Det blev en trevlig och intressant kväll för de DESS-medlemmar som hade sökt sig till Franska Skolan.
Den inleddes med Sällskapets årsmötet. Det sköttes med sedvanlig bravur av Håkan Skytt
Foto: Bo Haufman
Styrelsen fick ansvarsfrihet och Leif Jönsson, Bo Haufman, Claes Brodda och Peter Lee valdes om till styrelsen för en period av två år. Anders Asplund, Lars Björkman och Göran Wallén har ett år kvar på sina mandat.
Rune Sjögren stod för kvällens föredrag, som han kallade Jazzatmosfär.
Foto Bo Haufman
Foto Sonja Svensson
Han berättade om sitt liv liv med jazzen från ungdomsåren till långt upp i livet och flätade ihop sitt kåseri med 12 väl valda inspelningar från 20-, 30-, 40- och 50-talet. Publiken fick bl.a. höra Slave to the Blues (Ma Rainey), Dippermouth Blues (King Oliver), The Sheik of Araby (Benny Goodman), Oh, Lady be Good (Count Basie), The Things We Did Last Summer (Fats Navarro) och Black and Tan Fantasy (Duke Ellington).
Tack vare DESS’ allstäddes närvarande it-stjärna Göran Axelsson kan de DESS-medlemmar, som inte kunde vara på plats, höra eller se föredraget på sin dator. Det finns i avdelningen DESS-möten på webbplatsen i video-, ljud och textversioner Där kan man också höra alla låtar som Rune spelade.
Efter pausen med mingel och tugg var det så dags för kvällens konsert, som Davor Kajfes stod för. Och det blev verkligen en höjdpunkt.
Foto Bo Haufman
”Det var en upplevelse att höra honom”, sade Sonja och Conny Svensson efter konserten. Och många höll med.
För de, som var med på Ellington ’94 i Stockholm, framkallade konserten också minnet av Davor Kajfes’ framträdande på Konserthuset med John Lewis. Det var en stark upplevelse!
Den här gången bjöd Davor på en bred kavalkad av godbitar förknippade med Ellington och Billy Strayhorn som Take The ’A’ Train, In A Sentimental Mood, I Got It Bad, Satin Doll, Caravan, Lotus Blossom, Isfahan, C Jam Blues.
Han avslutade konserten med en hyllning till Alice Babs och publiken fick höra Come Sunday, Heaven och All Mighty God.
Paul Newman and Duke Ellington
In this film from 1960, Paul Newman acted in the role of a trombone player, but the one who was actually playing this horn was Murray McEachern, a well known instrumentalist, who in the past had played with Paul Whiteman and with the Casaloma Orchestra.
Billy Strayhorn and Murray McEachern play Paris Blues
One wonders why Ellington chose to use Murray McEachern for this event, when Lawrence Brown obviously was available too. Anyway, this recording session is a mixture of small and big band performances, with ”Duke Ellington Group” starting off with one version of Paris Blues.
This group consists of Murray McEachern trb, Paul Gonsalves ts, Ellington p, Aron Bell b and Sam Woodyard dr.
The regular big band with an unknown guitarist then plays Big Bash, with solos by Ray Nance, Lawrence Brown, Paul Gonsalves and the unknown guitarist. This is the only known recording of this title, although similar to later works by Duke.
A duo, Murray McEachern and Billy Strayhorn, plays another version of Paris Blues, before Duke sits down at the piano to play a solo rendition of Clothed Woman.
The regular big band, with Murray McEachern added and Billy Strayhorn replacing Duke at the piano then performs a third version of Paris Blues. (mer…)
From the early Fifties we have a privately recorded performance from a Fraternity Party in Madison, Wisconsin, believed to be from the end of 1953. Despite a bit of distorsion in the recording, this is quite an enjoyable performance by the two piano players. Duke is the main player, but in the middle of the tape, Billy Strayhorn plays three tunes, which makes possible an interesting comparison between the two piano styles. If they sometimes are are difficult to distinguish from each other when composing or arranging music, they are much simpler to keep apart when playing the piano. Click on the arrow below and you’ll be listening to Duke, playing one of his originals called Falling Like A Raindrop, a rarely played composition, only encountered three times in the New Desor discography.
Timner attributes the first few piano chords of the number starting the session, Deep Purple, to Jimmy Hamilton, before Duke takes over at the piano to play Deep Purple, Falling Like A Raindrop and Sophisticated Lady. (mer…)
The second ”goodie” in February is program 34 in the Duke Ellington series broadcast by the Danish Radio in the mid-1980s to the mid-1990s. The broadcast is available in the ”Goodies” section of the website.
