Det var ett nytt möte i det nya formatet – föredrag och film men ingen levande musik.
Kvällens föredragshållare var Bo Haufman och ämnet Cootie Williams.
Bo hörde en platta med honom redan när han var tretton år och det satte djupa spår. Genom åren har han skaffat sig en gedigen kunskap om Williams och i ett timmes långt föredrag delade han den generöst med närvarande DESS-medlemmar.
För DESS-medlemmar finns en video med Bos föredrag tillgängligt i avdelningen DESS-möten.
Efter pausen för förtäring och mingel bjöd Anders Asplund på ett trevligt 35 minuters filmprogram med blandad jazz.
Han visade naturligtvis några filmer med Cootie Williams, bl.a. en med Cooties storband från 1943 eller 1944. Därefter blev det ett blandat swingprogram med bl.a. Cab Calloway, Art Tatum, Billy Eckstine opch glimtar från Benny Goodmans Carnegie Hall konsert 1938.
Anders avslutade med delar av ett jazzprogram på BBC 1964. I rutan ses Duke Ellington, Dave Brubeck-Paul Desmond och Willie ”the Lion” Smith.
Sammantaget: en bra jazzkväll för alla DESS-medlemmar som besvärat sig att ta sig till Franska Skolan.
The third ”goodie” in December is program 31 in the Duke Ellington series broadcasted 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 August 23, 1985 and the presenter is Erik V. Krustrup.
It is totally focused on the music that Ellington wrote for the film Racing World or The Impressionists At The Racetrack). However, the musical part is most commonly known as The Degas Suite.
The film was to be a 30 minutes documentary about paintings and sketches of race courses by foremost Degas but also other impressionist painters like Forain and Dufy. Unfortunately, the project run out of money before the film was finished so it was never released.
Using the many pieces of music recorded for the film found in Mercer Ellington’s donation, Krustrup tries to bring The Degas Suite to the listerners in a form close to what it was meant to be.
As an appetizer, the broadcast start with one of the takes of Race. This one is played by Paul Gonsalves. Then the program continues with some examples of recorded snippets and how they were used to build larger musical blocks like for the opening squence of the film.
Four takes of Race comes next – two with Johnny Hodges and two with Ellington. They are followed by Promenade (aka Red Circle), COPA II, Racing, Trump, Sonnet and Daily Double.
The broadcast ends with a piece called Improvisation and another take of Race.
Improvisation was later used in The River and then called The Run. It is the same theme as The Queen’s Guard, which Ellington played on piano at the rehearsal for the telecast from Cirkus in Stockholm on February 8, 1966.
More of The Degas Suite is in the next broadcast.
The second ”goodie” in December is program 28 in the Duke Ellington series broadcasted 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 August 2, 1985 and the presenter is Knud Sörensen.
The first 1/3 of the broadcast let us listen to 16 very short snippets of music Ellington composed for the film Change of Mind, which was released in October 1969. The snippets in the broadcast were recorded on April 25, 1969 but music for the film was also recorded in two sessions in May and one in June 1969.
This part of the broadcast ends with a longer piece – Neo-Creole – played by Ellington on electric piano. It’s a rock adaptation of the main theme from Creole Rhapsody.
Those interested in how the music was used in the film can find part of it on YouTube (https://www.youtube.com/watch?v=XfIVJ50357I). At 8:53 there is a segment with Ellington’s music. Thank you to Brian Koller for the link.
From ”Change of Mind”, the broadcast moves on the May 24, 1962 stockpile session. The selection in the program has Ray Nance in the lead role. We hear him play Flirtibird and Smada. The recording engineer announces Flirtibird as take -3 which means that it is different from the take used for the issues on LP and CD.
Sörensen then brings the listener The Feeling of Jazz recorded on May 25, 1962. It is sung by Milt Grayson accompanied by Ellington at the piano.
