month before the commercially released hit version. This formerly rare material is taken from a period when Harry James led the most popular swing band in the world, and it will be of strong interest to swing fans. Scott Yanow  
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HARRY JAMES AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 1313 (2003) FLAC (tracks+.cue), lossless

Classics' gathering of Harry James' material between July of '45 and May of '46 showcases a band on the far side of their peak as one of the finest swing bands in jazz history. The group is still in top-notch form, and provides a glimpse into vocalist Kitty Kallen's finest moments with the band on numbers such as "Wonder of You." Fans of swing will find this an appealing set to twirl along to. Gregory McIntosh
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