This program was broadcasted on October 13, 1985 and presented by Bjarne Busk.
It starts with a snapshot from Ted O’Reilly’s interview of Ellington in Toronto on March 17, 1970 in which Ellington talks about his stockpile of unreleased recording.
Next comes New Concerto For Cootie recorded on September 13, 1962. The day before Cootie Williams had rejoined the Ellington orchestra and recorded Ellington’s welcoming piece for him – Tutti For Cootie.
The broadcast then moves on to the February 1957 stockpile recording session, from which Busk let the listeners hear C-Jam Blues and In A Sentimental Mood with Paul Gonsalves soloing. He shares this role with Clark Terry in ”C Jam Blues”.
After this, Busk features in the program an Ellington’s medley of French songs recorded on February 27, 1962 – My Heart Sings, My Man and No Regrets.
The last two are Edit Piaf songs – Mon Homme and No Je Ne Regret Rien – and the first one an early 1940’s song Ma Mie written by the team Henri Herpin and Jamblan and first recorded by Jean Sablon.
However, ”My Heart Sings” and ”No Regrets” included in the Midnight In Paris album are from the recording session June 26, 1962. (mer…)
The first ”goodie” in February is program 33 in the Duke Ellington series broadcast by the Danish Radio in the mid-1980s to the mid-1990s. The broadcast is available in the ”Goodies” section of the website.
This program was broadcasted on September 29, 1985 and was presented by Bjarne Busk.
It is totally dedicated to the stock pile recording session December 28-29, 1966. The session took place in the RCA Studios in New York.
Busk starts with what transpired on the second day, which was Tony Watkin’s day.
He recorded three Ellington songs – I’m Just A Lucky So And So, Blues At Sundown and The Lonely Ones. The first one was originally a number for Al Hibler and the second one sung by Jimmy Grissom on a couple of occasions in 1952 and in My People.
Before Watkins, ”The Lonely Ones” had been recorded by Johnny Ray and the Ellington band for Columbia on September 26, 1958. and by Milt Grayson in a stockpile session on September 13, 1962.
None of the songs recorded by Watkins and played in the broadcast have been issued on K7, LP or CD so far.
Next in the broadcast , Ellington sits down at the piano for some meditation. On the tape box, the number is simply called Piano Track 1. Later it became Meditation.
Busk says that Ellington sat down at the end of the second day. However, according to Ellington discographies he actually did this at the start of the first day when he played a total of four songs for himself. (mer…)
The program of the Ellington ’92 conference also included a presentation on the Mercer Ellington donation to Danish Radio. It was delivered by Erik Wiedemann, Bjarne Busk and Flemming Sjølund Jensen.
Photo: Bjarne Busk
First Erik Wiedemann spoke about Mercer Ellington’s donation of 781 Ellington tapes to Danish Radio on the condition that it would properly mixed onto new tapes.
Then Bjarne Busk and Flemming Sjølund Jensen followed up by letting the audience listen to examples from the archive.
Busk talked among other things about his excitement when he listened to the first tape, which started with what turned out to be Pastel from the Degas Suite. He also gave some figures on the donation. 443 tapes were studio recordings from 128 dates. There was also 69 tapes with live recordings from 35 occasions and 53 tapes with interviews of Ellington.
Photo: Bjarne Busk
Busk finished his presentation by playing a recording from the Aug. 18, 1966 session ”which will never be issued” but also other examples from the tapes were included in it.
Sjølund Jensen focused his presentation on an untitled blues recorded on Nov. 23, 1968 and used it to demonstrate ”how Ellington and the band developed their material”. He very much featured Lawrence Brown in his clips.
Brian Priestly was also one of the speakers at the Ellington ’92 conference in Copenhagen.
Photo Bjarne Busk
He talked about ”Ellington The Pianist”.
During the 45 minutes presentation, Priestly played eight Ellington recordings with the piano at the centre and used them to highlight different aspects of Ellington’s piano playing. From time to time, he also sat down at the piano to give emphasis to his comments.
The music played in the program was Rockin’ in Rhythm (1937), Melancholia (1953), See See Rider (1972), (I’m Riding On the Moon and) Dancing on the Stars (1938), Band Call (1954), The Clothed Woman(1947), Bang Up Blues(1950) and Body and Soul (1961)