Next in the broadcast comes a small jewel, We hear Ellington sitting down alone at the piano in Paris March 10, 1967 playing Meditation, T.G.T.T. and Little Purple Flower. The circumstances surrounding this session is not known to us. Was it recorded in a rehearsal room at Theatre Des Champs Elysée before the concert there started? Anyone knows?
The broadcast ends with an excerpt from the recording session November 23, 1968 in which Harold Ashby in a tribute to Ben Webster plays I Can’t Get Started accompanied only by trio.
The first ”goodie” in December is program 27 in the Duke Ellington series broadcasted 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 July 26, 1985 and the presenter is Fleming Jensen.
He starts the program with Feeling of Jazz from the July 3, 1962 stockpile session. First we hear take -8, which has been issued on both LP and CD, and then the short take -2.
The next feature in the program is three selections from March 29, 1962 – Things Ain’t What They Used To Be, I Got It Bad and Jam In C (Circle Blues in NDESOR). Jensen thinks that in this small group session Sonny Greer replaces Sam Woodyard on drums. The ellingtonia.com discography agrees with this but only as regards Jam In C.
Three numbers from the stockpile session March 15, 1967 bring the broadcast to the end. Apparently, there were no names on the score sheets They when they were recorded but were only identified by numbers – No. 3, No. 5, No. 4 and No. 6.
However, They have been given names both in the Ellington discographies and in the album texts to the LP and CD issues of them.
No. 3 is Tell Me ‘Bout My Baby, no. 5 is Kentucky Ave, AC, No. 4 Near North and No. 6 Soul Country
By including six takes of No. 6, Fleming Jensen gives the listener an opportunity to follow the creative when a new melody is born.
In addition to the 40 minutes film we presented on the website the other day, there is about one hour of raw material from the filming of the Second Sacred Concert in Saint Sulpice in Paris on Nov. 16, 1969.
Some of this material is identical to what appears in the film but it also features some of the songs that were left out from the film.
News clips are available too, they were filmed by ORTF during the rehearsal for the concert and the website has located a segment of one of them. ORTF was the agency responsible for public radio and television in France between 1964 and 1974.
Because of technical WordPress limitations, we have decided to present the material in four separate segments rather than edit all of them together in one clip.
We start with a snapshot from the rehearsal.
Then we move on to the moment when the audience arrives and the orchestra gets on stage to the organ music of Wild Bill Davis.
Next comes the moment when Ellington enters and is welcomed by the chaplain of Saint Sulpice. Then the concert starts and Ellington announces Harry Carney in Praise God. After this follow Supreme Being , Something ‘Bout Believing, Almighty God, The Shepherd , Heaven. And finally the segment ends with Freedom.
The last segment is the final 13 minutes of the film we brought to our readers on Nov. 19. It starts with Ellington paying tribute to Alice Babs, Tony Watkins, Harry Carney and The Swingle Singers for their performance of Freedom. He then announces a break. When he comes back, the film goes directly to Meditation and then continues with Alice Babs singing T.G.T.T and an incomplete version of Praise God And Dance.
With the four segments, we bring you most of what happened in Saint Sulpice on Nov. 16, 1969.
However, despite our efforts, we have not been able to find film clips with the performances of The Biggest, Dont Get Down On Your Knees and Father Forgive, which would have given us a complete version of the concert. Neither have we found clips with The Preacher’s Song and In The Beginning God, which, according to NDESOR, ended the concert.
Luckily, we have at our disposal a sound tape with the five missing songs. The tape seems to be the result of someone recording the concert from a television broadcast. There are two reasons we believe this. Firstly, the sound is very different from the two other film sources we have used; secondly, a French voice describes what is going on in the concert and interpret into French what Ellington says. This voice no doubt belongs to Phillipe Adler (see previous article) but we doubt that the tape was recorded from a Jazz 6 program. It simply does not sounds like one. So the sound on the tape must come from a telecast of the concert at the time.
