DUKE ELLINGTON AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 837 (1995) FLAC (tracks+.cue), lossless

Starting with the first selection by Barney Bigard's small group, Ray Nance succeeded Cootie Williams (who had left to join Benny Goodman) as Duke Ellington's trumpet soloist. The Ellington orchestra was so strong that Williams' departure did not make much of a difference. After all, the band still featured such soloists as Rex Stewart, Lawrence Brown, Joe Tricky Sam Nanton, Barney Bigard, Johnny Hodges, Ben Webster, Harry Carney, Jimmy Blanton, and Ellington himself, with vocals from Ivie Anderson and Herb Jeffries and writing by Ellington and Billy Strayhorn. Other than the first four numbers on this disc (taken from a Barney Bigard small-group date), the full orchestra is heard throughout the CD. Among the more memorable numbers are "Flamingo" (Herb Jeffries' big hit), the original version of "Take the 'A' Train," "Jumpin' Punkins," "Blue Serge," "Just a-Sittin' and a-Rockin," the original recording of "I Got It Bad" (featuring Ivie Anderson), and a pair of Ellington piano solos. Scott Yanow  Tracklist + Credits :

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 – 1942-1944 | The Classics Chronological Series – 867 (1996) FLAC (tracks+.cue), lossless

The first 13 selections on this CD complete the reissue of the studio recordings of the classic 1939-1942 Duke Ellington & His Orchestra. Among the more notable selections are "Perdido," "The 'C' Jam Blues," "What Am I Here For," "Main Stem," and "Johnny Come Lately." The other nine numbers are much rarer than those Victor records, for they are V-discs cut during the recording strike of 1942-1944, primarily remakes of earlier Ellington hits. Although not quite essential (the Victors are easily available domestically), this set nevertheless has plenty of memorable performances by Ellington's World War II band. Scott Yanow   Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 881 (1996) FLAC (tracks+.cue), lossless

The 29th in Classics' reissuance of Duke Ellington's recordings as a leader (which unfortunately skips most alternate takes) features his orchestra shortly after the recording ban of 1942-44 had finally ended. In addition to several vocal numbers for Joya Sherrill (including the hit "I'm Beginning to See the Light"), Al Hibbler and Kay Davis, there are features for trombonist Lawrence Brown ("Blue Cellophane") and altoist Johnny Hodges ("Mood to Be Wooed"), the original four-part studio version of "Black, Brown and Beige" (which totals 18 minutes), a four-song session headed by drummer Sonny Greer that features altoist Otto Hardwick, trumpeter Taft Jordan and clarinetist Barney Bigard (despite what it says in the liner notes, the pianist is the obscure Duke Brooks and not Duke Ellington) and the early V-disc version of "The Perfume Suite." Excellent music from an underrated edition of the Duke Ellington Orchestra. Scott Yanow   Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1945 | The Classics Chronological Series – 915 (1996) FLAC (tracks+.cue), lossless

After starting off with a few valuable V-disc performances (including 13 minutes of the "Black, Brown and Beige" suite), this CD features some of Duke Ellington's studio recordings of April-May 1945. Although this particular band was not rated as high as their 1939-1942 counterpart, they still ranked near the top of their field. Among the gems are "The Kissing Bug," "Harlem Air Shaft," quite a few fine remakes (this version of "It Don't Mean a Thing" with singers Al Hibbler, Joya Sherrill, Kay Davis, and Marie Ellington is a classic), and a pair of unusual numbers. "Tonight I Shall Sleep" has trombonist Tommy Dorsey guesting with Duke Ellington's orchestra, while on "The Minor Goes Muggin'," Ellington sits in with Dorsey's band. Overall, there is a lot of rather interesting music to be heard on this CD from this underrated version of the Ellington big band. Scott Yanow   Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1945, Vol. 2 | The Classics Chronological Series – 951 (1997) FLAC (tracks+.cue), lossless

