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Bo Haufman, the Bulletin editor and President of DESS, has delighted the DESS members by sending out the autumn issue of the DESS Bulletin quite early this year. This allow them to digest and enjoy another Bulletin with a lot of good reading during the last weeks of the summer holiday.
This time the cover story is about Wellman Braud – Ellington’s first main bass player
In the well-researched four page lead article, Bo Haufman gives the full career of Braud.
He starts with his early years in Chicago (1917-1923), his two month visit to England in early 1923 as member of the Charles A. Elgar’s Orchestra to play in the show “Plantation Days” and his settlement in New York upon the return from England.
In New York, Braud got engaged by Wilbur Sweatman and also played in pit bands for musical comedies. He also also participated in his first recording sessions – two Victor sessions with Thomas Morris and his Seven Hot Babies on November 12 and 14, 1926.
In June 1927, Duke Ellington hired him as bass and tuba player and he became very quickly an important element in the Ellington orchestra. Braud stayed for almost eight years and left in March 1935.
In the article, Bo gives a detailed account of Braud’s period with the band. He talks about Braud’s style and role in the Ellington Orchestra, goes through Braud’s main recordings with the band and tells about the circumstances that led the Braudman’s departure.
The final part of the article gives snapshots of what Braud did after having left Ellington. He was not engaged by any other major orchestra but seems to have stayed in the environment of blues and music anchored in the New Orleans tradition.
At one point, he moved to California In 1955, he started to play with Kid Ory there and went with the Kid Ory’s Creole Jazz Band to Europe in 1956. In 1959, he started “a long lasting musical relationship” with the blues and folksinger Barbara Dane. Braudman accompanied her with a trio and did this also for blues artists performing at her club “Sugar Hill – Home of the Blues.
Braud passed away in Los Angeles in 1966.
But there is not only the article about Wellman Braud to read in the new issue of the DESS Bulletin but several others.. (more…)
New DESS Bulletin
The second 2020 issue of the DESS Bulletin was sent to the DESS members last week. It is an impressive piece of work by Bulletin’s editor Bo Haufman, who also is the new President of Duke Ellington Society of Sweden
The cover story is about Fred Guy – The Obscure Fred Guy as Bo Haufman headline his three page article about him. A highly recommended reading!
Another of Bo’s articles in the new issue is an encyclopedic one about Ellington songs with a reference to a dance style or similar. It is in Swedish but it might be worthwhile to have it translated into English to give DESS’ English-speaking members a chance to comment.
In another four-page article (also this in Swedish), Bo writes about the record companies with which Ellington was associated. Also this article is in Swedish.
The Royal Swedish Ballet performed Ellington’s and Alvin Allley’s ballet The River at the Royal Opera in Stockholm in 1993. Erik Wiedemann wrote the text for the program and it is reprinted in the new Bulletin issue. It is accompanied by what Ellington said about the River at the Grace Cathedral concert in San Francisco on April 16, 1970.
Another reprint is what George Avakian said to an interviewer in 1978 about his first meeting with Ellington when Avakian was 18 years old.
The article by Mike Zirpolo emanating from his website Swing & Beyond in this issue is titled Something To Live For. It deals principally with the start of Billy Strayhorn’s career with Ellington and Ellington’s recording of Something To Live For March 21, 1939. The article is supplemented by one of Bo Haufman about recordings of Strayhorn and others of the song. The two articles are in English.
Det nya numret av Bulletinen (se ovan) innehåller en heltäckande rapport om Ellington 2020 – konferensen som aldrig blev av. Här följer några korta tillägg och foton.
Allt tydde på att det skulle bli en bra konferens. Den var väl förberedd av musikprofessorn Anna Celenza som vi alla är skyldiga ett stort tack för hennes sätt att organisera konferensen och hantera krisen som ledde till att den ställdes in.
Den hade också ett tema som pekade framåt. Det tilltänkta programmet och en kortare sammanfattning av de planerade presentationerna finns på webbplatsen för konferensen – https://www.ellington2020.org/.
Men av allt som planerats blev det alltså nästan intet. När vi satte oss ner på den anrika jazzklubben Blues Alley i Georgetown på onsdagskvällen var konferensen reducerad till ett symposium med maximalt 35 tillresta deltagare och färre presentation än planerat. Ett par timmar senare var också detta inställt och för oss européer gällde det att snabbt boka om flygbiljetterna så att vi inte fastnade i USA på obestämd tid.
Konserten “A Tribute To Billy Strayhorn på Blues Alley med Washingtongruppen Marshall Keys and Soulful Path var således det enda av det ursprungliga programmet som genomfördes.
