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The fourth ”goodie” in February is program 37 in the Duke Ellington series of broadcast by the Danish Radio in the mid-1980s to the mid-1990s. The broadcast is available in the ”Goodies” section of the website.
The program was broadcasted on 24 November 1985 and provide materials from three stockpile sessions in 1962 and from one in 1967.
It starts with four selections from the 25 May, 1962 session – Black And Tan Fantasy (take -3), Boo-Dah (take -2), One More Twist (listed as Once More Once in NDESOR) and The Feeling Of Jazz (take -3) sung by Milt Grayson with Ellington at the piano. Black And Tan was issued in the Famous 5 LP box (M.F.D. G4RS-2536) while the other three are unissued.
Then the broadcast picks songs from the 3 July 1962 session – again The Feeling Of Jazz but this time in a small band version and the rather odd Drinking Again (nc) sung by the specialist in romantic ballads Jimmy Vale. The full version of The Feeling Of Jazz is take -4, which has been issued on Bob Thiele‘s Doctor Jazz label.
The next three selections are from 24 May 1962 – Flirtibird (take -4), Smada (take -1) and What am I Here For? (take -2). They are all in the ”Famous 5 LP” box.
The broadcast ends with The Shepherd Who Watches Over The Night Flock (take -2) and Salome (take -1) both recorded at a stockpile session on 23 June 1967 in Los Angels, not New York as the presenter says. Both of them are included in Storyville’s The Jaywalker CD.
The third ”goodie” in February is program 36 in the Duke Ellington series of broadcast by the Danish Radio in the mid-1980s to the mid-1990s. The broadcast is available in the ”Goodies” section of the website.
The program was broadcasted on 10 November 1985 and presented by Jørgen Frigård.
The broadcast starts with a short excerpt of Eggo (take 7) from the film The Jaywalker. It was heard in its entirety in program 35.
Frigård then continues the program with a section of another song from ”The JayWalker” – Traffic Extension – followed by an excerpt of an interview from 1985 in which Thad Jones tells about his experience playing in the Ellington band for a week in August 1963.
Frigård follows up the interview with a portion of Asphalt Jungle as Ellington played it at Olympia in Paris on 1 March 1963. He heard Thad Jones use it in one of his jazz lectures at Royal Academy of Music in Copenhagen.
Then the focus turns to Billy Strayhorn. In an interview from March 1962, Ellington talks about the pleasure to sit down in a studio with a new Strayhorn arrangement and start to work on it. It leads into an early version of Amad from Far East Suite recorded at a stockpile session 17 March 1965.
The broadcast ends with eight selections from the stockpile session 25 August 1972 with Ellington at the piano and Anita Moore and Tony Watkins doing the vocals. Azix Lateef is on drums on Loca Madi. The selections are:
Melancholia, Loco Madi, Le Sucrier Velours, The Blues Ain’t, I’m Afraid, I Don’t Know About You (take 3 and 4), New World A-Comin’ (complete) and Lotus Blossom (nc)
The first ”goodie” in December is program 35 in the Duke Ellington series of broadcast by the Danish Radio in the mid-1980s to the mid-1990s. The broadcast is available in the ”Goodies” section of the website.
The program was broadcasted on October 27, 1985 and presented by Jørgen Frigård.
He had decided to focus on selections from 1967.
The program starts with two selections from the stockpile session March 15, 1967. In the recording session they are simply called No. 1 and No. 3. Later they were issued as The Intimacy Of The Blues and Tell Me ‘Bout My Baby. The latter is listed as I Don’t Want Nobody But You in NDESOR
Unfortunately, it is not possible to say if Tell Me ‘Bout My Baby is take 3 or 4 since it is faded out in the broadcast before the end.
Then Frigård lets us hear the first of three selections from The Jaywalker recorded on April 4, 67. Frigård gives the title as WARR but in the discographies and on the Storyville Jaywalker CD it is called The Biggest (WARR).
Later in the program he features Ego and The Little Purple Flower from the same session.
The next stockpile session in the program is the one from June 23, 1967.
First we hear Swamp Goo. According to Benny Åslunds discographical notes on the DR Ellington Broadcasts, it is take 5 but it can also be take 6 issued on the Musicmasters 5041 CD. Then comes Girdle Hurdle and Blood Count. For some reason Frigård has inserted an excerpt of an interview with Harry Carney between the two songs.
The program ends with two more selections from June 23, 1967 – Up Jump (take 4) and Rue Bleu (take 2) – and My Little Brown Book from a RCA recording session on August 30, 1967.
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 fourth ”goodie” in December is program 32 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 broadcast on August 30, 1985 and the presenter is once again Erik V. Krustrup.
He continues to bring the listeners some of the music Ellington composed and recorded for film The Impressionists At The Racetrack.
The program starts with the version of Race with Harry Carney and Russell Procope that ended the previous broadcast. Krustrup then plays some more takes of the melody. The first one is played by Ellington solo and the second features Russell Procope in particular .
The next number is Pastel with Paul Gonsalves in the solo role. According to notes from the recording session, it was supposed to follow Race in the film.
After this, comes Drawings, which is an interplay between Ellington, Willie Cook and the trombone section. It is followed by Prat – a solo number for Harry Carney – and the same Opening Titles as was heard in the previous broadcast.
The section with music recorded for Racing World ends with Piano Pastel – an Ellington solo number. Krustrup says that he plays it ”as an epilog to the suite”. However, it was not meant to end the film. Apparently, this was to be done by Opening Titles.
The broadcast continues with three selections from stockpile sessions at the end of November 1969. First comes three takes of Reva recorded on November 29, 1969 and then two takes of each Just A Little Jive and Riverboat. In the broadcast they are respectively referred to as Untitled Blues and Country.
The broadcast ends with two rockin’ numbers from the stockpile session on December 9, 1970 – Sans Snyphelle and Big Luv (aka Amore Grande).
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.