DUKE ELLINGTON SOCIETY OF SWEDEN

Home » Go

Category Archives: Go

Categories for posts

Andrew Homzy at Ellington ’91

I have resumed to digitize Sjef Hoefsmit’s videos from Ellington Study Group conferences and have started with Ellington ’91 in Los Angeles. Over the next months I will publish 3-5 articles with the best presentations and panels. The rest of the videos will be uploaded to the Ellington Conferences section of the Ellington Archive.

Andrew Homzy was one of the speakers on the first day. He was originally scheduled to speak about Anatomy of a Murder but in the last minute, he changed the topic to be about some of his findings of Duke Ellington and Billy Strayhorn manuscripts after 10 weeks of research in the Ellington Archive.

Comments on the presentation are welcome. They can be sent to me using the mailadress: ellingtonmeeting2022@gmail.com.

DESS Bulletin 2022-4

The new issue of the DESS Bulletin arrived in the mailbox of DESS members at the end of last week. Bo Haufman, its editor and also the chairman of DESS, has put together another interesting and informative issue.

As Bo says in his editorial, it is an issue with several themes.

The first one is Buster Cooper, who also is the cover boy this time.

In an four page article, Bo Haufman tells about his career inside and outside the Ellington orchestra.

The focus is of course Cooper’s seven years  with the Ellington Orchestra from 1962 to 1969 but it is very good that Bo gives us his full story so we can better understand who he was.

An important period in Cooper’s life was when he went to New York in  1950 and enrolled in the Hartnett Scool of Music. His studies there made him a good music reader and this competence defined in many ways his career. He was an ensemble man and not much of a soloist.

This was his role in the Lionel Hampton Orchestra, which he joined in 1953 and with which he visited Sweden in September that year. On the recording from the concert in Stockholm, he is only heard in the ensembles. The trombone solo in Summertime is most likely played by Jimmy Cleveland.

Cooper joined the Ellington Orchestra on 17 June 1962. Her had rejected two earlier offers to be a member of the band but finally accepted the third one.

“Ellington certainly did not engage him as a trombone soloist but most probably because he was a good reader. In his book on Ellington’s trombonists, Kurt Dietrich describes Cooper’s style as follows: “Cooper was to develop a voice with the band unlike that of any other trombonists in the history of the band. His identity was quickly established as a blues player, but not a plunger blues player.”

Eddie Lambert says about him: “As a soloist he preferred an aggressive almost violent declamatory style on open horn.”

Haufman lists a number of Cooper solos that he considers to be the most significant. I have put some of them in a Spotify playlist with music mentioned in the new Bulletin.

When Cooper left Ellington in June 1969 he went back home to St, Petersburg in Florida. However, he did not stay there long but resettled to Los Angeles in 1973 and there he stayed for 21 years working in film- and recording studio orchestras. Haufman quotes  him as having said “I was the busiest black trombonists on the West Coast.”

In 1994, Cooper returned to St. Petersburg and there he played for 17 years at jazz clubs in and around the town, often together with the bassist John Lamb, who had played in the Ellington Orchestra at the same time as he.  Cooper left the earthly world in 2016.

The second theme is views on Ellington and his music and examples of this are given in three articles.

One is from the Swedish magazine Filmjournalen, where its filmcritic Stig Almqvist writes about Ellington’s upcoming 1939 tour of Sweden. The article is interesting particularly because it reflects the view in the upper social echelons of the Swedish society of the time on film and jazz . There is “a primitive audience for jazz as there is for film, he says and continues “both jazz and film are turned towards the big masses and satisfy in its low non-artistic form particularly young people from the social strata which not at all or only rarely have been confronted with artistic products.”

However, Almqvist admits that like in film, there is occurrences in jazz that combine popularity and music of high artistic level. “Foremost in this group is Duke Ellington” he says and goes on to talk about Ellington’s visit and his music.