Det var intressant och stimulerande att höra Billy Strayhornlåtar i beboptolkningar men det utlöste många diskussioner mellan de tillresta Ellingtonexperterna. Stämningen var dock överlag god.
Besvikelsen över att konferensen inte blev av ens i ett miniformat var naturligtvis stor särskilt bland de som arbetat hårt med att förbereda presentationer. På torsdagsmorgonen när konferensen skulle ha invigts tog några av dem upp initiativet att samla oss andra runt ett bord och en bärbar dator i ett hörn av konferenslokalen för att visa upp vad de förberett. Bl. a. visade filmmannen och Ellingtonkännaren Joe Medjuk filmen The Duke som CBC TV producerade 1965 för sin serie Festival. En mycket intressant film. Senast den visades på en Ellingtonkonferens var den i Toronto 1986.
Kanske det kan bli möjligt att visa den på ett kommande DESS-möte?
Frågan är naturligtvis nu om det kommer att bli fler Ellingtonkonferenser. Det är tveksamt. Det krävs mycket arbete för att organisera en konferens och tillflödet av en ny generation av Ellingtonexperter är svagt. Kanske behövs det andra former och mindre krävande former än en stor konferens för att driva arbetet på att “Mapping Duke Ellington’s World” vidare.
New recording of Black, Brown and Beige
Some five years ago, Jazz At Lincoln Center launched its own record label Blue Engine Records.
On March 6, the label released Wynton Marsalis’ first recording of the Black, Brown and Beige (https://wyntonmarsalis.org/discography/title/black-brown-and-beige)
The website boosts that it is “a definitive, present-day recording of the suite.” This is true. It is not an effort to recreate what BB&B might have sounded at Carnegie Hall in 1943 but give Ellington’s composition a fresh face.
It will be interesting to hear the reactions of the Ellington community to this.
The work was recorded during a live performance of the work by the Jazz At Lincoln Center Orchestra with Wynton Marsalis at Time Warner Center’s Rose Theater at the end of April 2018. The conductor was Chris Crenshow – trombonist and saxophonist in JALCO.
Some excerpts of the recording is available on YouTube like this one with Work Song.
The recording is available on most digital streaming platforms like Apple Music, Spotify, Amazon Music and Deezer. A mp3 version costs around 10 euros on Amazon. It is also available in a high resolution format (24 bits/96 kHz). For those living in the E.U. the easiest is to buy this version at http://www.highresaudio.com. It costs 15 euros.
It might not be winter yet but the new issue of the DESS Bulletin was sent to its subscribers = the DESS members yesterday. As usual a lot of good reading thanks to the energetic work of Bo Haufman.
Elmer Snowden is the featured artist this time.
“Was he really an Ellingtonian,” asks Bo and gives an affirmative answer in a detailed and well-researched article. The focus is of course on Snowden’s collaboration with Duke Ellington but other aspects of Snowden’s career are also well covered.
Another article by Bo Haufman deals with Duke Ellington’s “occasional” vocalists i.e. the well-known 1920’s and 1930’s vocalists who Irving Mills paired with Ellington in recording sessions. Bo maps this group, gives short biographies and the songs recorded.
From Bo’s pen comes also an article about the Juan Tizol-Duke Ellington composition Congo Brava. NDESOR lists only two recordings of the song. Bo is puzzled by this and reflect on it in the article. He also quotes what Eddie Lambert and Gunther Schuller has written about it and refer the reader to an article by Lawrence Gushee in the Ellington Reader.
Mike Zirpolo’s contribution to the new Bulletin is an article about Morning Glory. It is a reprint from his website Swing & Beyond, where it was originally published in December last year. It was among the songs recorded by Ellington on his first session for Victor in 1940. He is credited as the composer but it is apparently Rex Stewart who composed it. The article tells the story of how the rights got into Ellington’s hands.
Another find by Bo for reprint in the Bulletin is the part about Ellington in the diary Spike Hughes kept during his visit to New York in1933. It paints an interesting picture not so much of Ellington as of Hughes.
In addition to these articles, the new Bulletin reports from the DESS meeting on 16 September and reviews of Jack Chambers new book Sweet Thunder – Duke Ellington’s Music in Nine Themes as well as Storyville’s CD with Ellington’s concert in Uppsala in 1971. It also has the program of the upcoming Ellington conference in Washington D.C. in March next year.
The new Bulletin with a lot of good reading was sent out to DESS members a couple of days ago.
Betty Roché is the featured artist this time.
Bo Haufman has written the main article about her. For him she is Duke’s “unforgettable vocalist”. The article is supplemented by a discography of Betty Roché outside the Ellington organization.
The second installment of Nigel Haslewood’s article about Al Sears is also another major read in the new Bulletin.
