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 – 1933-1935 | 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 – 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, 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, 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 – 1938-1939 | The Classics Chronological Series – 747 (1994) FLAC (tracks+.cue), lossless

The 1938-1939 Duke Ellington Orchestra, even before bassist Jimmy Blanton and tenor saxophonist Ben Webster became members, was quite a strong band, having at least eight major soloists. With Ellington providing constant new material plus rearrangements of older tunes, there was a limitless amount of high quality music flowing from this band. On this CD, there are eight numbers from the small group of Cootie Williams, four from Johnny Hodges, and three by Rex Stewart in addition to eight big-band performances. Among the many gems are "Old King Dooji," Rex Stewart's famous feature on "Boy Meets Horn," "Slap Happy," "Dooji Wooji," "Pussy Willow," "Subtle Lament," and a pair of Duke Ellington piano solos. Scott Yanow         Tracklist + Credits :

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 | The Classics Chronological Series – 805 (1995) FLAC (tracks+.cue), lossless

While listeners really should just dive right in and get the three-disc Blanton-Webster Band package from Bluebird, this single disc does a fine job of chronicling Ellington's epochal 1940 sessions. One of a few Classics discs covering that year, the 22-track collection takes in such milestones as "Concerto for Cootie," "Cottontail," "Ko-Ko," and "Sepia Panorama," while spotlighting some absolutely classic solo work by Ben Webster, Johnny Hodges, Rex Stewart, and Barney Bigard, among many others. And even with such essential cuts as "In a Mellotone" and "Warm Valley" missing -- not to mention a handful of duets featuring Ellington and bassist Jimmy Blanton -- this roundup still has more than enough bedrock jazz to keep newcomers fully engrossed. Stephen Cook      Tracklist :