The article is illustrated with one photo of the full orchestra posing in The Hague just before parting for Sweden and two photos from Ellington’s Swedish tour – one with the whole orchestra in front of a bus and another with Johnny Hodges, Juan Tizol, Barney Bigard and Sonny Greer.

Another article in this part of the Bulletin is about Ellington’s stop-over in Holland before heading for Stockholm by train on 10th April. It is written by Mark Berresford and was originally published in the Spring 2000 issue of his Vintage Jazz Mart. It gives a detailed account of Ellington’s and the orchestra’s criss-crossing of France, Belgium and Holland to give concerts and have a long report from the concert in The Hague on 8th April.

It is written J.P. Gussenhoven, a former president of the Dutch Jazz League, and is very detailed account full of comments and views of what was played at the concert on 8th April. I think on can suppose that the same repertoire was played at the concerts in Sweden.

The third article is a reprint of an article in the Swedish daily Dagens Nyheter published sometime in 1944. The anonymous article is written by someone knowledgable about Ellington and respectful of him. It gives a lot of information about Ellington to the readers of Dagens Nyheter and should have made many of them interested in learning more about him.

The third theme is Ellington compositions and this time it is about Solitude. It has a condensed reprint from Mike Zirpolo’s invaluable blog Swing & Beyond (https://swingandbeyond.com). Zirpolo starts by writing about the turmoil in the American record industry in the early 1930’s, which led Ellington to record for Victor “mid-August 1933 to mid-September 1934”. He then left Victor for the American Record Corporation (ARC).

Under his Victor contract, Ellington recorded Solitude “on January 10, 1934 and a remake of it as his first tune with ARC “on September 13, 1934”. By that time Victor had not released the January 10 recording. It only did so “until “November 7, 1934. However Zirpolo’s description of Solitude in  his article is the Victor record. It is available on YouTube (https://www.youtube.com/watch?v=KAdSUi3rSG4) and included in the Spotify playlist with music mentioned in the new Bulletin.

Bo Haufman gives additional information about recordings of Solitude in a separate article.

Other articles by his hand in the new issue are about Timme Rosencrantz, Ellington’s appearances at the Newport Jazz Festival and Lena Junoff. They are all good reading!

DESS member Göran Axelsson has another article on Ellington in social media. This time it is about Ellington on Facebook and Göran tells about the most important Ellington groups there.

 

Dogwood Hollow, Stony Brook, 18 July 1958, Part 2

Oscar Pettiford

Some years ago, I got a parcel from the late Sjef Hoefsmit. The contents was  a CD, with some notable recordings with the Ellington orchestra where Oscar Pettiford was the  basist, outside his regular role (1945-48) with Duke. I  believe this should be of interest to the DESS-members, and the webbsite has therefor decided to make this music available to DESS’ members in the the Goodies Room.

It is a concert at Stony Brook in 1958 and we published the first part of it a couple of weeks ago.. Now we offer the second par of the concert for DESS members listening. Other parts will be presented in December and Januari respectively.

Oscar Pettiford | Miles Davis Official Site

Before Oscar started with Duke Ellington he had a thorough reputation as a bass player with the then young Beboppers such as Gillespie, Monk, and Kenny Clarke but he had also played with Ben Webster and Coleman Hawkins. When he joined the Ellington band in 1945 he continued in the row of brilliant bass players tha started with Jimmy Blanton and continued with Junior Raglin. He was also an accomplished cello player. which he showed from time to time. After his tenure with Ellington he was very active in various jazz groups, ranging from small bands to big bands, such as Thelonious Monk’s and Woody Herman’s. He also played with his own groups. In 1958 he moved to Copenhagen and there he died in 1960, at 38 years of age, from a virus disease.

