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Ellington ’92 in Copenhagen (2)

The Danish bass player and radioman Erik Moseholm was another speaker on this theme. His topic was the Danish bass tradition and the inspiration of Ellington’s basists on it. He talked about the guitarist/basist Niels Foss the first major Danish bass player, Oscar Pettiford, Niels-Henning Ørsted Pedersen and of course about himself. The classical bass teacher Oscar Hegner and his 4-finger-technique features also prominently in the presentation.

Moseholm’s presentation was followed by a live demonstration by two – at that time – young Danish bass players, Jesper Lundgaard and Mads Vinding. Unfortunately, the performance was not recorded, presumably for copyright reasons.

Another major theme for the conference was ”The Passing on of The Ellington Tradition”.

Stanley Crouch was the first speaker on this theme. In his presentation ”The Temporary Significance of Duke Ellington” he talked a lot about the early roots of jazz and placed Ellington in this context.

It was followed by a panel discussion, in which Crouch participated together with Andrew Homzy, Peter Watrous and Erik Wiedeman. The topic of the panel was Recreating Ellington – Problems and Rewards.

The chairman of the panel, Dan Morgenstern, asked it to focus on ”to what extent is it possible to create/recreate Ellington’s music”. He also brought in the issue: ”How can Ellington’s legacy  best be used in today’s jazz”.

This led to an interesting discussion with comments with relevance also today.

DR Ellington Broadcasts – Program 17

The third ”goodie” for September is program 17 in the Duke Ellington series broadcasted by the Danish Radio in the mid-1980s to the mid-1990s.

As usual, it is available in the ”Goodies of the Month” section of the DESS Lobby (DESS-rummet).

The program was broadcasted on March 22, 1985 and the presenter is Erik Wiedeman.

It is – like the following broadcast on March 29, 1985 – entirely devoted to the music of the ballett ”The River”. There will be a separate article about this ballett on the website in November.

Wiedeman has chosen the music to make it possible to follow how the music for the different scenes (or movements) were developed by Ellington. The program gives (or was meant to give) both piano versions and full orchestral versions of the music for three of the scenes of the ballett.

The broadcast starts with the orchestral version of ”The Giggling Rapids” (aka ”Grap”) recorded on June 3, 1973. It is the fourth movement of the suite.

It then moves on to two piano versions of ”The River”. The first one recorded on May 11 has an extra piano line dubbed in. It is kept also in the second version recorded two weeks later when Joe Benjamin, bass was added. ”The River” is the opening and closing movement of the suite.

(mer…)

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