The tape has everything that follows the performance of Freedom, that is The Biggest, Meditation (nc), Dont Get Down On Your Knees, Father Forgive, The Preacher’s Song and In The Beginning God. The sound quality of the tape is inferior but we have decided to publish it anyhow.
When Ellington started his 1969 European tour at the end of October that year, three performances of the ”Second Sacred Concert ” was scheduled, The first one was to take place in Stockholm on November 6, the second in Paris on November 16 and the third one in Barcelona on November 24.
The website has published the full performance of the ”Second Sacred Concert” in the Gustav Vasa Church in Stockholm on November 6, 1969. It was done in two installments – the first one was published on December 8, 2016 and the second on April 27 this year.
Now the website turns to the second performance of the ”Second Sacred Concert” – one in Paris.
After having criss-crossed Europe after the visit to Stockholm, Ellington and the orchestra must have arrived in Paris on November 15 to be fully available for both a rehearsal and the concert in the Church of Saint Sulpice in the 6th arrondissement of Paris on November 16.
The Swingle Singers had been engaged to do the choir part at the concert and Wild Bill Davis was present as well.
Based on NDESOR, it seems that the program in Saint Sulpice was identical to the one in Stockholm except that two numbers were added to the program – ”The Preacher’s Song” sung by Tony Watkins and ”In The Beginning God” with Babs, Watkins and The Swingle Singers.
The website has not been able to locate a film with the full version of the concert but it was certainly filmed and the material used to produce a 40 minutes film. Possibly it was done by a company called Le Service des Variétés or as part of a series with this name.
The film covers about half of what was performed at the concert and includes the following songs: Praise God – The Shephard – Heaven – Freedom – Meditation – TGTT – Praise God and Dance.
We are happy to share it here with DESS’ members and our other readers. Unfortunately, the last 3 minutes of the film is missing. Perhaps someone can provide us with a complete version.
It is obviously recorded from one of Philippe Adler’s Jazz 6 programs on the French TV channel M6. His voice is heard in the beginning and in the middle of the film.
Av och till presenterar webbplatsen foton från Ellingtons besök i Sverige och vi kommer att fortsätta med det ett tag till.
Den här gången kan vi visa några Ellington-bilder tagna av Christer Landergren. De är hämtade från hans stora donation till Jazzarkivet i samband med hans bortgång och kan publiceras här tack vare tillmötesgående från Jazzarkivet och hans son Karl Landergren äger rättigheterna.
Landergrens jazzintresse väcktes tidigt och kombinerades med ett intresse för fotografi. Därför blev han en av Sveriges främsta jazzfotografer, om inte den främsta. I många år arbetade Landergren som fotograf för Orkesterjournalen vid sidan av sin yrkesverksamhet som lärare i fotografi.
Landergren hade ett starkt intresse för Ellington. I en minnesartikel på bloggen ”kassandra50” skriver författaren och den tidigare fotografen Anita Westin bl.a. om det. ”Vi lyssnade mycket på jazzskivor tillsammans. Väldigt ofta handlade det om Duke Ellingtons storband. Då hände det att Christer fällde kommentarer om bortgångna Ellingtonmusiker; ”Snart är de fulltaliga igen i Ellingtonbandet, de sitter nog där uppe och lirar för fullt!”
Kanske är det därför som Landergrens Ellington-bilder är så uttrycksfulla men det var också hans stil.
Den som vill veta mer om honom rekommenderas att läsa artikeln på ”kassandra50” (http://kassandra50.blogg.se/2006/september/christer-landergren-1941-2006.html) men också en artikel om om honom på Jazzarkivets webbplats https://musikverket.se/svensktvisarkiv/i-samlingarna/fotografier/christer-landergrens-samling/christer-landergren.
1987 gav han ut en jazzfotobok – ”Body and Soul” och bidrag med bilder också till antologin ”Den Gyllene Cirkeln” (redaktör Roger Bergner). Både finns att köpa i antikvariat och på Internet.