Johnny Hodges at Dogwood Hollow playing Violet Blue

Back to the concert at Dogwood Hollow

The following numbers are played:

*Take The A Train*Such Sweet Thunder*Violet Blue*All Of Me*St Louis BluesBill Bailey*Walkin’ And Singin’ The Blues*Hi Fi Fo Fum (nc)*Hi Fi Fo Fum*Medley:Do’t Get Around Much Anymore/Do Nothin’ Till You Hear From Me/In A SentimentMood Indigo/I’m Beginning To See The Light/Sophisticated Lady/Caravan/I Got It Bad/Just Squeeze Me/It Don’t Mean A Thing*

Go to the Goodies Room and the second part of the concert

We hope you  will enjoy it!

 

 

 

 

 

Blue Light Autumn 2022

The latest issue of Blue Light is with its 52 pages full of good reading thanks to the hard and creative work of the editor Gareth Evans.

As in the previous issue, the major contributions come from Roger Boyes, Fred Glueckstein and Gareth Himself.

Roger Boyes continues his series on Ellington in the Forties. This time he writes about Ellington’s 1948 Carnegie Hall concert, which took place on 13 November 1948. A complete recording of the concert was issued on a double CD album by Vintage Jazz Classics (VJC) in 1991, and with the help of the two CDs and its liner notes by Andrew Homzy, Boyes goes through the concert song by song and gives his own comments intertwined with those of Homzy. He also make comparisons to the concert at Cornell University a month later with almost the same program. This concert is also available on CD.

A very valuable element of the article is Boyes’ comments on how long the music of the concert stayed in Ellington’s repertoire. He classifies 17 of the 31 pieces of the concert as “rarities”, that is melodies that disappeared from the Ellington repertoire rather soon after the concert. Boyes’ personal favourites from the concert are Lady of the Lavender Mist, She Wouldn’t Be Moved and Lush Life. Out of the many premieres at the concert, he singles out The Tattooed Bride and writes rather extensively about it.

Fred Glueckstein also writes about a Carnegie Hall Concert but the first one in January 1943. It is a rather descriptive article but full of information. It covers among other things the origins of the 1943 concert, foremost Black, Brown and Beige, the National Ellington Week, the plaque Ellington received at the concert and the reviews of the concert. Of course, Glueckstein also writes about the program of the concert. He lists the official program, which each person who attended the concert received, and gives the changes to it in the actual performance.

Another contribution by Glueckstein in the new Blue Light issue is a continuation of the article about Qeenie Pie that started in the previous issue. This time he writes with a lot of details about the performances of Queenie Pie, particularly its World Premiere in Philadelphia 18 September 1986, the following performance in October at the Eisenhower Theatre in Kennedy Centre in Washington D.C. and the failed efforts to bring it to Broadway. The next article of Qeenie Pier will be about the staging of the opera at “opera theatres and university musical departments around the country”.

Gareth Evans‘ eight page article “If You Can’t Beat ‘Em, Join ‘Em” is about  how Ellington connected to rock ‘n’ roll music in the 1960’s and early 1970’s  and it is one that breaks a lot of new ground.

The title of the article is also the name of a Gerry Mulligan album from 1965 with rock ‘n’ roll covers.

“If we were to collect all of the titles that were recorded with the band and which showed the influence of rock ‘n roll music we would probably have enough of material for a double lp”, says Evans, and he does his outmost in his article to give us examples of such titles.

Was Ellington’s performance at the Newport Jazz Festival 7 October 1956 with Paul Gonsalves his first rock and roll performance? Evans seems to be a little bit ambivalent about this but to a fifteen year old boy jumping around in the family living room together with his friends while listening to the newly issued Philips LP with the concert, it certainly was.

For Evans, “Duke’s first remediated attempt at recording a rock and roll number came a year later when he recorded Cop Out and Rock City Rock”. Perhaps but not everyone might agree.

His most interesting and convincing examples are those at the end of the article like the Beatle songs All My Lovin’ and I Want to Hold Your Hand, the rocky Blue Pepper in Far East Suite Suite, Didgeridoo in Afro Eurasian Eclipse with its late “exotic” manners , Chico Cuadradino in Latin American Suite, Wild Big Davis’ rhythm and blues like  Luv and the soul-influenced One More Time For The People.