Duke Ellington's orchestra in 1945 was riding quite high, with annual Carnegie Hall concerts, constant performing and recording, and appearances on many radio broadcasts. This disc features both studio recordings and a few V-Discs taken from radio shows. The latter are most notable for including the extended two-part "Frankie and Johnny" and the 12-and-a-half-minute "New World A-Comin'," while the studio recordings are highlighted by "Jumpin' Room Only" and three of the four parts of "Perfume Suite." With such soloists as Tricky Sam Nanton, Lawrence Brown, Al Sears, Johnny Hodges, Harry Carney, and four trumpeters, Ellington's big band remained at the top of its field as World War II came to an end. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946 | The Classics Chronological Series – 1015 (1998) FLAC (tracks+.cue), lossless

For the casual listener, "best of" collections are a good way to explore Duke Ellington's legacy. But if you're a serious collector or a completist, it's important to be aware of Classics, a French label that put out more than 30 CDs of the Duke's work in the 1990s. Regrettably, Classics generally skipped alternate takes; but even so, it was nice to see a label reissuing Ellington's master takes chronologically. This rewarding CD focuses on Ellington's recordings of 1946, when his orchestra boasted such heavyweights as trumpeter Cat Anderson, alto saxophonist Johnny Hodges, tenor saxman Al Sears, baritone saxman Harry Carney, trombonist Lawrence Brown, and drummer Sonny Greer. It was in 1946 that the Duke recorded his last two sessions for RCA Victor, and this CD spotlights those two sessions before offering two pieces from an October 23 session for Musicraft ("Magenta Haze" and "Diminuendo in Blue") and several V-disc recordings from a November 23 concert at Carnegie Hall in New York, where Ellington's orchestra performed "The Golden Cress" and "Sultry Sunset" as well as the interesting, four-part "Deep South Suite." The suite's fourth part is the well-known "Happy Go Lucky Local," an infectious blues track that became the basis for Jimmy Forrest's 1951 smash "Night Train" (which was speeded up and covered by the Godfather of Soul James Brown in the early 1960s). Most of the material on 1946 is instrumental, although Ellington features singer Marion Cox on pleasing arrangements of "St. Louis Blues" and "Lover Man," and fares equally well with singer Kay Davis on "I Don't Stand a Ghost of a Chance With You." While 1946 falls short of essential, the selections are definitely rewarding and prove that the late 1940s was a creatively successful, if underrated, period for the Duke. Alex Henderson     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1051 (1999) FLAC (tracks+.cue), lossless

This installment of the Classics label document of the Duke Ellington story highlights recordings for the Musicraft label in November and December 1946, four V-discs recorded in New York on May 10, 1947, and the first sessions for Columbia in August and September 1947. Considering the financial challenges of keeping a large ensemble performing in the late '40s (which would have an almost devastating effect in the early '50s,) Ellington not only managed to continue creating intriguing music but he maintained a legendary horn section. These dates feature Ray Nance, Taft Jordan, Shorty Baker, Cat Anderson, Jimmy Hamilton, Johnny Hodges, Russell Procope, Tyree Glenn, Wilbur De Paris, Al Sears, and Harry Carney. Six vocal pieces are also included: one each from Kay Davis and Chester Crumpler, two featuring Al Hibbler, and Ray Nance clowns around on "Tulip or Turnip" and "Women (They'll Get You). Al Campbell   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947 | The Classics Chronological Series – 1086 (1999) FLAC (tracks+.cue), lossless

The Ellington band was in transition when these sides were cut in 1947. The big-band scene was slowly winding down after World War II, but the group had just signed with Columbia, an assurance of better distribution. But the band was also being handed some pretty weird material -- commercial fare like "Kitty," "Cowboy Rhumba" (with Woody Herman guesting on vocals), and "Antidisestablishmentarianismist." There's some great music here, but file this volume under "for completists only." Cub Koda    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947-1948 | The Classics Chronological Series – 1119 (2000) FLAC (tracks+.cue), lossless