Two well-known Ellington compositions – Rocks In My Bed and Mood Indigo – are presented in separate articles. From his website “Swing and Beyond” Mike Zirpolo has contributed the article on Rocks In My Bed while the one about Mood Indigo is written by Bo Haufman.
He has also contributed an article about Frank Sebastian’s Cotton Club in Culver City in Los Angeles. In later incarnations it is also known as Casa Mañana and Meadowbrook Gardens Café.
The new Bulletin also reprints (with some changes) Anders Asplund’s article about Duke Ellington’s concert in Storvik on April 23, 1939, which was published on the DESS website last year.
In addition to all this, readers can find in information about the 2020 Duke Ellington Conference in Washington D.C. and a review of a DVD with one of Ellington’s last concerts in the next to last issue of DESS Bulletin for 2019.
The indefatigable editor of the DESS Bulletin, Bo Haufman, has produced a new issue. It is the 2019-2 one and it is on its way to the DESS members.
The trumpeter Harold Baker – nicknamed “Shorty” – is the featured artist in the new issue.
Thomas Eriksson covers his life and career in a five page article. The focus is of course on his time in the Ellington band but the readers with also learn about his time with the big bands of Don Redman, Teddy Wilson and Andy Kirk before Baker joined Ellington in 1942. His time and marriage with Mary Lou Williams is also well covered as are his periods as freelancer.
A second Baker article in the new Bulletin is a reprint from Jazz Journal, in which Clark Terry tells Steven Voce about him. “There was never a better trumpet player to come out of St. Louis than Harold “Shorty Baker”, he says.
Another major article in the new Bulletin is about Al Sears. It is written by Nigel Haslewood, an Englishman living in Leicester, UK who runs the online Sadman Record shop.
It is the first part of an article, which was originally published in the IAJRC Journal. Like Thomas Eriksson’s article on Harold Baker, it is very well researched and very detailed. When the second part is also published, the DESS members should have a good monography on Al Sears.
This issue also have some shorter articles by Bo Haufman himself like one about The Women’s Duke Ellington and another on the Ellington-Strayhorn composition The Eighth Veil.
The DESS member Erling Torkelsson have also contributed to the new Bulletin with an article about Jerome Kern, George Gershwin and Duke Ellington.
The new issue of the DESS Bulletin is on its way the subscribers=DESS members. They can look forward to some good reading.
Wild Bill Davis is the featured artist this time. His career and his collaboration with Ellington is covered in three articles – one by Bo Haufman, one by T.C. Pfeiler from his Wild Bill Davis website and one by Steve Voce from The Independant. There is no WBD discography in the Bulletin but readers can find one at http://www.wildbilldavis.com.
Another main feature is an 1965 interview with Johnny Hodges originally published in Jazz Journal. In it, Hodges talks among other things about how he learned from Sidney Bechet and worked with him, how he got set up in New York and joined Ellington in 1928 and the challenges running one’s own band. An extensive comment by Bo Haufman gives further value to the interview.
Mike Zirpolo, who runs the Swing and Beyond website (/swingandbeyond.com), has this time contributed an article on Harlem Airshaft. Also highly recommended!
In the new issue, Bo Haufman also contribute an article on Ellington’s lyricists as well as one how the Ellington songs Bensonality and Jam With Sam got their names.
The last 2018 issue of the DESS Bulletin should have reached the DESS members in Sweden by now but members in other countries might have to wait some more days.
Bill Berry – trumpeter and big band leader who played with Ellington from Dec. 4 1961 to mid-Sep. 1962 – is a key feature of the issue. He is covered in three articles.
The Swedish jazz critic Jan Olsson has contributed the longest one, in which he summaries Berry’s career and particulalrly his time with Ellington. It is supplemented by an interview of Berry by Steve Voce c 1979/1980 and a non-credited article about how got engaged with Ellington.
An article by Mike Zirpolo from his blog “Swing & Beyond” about Ben Webster and Cotton Tail is another feature in the new Bulletin. It is both a short portrait of Webster before his time with Duke and a guide into of Cotton Tail.
For the rest, it is Bo Haufman’s pen, which has been working.
He contributes no less than five article. Bo gives the readers a portrait of Willie “The Lion” Smith, presents the new DESS CD (see below), walks us through some of the Ellington memorials, look at the issue of Ellington and colours and tells us how some Ellington tunes got their names.
The Winter issue of the Bulletin comes with a new DESS CD. It is most of The Holiday Ballroon dance date from Nov. 10, 1957 and has been produced in collaboration with DESUK.
It will be presented in an article on the website in a couple of days.