At the end of his rich and interesting article Evans says: “In the final analysis, it must be concluded that Duke maintained a general interest in rock ‘n’ roll but in a similar way to his relationship with bop, always kept it somewhat at an arm’s length: he neither beat or joined ’em.”

Besides these three articles, the new issue has a very substantial section with reviews of the many concerts with Ellington music in England, review of bokks and quite a lot of shorter articles.

Get it and read it!

 

Ellington News-Nyheter 2022-4

In this article with news from the Ellington world, I cover the new issue of DESUK’s Blue Light, Ian Bradley’s Tone Parallel 5, the latest DESScafé and Uptown Lockdown and Storyville’s reissue of the 1988 LP “Ben Webster Plays Ellington”.

I should have written about many other things but I like to keep the length of the article to maximum 1000 words. I have left space for information about the Ellington Study Group Conference in Paris next year as soon as it become available yet.

New issue of Blue Light

The autumn 2022 issue of Blue Light will arrive in the mail and post boxes of the DESUK members any day.  It is another expanded edition, this time with 50 pages of interesting reading plus a nice front cover and photo back cover. We should really be grateful to Gareth Evens for his hard work to put it together.

My summary of the content is available in a separate article.

Tone Parallel issue 5

The topic is once again the Ellington Week at the University of Wisconsin in July 1972. The major part of the article is built on an interview with record producer Chuck Nessa.

He founded Nessa Records in 1967 at the urging of Roscoe Mitchell and Lester Bowie. Tthe record label became an important vehicle for Art Ensemble of Chicago and similar group.

According to Bradley, Nessa became interested in Ellington at an early age and developed this over the years. He attended Ellington concerts when he could and when Ness produced an Randy Weston album, he “came into contact with Ellington’s sister Ruth”.

Apparently Duke Ellington also knew about Ness and one day at the eve of the UWIS festival, he called Ness and offered him tickets for the whole week. So NESS attended with his wife and in the article Bradley tells us what Ness told him.

The article is very nicely illustrated by images of news paper articles and photos in a scrap book that Ness (?) put together at one point in time.

There is also a part in the article about the strained relationship between Duke and Paul Gonsalves in the later years and the moving reconciliation between them at Ellington’s last lecture at UWIS.

DESScafé

The September DESScafé took place 17 October 2022 and its theme was Duke Ellington 1951-1955.

Under this title, Anders Asplund, Thomas Erikson, Rasmus Henriksen och Leif Jönsson demonstrated how the Duke Ellington Orchestra developed from the beginning to the middle of the 1950’s thanks to the recruitment of young and talented musicians with roots in modern jazz when older musicians left.

The music played in the meeting can be listened to in the DESScafé Jukebox

Uptown Lockdown

A new Uptown Lockdown podcast was posted on YouTube by Brian Priestley on 29 October. In it he talks to journalist-author-broadcaster-saxophonist Dave Gelly about Duke Ellington. “He is best known to U.K. readers for his reviews in the Observer newspaper”, says Brian. The postcast is available at https://www.youtube.com/watch?v=7DAl2qeWwt4

New Ben Webster record

Within the framework of the celebration of its 70th anniversary, Storyville Records has reissued the 1988 LP “Ben Webster Plays Ellington” in its Storyville Vinyl Remasters series. Accordingly, the record has the original sleeve design and Brian Priestley’s liner notes with insightful comments and is a limited edition release pressed on 180 gram virgin vinyl.

Recently, It was also made available in digital format unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Just to remind our readers, all versions of Ben Webster Plays Ellington (including the new one) have four quartet numbers and five with the Danish Radio Big Band (or its predecessor). Two of the quartet numbers are from the Pori Jazz Festival 14 July 1967 and two from a concert at the Odd Fellow Palace in Copenhagen 1969. The big band numbers were broadcasted by Danish Radio 22 November 1971, 10 October 1969 and  27 November 1969.

The CD version has two additional tracks from a concert in Sweden in 1972.