 With the exception of "The Tattooed Bride," an extensive work from Duke Ellington's 1948 Carnegie Hall concert that was originally released on V-Disc, all of the music on this CD is taken from November-December 1947. Ellington was quite busy in the recording studios during this period (as were many bands), since it was known that a recording strike would most likely be taking place the following year. In addition to fine remakes of "Do Nothin' Till You Hear From Me" and "Don't Get Around Much Anymore," and an atmospheric vehicle for Kay Davis' voice on "On a Turquoise Cloud," the year-end work included the memorable six-part "Liberian Suite" (one of Ellington's best extended pieces) and his nearly atonal piano exploration on the intriguing "The Clothed Woman." While much of this music is available elsewhere, the performances are of high quality and well worth acquiring one way or another. Scott Yanow   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1949-1950 | The Classics Chronological Series – 1191 (2001) FLAC (tracks+.cue), lossless

With the end of the 1948 recording strike, Duke Ellington's orchestra appeared on record for the first time in 22 months on November 1, 1949. The classic band was still largely intact (although Al Sears had departed and the trumpet section was a bit weaker than earlier), but its label (Columbia) was clearly hoping for some new hits. This collection has some unusual pieces along the way, including "Joog, Joog" and "The Piano Roll Blues," but there is an excellent four-song date featuring former Ellington sideman Oscar Pettiford on cello. Oddest of all is a September 21, 1950, date that mixes together Ellington, altoist Johnny Hodges, baritonist Harry Carney, and bassist Wendell Marshall with boppish trumpeter Red Rodney, drummer Max Roach, and a variety of vocalists (Chubby Kemp, Sarah Ford, and Al Hibbler). Some of this material was formerly quite rare and, although it is not essential, Ellington completists may be particularly interested in this CD. Scott Yanow    Tracklist + Credits :

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 :

DUKE ELLINGTON AND HIS ORCHESTRA – 1952 | The Classics Chronological Series – 1320 (2003) FLAC (tracks+.cue), lossless

Here's a treat. Vol. 42 of the chronologically reissued recordings of Duke Ellington opens with some 56 minutes of music recorded live at the Civic Auditorium in Seattle, WA, on March 25, 1952. This document fully conveys the excitement of hearing Duke's orchestra in person, on tour in the great Northwest. Ellington enthusiasts have cherished these recordings for years, and this concert is particularly satisfying. "Skin Deep" is an extroverted exercise for drum kit by Louie Bellson. After this percussive fireworks display the leader provides eloquent spoken introductions, acknowledging the musician chosen as soloist on each selection. Conservatory-trained trombonist Britt Woodman -- a favorite of Charles Mingus -- expresses himself beautifully throughout "Sultry Serenade." "Sophisticated Lady" spotlights "internationally celebrated alto saxophonist" Willie Smith. Clark Terry is the star soloist on a smoky ride through Juan Tizol's "Perdido," after which that valve trombonist elucidates another of his marvelous compositions, "Caravan." Ellington composed his majestic "Harlem Suite" for the NBC Symphony Orchestra. He briefly explains the concept of the piece and reminds his audience that Harlem has "more churches than cabarets." This was in keeping with Duke's lifelong dedication to improving the public's understanding and appreciation of Afro-American culture. Louie Bellson's zippy offering, "The Hawk Talks," has a rowdy piano introduction, whereupon the band generates quite a head of steam. There is a very showy crowd-pleasing medley of Ellington hits and lastly the famous "Jam With Sam," during which Ellington briefly introduces each soloist. This may serve as a listening lexicon of more than half of the wind players in the band at that time, enabling the listener to become better acquainted with the specific sounds of Willie Cook, Russell Procope, and Quentin "Butter" Jackson, as well as the familiar tones of Paul Gonsalves and Cat Anderson. On the cusp of June and July 1952, the Ellington orchestra concentrated its energies on the art of making extended LP recordings. Betty Roche added her scat singing to eight glorious minutes of "Take the 'A' Train" and did up "I Love My Lovin' Lover" in what at times seems a fairly close imitation of Dinah Washington. Jimmy Grissom goes out of his way to sound like Al Hibbler during "Come On Home." This full helping of Ellington jazz closes with an exquisitely expanded rendition of Duke's hit of 1928, "The Mooche," with breathtaking solos by Jimmy Hamilton, Quentin Jackson, Willie Smith, Ray Nance, and the mighty Harry Carney. arwulf arwulf    Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1953 | The Classics Chronological Series – 1398 (2005) FLAC (tracks+.cue), lossless