Next DESS meeting
It takes place on Monday September 17 at Franska Skolan in Stockholm. The doors open at 17:00.
Bo Lindström, well-known international author and specialist on early jazz, will talk about the background to his acclaimed book about Tommy Ladnier (co-written with Dan Vernhettes) and his new book on the early Fletcher Henderson trombone player George Brashear.
Bo and Dan Vernhettes have written several other books together like Jazz Puzzles with biographies of early New Orleans jazz muscians (vol 1) and about the riverboat jazz history (vol 2).
They and other books can be ordered from the JazzEdit website (http://www.jazzedit.org).
Next Ellington Study Group conference
It seems likely that it will take place in Washington D.C. in March 2020. Anna Celenza, Professor of Music at the Georgetown University, is the driving force behind this initiative to keep the Ellington conferences going. It will be the fourth such conference in Washington D.C. since the series started.
Ellington OKeh recordings
In a follow-up to his article in “Smått och gott published on May 30, Bo Lindqvist has taken a closer look at the LP-album “The Ellington Era” (Columbia C3L-27).
He writes to the website: “According to Rust’s Jazz Records (at least the editions 4 and 6) and the album booklet, three previously ’unknown’ takes, Black And Tan Fantasy (81776-A), Old Man Blues (404521-D) are Mood Indigo (400023-A) are included
However, after having listened to the three takes, it seems to me”, says Bo, “that they all are identical to take B of the recording, which was issued on 78s long before the Columbia LP album appeared.”
DESS Bulletin 2016-3
With the publication of the DESS Bulletin 2018-3, the third Bulletin from 2016 is now available to the general public. It can be found under the Bulletinen tab at the top of the front page.
The main focus in this issue is Willie Cook but there are of course much more to read about.
New pods at Ellington Reflections
The excellent Ellington blog (https://ellingtonreflections.com/) has published three new pods since the start of the summerbreak of the DESS website.
Piano in The Foreground II (28 July 2018)
Portrait of Al Hibbler (14 July 2018)
Beyond the Valley of The Usual Suspects (30 June 2018)
They can be listened to at the website and downloaded from iTunes (https://t.co/2yKFpLm0jF).
The DESS members got the autumn issue of the Bulletin already in mid-August and have most likely read and digested by now.
For those that have not done so yet, here is a short summary of the content.
Rolf Ericson is the key feature in this issue.
Göran Wallén, who knew Ericson very well and had many talks with him over the years, has contributed a five-page detailed article about Ericson’s long and varied career in Sweden, USA and Germany from the 1930’s to 1990s. It gives a perspective much beyond “the Ellington trumpeter” and makes one hope that Göran will find time and enthusiasm to go deeper into Roffes years with Stan Kenton and his years in Germany in another article.
The article is supplemented by a reprint from the May 1994 issue of Orkesterjournalen of an interview that Martin Westin and Lars Westin did with Ericson at the time. It was originally published in Swedish but now it has been translated into English. The original article also appeared in the Bulletin 1999:3
The photo on the cover was shot in 1967 by Lars Westin in the small town of Kramfors.
The interview provides some further glimpses into Ericsons time with Ellington like the story on the 70th birthday party for Ellington in Paris. He also tells the two Westins about what happened when the Ellington band played at dances with a black audience.
“On such nights I almost cried because it was so good. It was the most fantastic thing I have ever experienced.”
Now one only has to hope that a recording of such a dance will surface.
The new issue also has an article by Bo Haufman on “Trumpet in Spades” – the concerto that Ellington wrote for Rex Stewart in 1937 – and three on new CDs with Ellington connections. In particular, don’t miss Anders Asplund’s review of vol. 25 in Storyville’s DETS series. It is full of valuable information.
The second issue of the DESS Bulletin is on its way to the DESS members and some might already have got it in their mailboxes.
It is an issue with total focus on Cat Anderson except for some DESS house-keeping information.
It starts with the presentation that the late Ellington specialist and aficinado, Alexandre Rado, made at the Ellington ’94 conference in Stockholm about his friend Cat Anderson. A video with his presentation was published on the DESS website on December 3 last year and can be viewed here.
Bo Haufman, the editor of the DESS Bulletin, contributes an interesting articles about “The Cat” as a composer and has transcribed an interview with him, which was published in a Facebook group last year.
The Chairman of DESS, Leif Jönsson, writes very personally about “My Cat”, for which he has a particular fondness and admiration and the new issue of the Bulletin also includes a reprint of an article about Cat Anderson by the late Leif Anderson in the Swedish jazz magazine Orkesterjournalen in April 1963.
It provides also a discography of Cat Anderson’s recordings under his own name and some examples of video- and sound files with Cat Anderson on YouTube.