Author: Ulf Lundin

Dogwood Hollow, Stony Brook, 18 July 1958

Such Sweet Thunder

Stony Brook is a small University town situated on the north shore of Long Island, NY. It  is famous for its University and an open air amphi theatre, Dogwood Hollow, which has been the venue of many musical events. On July 18, 1958, the theatre was visited by Duke Ellington and his orchestra who performed in concert. It is claimed that the concert was recorded with only one microphone, through a hole in the stage floor (DEMS). This concert has hitherto been unissued commercially, but we intend to give our members the opportunity to listen to the complete proceedings. Because of the length of the concert, we prefer to divide it in two parts, wherof this is part 1. Above you can see a sketch of Dogwood Hollow and a programme with Ellingron’s autograph.  Duke and his men played there already on July 27, 1957, but also this concert is not issued commercially but possibly there are collectors who have a tape of it.

On this date Oscar Pettiford, who subbed for Jimmy Woode on bass, did his last gig with Ellington. He was regularly with the Ellington band from 1945 to 1948. He died in 1960.

Oscar Pettiford

The first part of the concert is In the Goodies Room,  where DESS-members can listen to and download it. (more…)

A New Generation – Leïla Olivesi

Leïla Olivesi is one of the young jazz stars at the Parisian and French firmament but perhaps not known enough outside France except in the international Ellington community.

She is a person with many talents but foremost she is a pianist, a composer and a bandleader. She frequently performs with her different groups at jazz clubs in Paris and jazz festivals in France and most of the time they play her compositions.

She has a Master in musicology and philosophy with a thesis on “The role of the  piano in the Duke Ellington orchestra” and she is currently working on her doctorate.

On top of this, Leïla is a music teacher both in schools and conservatories. She has also taken upon herself to bring jazz to young people. Her Sunday afternoons for children at the Sunset jazz club in Paris are quite fascinating.

 

Leïla got her breakthrough as a composer in 2013 when she won the first prize for her composition “Summer Wings” in the Big Band “Ellington composers” competition in Paris.

This led her to get a commission to write what was to become Suite Andamane for symphonic orchestra, jazz big band and choir.

Until now, she has recorded five albums, mostly with her own compositions.

Her sixth album – Astral – will be released on 18 November.

But already on 28 October, a single will be available to give a first taste of what is in the full album.

Both the CD and the single can be ordered before release dates at https://bfan.link/astral-6

I talked to Leïla some days ago and here is what she had to say.

 

The new album is in many ways her most ambitious venture. As the previous album Suite Andamane, it is recorded by an octet/nonet formed by her regular group plus some guest artists.

In his liner notes to Suite Andamane, the late Claude Carrière wrote: “Here Leïla appears, best as ever, as architect of her imaginary world … and her ear incessantly tuned to new trends in the music world”.

I am sure he would have said the same thing about Astral but also noted her compositional development during the three years that has passed since Suite Adamane was released and her more Ellingtonian positioning of the piano in the music.

Astral is a tribute to Carrière, who passed away last year. Leïla was very close to him and she remembers and honours him with  the Missing CC Suite. It has two movements, Portrait and Missing CC.

Here is Missing CC from a summer concert in 2021.

The Missing CC Suite is of course Leïla’s own composition and so are the other songs in the album except Scorpio (track 5), which is the well-known Mary -Lou Williams composition. Astral and Au feu des rêves are co-compositions with drummer (and partner) Donald Kontomamou.

Astral is an appropriate name for the new album because it has a strong interstellar and cosmic dimension. Possibly, Mary-Lou Williams has inspired this with her Zodiac Suite but it might also reflect personal dimensions. In his review of Suite Adamane Claude Carriére talks about Leïla as an “architect of her imaginary world”.

Is it a coincidence that Astral opens with the song Astral followed by Mary Lou?

She also has a strong literary strain. Already in the quintet album Utopia , she demonstrated this and followed it up in Suite Andamane by including two poems – one by herself (Black Widow) and one by her mother (Les Amants) – to which she had put music.