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DUKE ELLINGTON AND HIS ORCHESTRA – 1953, Vol. 2 | The Classics Chronological Series – 1434 (2007) FLAC (tracks+.cue), lossless

During the month of December 1953, Duke Ellington made records for the Capitol label in Chicago and New York with a trio, a quartet, and the full-sized orchestra. Volume 45 in the Ellington stratum of the Classics Chronological Series makes available 21 selections from this wonderfully creative chapter in the lives of the Duke and his men. Seldom, if ever, have the big band and small group recordings from this segment of Ellington's career been reissued in chronological sequence. Over the years, for some reason, the titles "Montevideo" and "Night Time" have both been applied to the thrilling piece of work heard on track two. Inspired by the largest city in the country of Uruguay, this passionate Latin jazz workout is enlivened by the conga drumming of Ralph Collier. Track 20, accurately titled "Night Time," is a gorgeous nocturne written in collaboration with Billy Strayhorn. Tracks four, five, six, eleven and sixteen feature vocals by Jimmy Grissom, and trumpeter/violinist Ray Nance sings "Just A-Settin' and A-Rockin'." Those who desire the complete 1953 trio recordings of Duke Ellington (including the conga-driven quartet recording of "Montevideo") should most definitely seek out the Capitol album Piano Reflections. arwulf arwulf     Tracklist + Credits :

EARL HINES AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 538 (1990) FLAC (tracks+.cue), lossless

Another chapter in the Classics label's impressive chronological account of Earl Hines' big-band and solo piano work from 1928-1947. By this time, Hines was slipping into a bit of a routine, but for the most part the material here maintains the high standards of his benchmark work from 1934 and 1935. His top arranger, Jimmy Mundy, is on hand again, joined by Horace Henderson (Fletcher Henderson's brother) and Budd Johnson. Johnson would later flower as one of Hines' main chart-makers, and here he ably displays his talents on the churning "XYZ" and the Hines showcase "Piano Man." Hines further displays his mammoth chops on two exciting solo tracks, "The Father's Getaway" and "Reminiscing at Blue Note." And making fine contributions of their own are clarinetist Omer Simeon and trumpeters George Dixon, Ray Nance (later of Ellington fame), and Freddy Webster. A highly enjoyable if unessential disc from the Hines catalog. Stephen Cook  
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EARL HINES AND HIS ORCHESTRA – 1942-1945 | The Classics Chronological Series – 876 (1996) FLAC (tracks+.cue), lossless

For Earl Hines fans looking beyond the bandleader's glory days of the '30s, this Classics chronological disc -- one of several Hines titles in the series -- is worth picking up. It's not as solid as Classics' 1941 survey, due in part to that disc's tighter, vintage-issue charts, but many of these 21 tracks still stand out, thanks to some fine Eckstine vocals and stealth backing by the likes of Wardell Gray, Johnny Hodges, Charlie Shavers, Budd Johnson, Red Norvo, and Oscar Pettiford -- not to mention a few Betty Roche vocal turns. A fine, if unessential, Hines collection. Stephen Cook
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EDDIE HEYWOOD – 1944 | The Classics Chronological Series – 947 (1997) FLAC (tracks+.cue), lossless

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HORACE HENDERSON AND HIS ORCHESTRA – 1940 + FLETCHER HENDERSON AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 648 (1992) FLAC (tracks+.cue), lossless

 Horace Henderson spent most of his career in the shadow of his brother Fletcher, even though he was actually a superior pianist and a comparable arranger. Other than an all-star session that he headed in 1933, Horace did not make his first recordings as a leader until 1940, when he led a regular (if short-lived) big band. Five sessions resulted in 21 titles, all of which are included on this very enjoyable CD. Most notable among Henderson's sidemen are trumpeter Emmett Berry, tenorman Elmer Williams, and Ray Nance (shortly before he joined Duke Ellington) on trumpet, violin, and the vocal to "They Jittered All the Time." This excellent swing CD, which has plenty of "killer dillers," is rounded off by a four-song session by Fletcher Henderson's 1941 big band, cut shortly before it broke up. Recommended. Scott Yanow
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