This time, she includes in the new album two poems by the French poet and writer Lucïe Taïeb – Soustraire à la lumière and Au feu des rêves to which she gives musical interpretations. A instrumental version of Black Widow is also included.

Leîla is very knowledgeable about Duke Ellington as demonstrated in her Master thesis and in her many Maison du Duke presentation. However, she seldom includes Ellington compositions in her records. I have only found two – Prelude to a Kiss in TIY and Satin Doll in Suite Andame. That’s a pity because she is well positioned to give new life to Ellington’s music.  Perhaps the international Ellington community could fund a “Olivesi meets Duke” CD?

More about Leïla can be learned from her website http://www.leilaolivesi.com. There one can also listen to many of the compositions in her albums. She is very active in social media.

 

 

 

A New Generation – Laura Jurd

Nearly 50 years after Ellington’s death, Duke’s music still continues to inspire young musicians. One of them is Laura Jurd. For those of you who haven’t heard about her, she is a British award-winning trumpet player, composer and bandleader. Very active on the UK scene, Laura has developed a reputation as one of the most creative young musician in recent years.

There are many similarities between Ellington’s and Jurd’s music. Just as the blues is always a fundamental element in Ellington’s music, Jurd likewise draws on folk music from her heritage. She doesn’t accept boundaries in music either, and her music reaches far beyond so called jazz music.

If you listen through the 8 albums or so she has made so far, and the many recordings available on YouTube, you will find several pieces related to Ellington. One of them is Billy Strayhorn’s composition Absinthe from 1963. She recorded it for the album To the Earth, released in 2020, with her regular quartet Dinosaur, together with 6 of her own compositions.

This new interpretation of this relatively obscure Strayhorn tune, is done with much respect to the original, but at the same time, the four musicians manages to give it a modern touch. It’s also quite remarkable how well Strayhorn’s tune fits in with Jurd’s own compositions.

Like Absinthe, the next track also originates from the Afro Bossa album. It is Ellington’s own composition Purple Gazelle. Jurd recorded a duo version for YouTube in 2020 with drummer Corrie Dick, also af member of the quartet Dinosaur.

There are many similarities between Jurd’s playing and the style of the Ellington trumpets. When you listen, you will notice a lot of growl and plunger work, witch often reminds me of Ray Nance. She also does valve effects, like squeezing the note and making tremolos and trills using alternative fingering, much like Rex Steward did (think of Frantic Fantasy for example).

Like Duke’s musicians, Laura also likes to invent new sounds on the instrument. On Purple Gazelle you will hear a short section (0:43) where she plays with a buzzing sound. This is done by inserting a kazoo into the bell. I have never heard anyone else do that.

In 2021, she made a solo recording of Absinthe for YouTube. Here you can hear her play some pedal notes. Every trumpet player can do that, but it’s rarely used as anything more than a technical exercise. Here she implies these low notes to good effect, with good sound and intonation, and so did Rex Steward occasionally back in the days (think of the cadenza from Boy meets horn for example.)

The last example is Jurd’s own composition Jump Cut Shuffle, written for the Ligeti String Quartet in 2016, and included on the album Stepping Back, Jumping In, released in 2019. The piece is inspired by Ellington and Strayhorn’s The Queen’s Suite from 1959. Here is a short video by Laura explaining the idea behind the piece.

As Jurd states in the video, it is not an arrangement of The Queen’s Suite. Instead, she has taken small sections from Ellington and Strayhorn’s work and used them as a starting point for her own composition. Although not an arrangement, there are several easily recognizable bits of Ellingtonia in the piece. The most obvious, is probably Paul Gonsalves’ break heard several times during the Northern Lights movement. It is first presented solo in the viola (1:35), and later as a canon between all four strings (5:41). The beginning of Lightning Bugs and Frogs is also clearly heard as a cannon (1:07), played pizzicato by all four string players. There are several others. Try for yourself and see how many you can find.

And if you haven’t had enough Laura Jurd at this point, i recommend listening to her latest album, released this september, entitled The Big Friendly Album.

Recommended albums by Laura Jurd:

Laura Jurd: The Big Friendly Album (Big Friendly Records, 2022)
Dinosaur: To The Earth (Edition Records, 2020)
Laura Jurd: Human Spirit (Chaos Collective, 2014)

Webpage: https://www.laurajurd.com/

Author: Rasmus Henriksen

 

 

When did Bechet play with Duke

It is generally presumed that Sidney Bechet played with Duke Ellington in the mid-20s as a member of The Washingtonians. This presumption is based upon what Bechet and Ellington say in their respective autobiographies

In Treat Me Gentle, Bechet says that he linked up with Ellington in mid 1924; “It was a fine thing to playing with Duke Ellington in 1924.” However, in Music Is My Mistress  Ellington says that Sidney Bechet joined his band in 1926.

So was it in mid-1924 or in 1926 that Bechet became a member of The Washingtonians?

It can’t have been in 1926. By that time, Bechet was in Europe with Revue Negre (The Black Revue) and he stayed there until 1930. It is difficult to understand how Ellington made this mistake (or was it Stanley Dance’s error?).

This article will try to find the dates when Bechet played with Ellington as a member of The Washingtonians. The main sources for the article are:

John Chilton’s well researched and detailed biography of Bechet – Sidney Bechet; The Wizard of Jazz. It has some information about what Bechet did in 1924-1925 but for crucial dates, it is rather incomplete.

Guy Demole’s Sidney Bechet – His musical activities from 1907 to 1959. It is a very solid discography and has a lot of good information about his whereabouts.

Ken Steiner’s Wild Throng Dances Madly in Cellar Club. It is the result of an impressive harvesting of contemporary newspapers and journals on Duke Ellington’s whereabouts 1923-1927.

David Palmquist’s invaluable online database The Duke Where and When (TDWAW). It is available at http://tdwaw.ca/. The information in Steiner’s booklet is incorporated in the database together with Palmquist’s own findings and those of others. All references to TDWAW in the article is from TDWAW 1.

Steven Lasker’s also impressive and detailed The Washingtonians, A Miscellany.

Let’s start to look at the information available from these sources for the period May 1924 to May 1925.

By the beginning of 1924, both Ellington and Bechet were firmly established in New York, Ellington as the leader of the house band – The Washingtonians – at Hollywood Cabaret while Bechet primarily worked in (touring) shows, participated in recording sessions and played in bands.

As regards Bechet, at the beginning of 1924 he got involved in the Will Marion Cook / Abbie Mitchell musical Negro Nuances. It was being written at that time and Bechet apparently contributed to it.

Chilton says that the project never got beyond the embryonic stage but the entry on the show in the Musicals in Black and White encyclopedia says that it “apparently went on tour in 1924”.

If there was a tour with the musical, it was most likely a short one, not involving Bechet. According to A Century of Musicals in Black and White, Bechet had signed up with Jimmie Cooper’s Black and White Revue and toured with it in the winter of 1924.

However, Bechet was back in New York at the end of February or early March 1924 and then joined the Noble Sissle-Eubie Blake show In Bamville, which opened in Rochester, New York on 10 March 1924 (Chilton).

It was another short engagement for Bechet and when the show went on a tour that lasted 24 weeks, he remained in New York for short gigs and recording sessions.

Only two recording sessions, materialized. He participated in one circa 16 May 1924 with Clarence Williams and Eva Taylor and one circa 30 May 1924 in which he accompanied the singer Maureen Englin.

Guy Demole is the only one who gives some details about Bechet’s gigs in New York during the spring of 1924. He says that Bechet played clubs around 134th Street in Harlem (Small’s, Leroy’s Fritz’s, Connie’s, Owl’s and others). However, he must also have gigged in clubs in mid-Manhattan. like Hollywood Cabaret and others.

As regards Ellington, in mid-February 1924 he became the leader of The Washingtonians after Elmer Snowden had left the band.  By that time, Hollywood Cabaret was running a new and apparently successful  show called Mississippi Revue but the club had also started to get into trouble for having served whisky and beer.

In the early morning of 4 April 1924, Hollywood Cabaret, burnt down and The Washingtonians was out of work. It then left New York for a tour in New England from about 12 to 26 April (Steiner page 16 and TDWAW 1924-04-03). There is no indication that Bechet was part of the orchestra at that time.

When Hollywood Caberet reopened on 1 May, 1924, it was with a new show by Leonard Harper  called The Virginia Girls (or The Virginian Girl Revue). James P. Johnson wrote the music and also led the band, which included Sidney Bechet and Benny Carter among others (TDWAW 1 1924-05-01).

It did not go well between Johnson and Bechet. Johnson expected the band to play his written arrangements and this was not Bechet’s cup of tea. So he got fired by Johnson. Shortly thereafter, Johnson went the same way.

In Treat Me Gentle, Bechet says “after James P. had got me out then he went and got himself fired. And the band which took his place was Duke and me”.

Possibly, this was what happened but according to TDWAW 1 (1924-05-15), Johnson’s band was replaced by a “French Jazz Orchestra (TDWAW 1924-05-15) but it was also short-lived, and on 10 June The Washingtonians was back at the club (TDWAW 1924-06-10)

It is often presumed that Bechet joined The Washingtonians at this moment but it is contradicted by Chilton, who says that Bechet after having parted his ways with James P. Johnson joined the band at the Rhythm Club in Harlem and become a leader of it after a while. However, Chilton does not give a source for this information so it is impossible to know how accurate it is.

Chilton offers no date as regards when Bechet joined The Washingtonians but he identifies Leo Bernstein – one of the owners of Hollywood Cabaret – as the instigator of Ellington’s recruitment of Bechet, and this points to mid-June as the date.

Another discography information to consider is what Bechet says in Treat Me Gentle: “When I first joined the band, Bubber Miley was in jail over some trouble concerning a girl.”

Unfortunately, it has not been possible to establish when this was the case or how long Miley was in jail.

Was he in jail in June? If so, it must have been only for a few days since Miley did a recording session for the Ajax label in that month (as he also did in May and July).

If it was a longer jail period, then it must have been in the spring and have no connection to Bechet’s linking up with Ellington and The Washingtonians.

In any case, based on what has been found, it seems likely that Bechet joined The Washingtonians sometime between 10 and 15 June 1924.

How long did he stay with the band?

It is not easy to give a clear-cut answer but Chilton and particularly Ken Steiner and David Palmquist give some help. I will use their information (and some other) to trace Bechet’s movements from July 1924 to the spring 1925.

Apparently, Hollywood Cabaret stayed open all the summer of 1924 and “it seems likely that The Washingtonians worked at the Hollywood through the summer” (Steiner page 18). “Another possibility”, Steiner says “is a side trip to New England” for the band and that such a tour could be the summertime tour of New England with Bechet in the band that Ellington writes about in Music Is My Mistress but misdates it to 1926.  However, so far there has been no proof of such a trip.

In my view, a third possibility could be that Hollywood Cabaret was closed in August since Otto Hardwick is reported to have played with the White Brothers’ orchestra in Chicago in August.

Anyhow, on 6 September, a new revue by Leonard Harper – Creole Follies – opened at Hollywood Cabaret and “Washingtonian’s Hollywood Jazz Orchestra” was in place to provide music (Steiner page 18, TDWAW 1 1924-09-06). If Becher was still in the band is impossible to say since no ads with listings of the band members have been found yet.

In the early morning of 16 December 1924, there was another burn-down of Hollywood Cabaret and The Washingtonians went on tour again.

There is some evidence that it played the Fox Theatre circuit in upstate New York for the rest of December and most of January 1925 (TDWAW 1 1924-12-16) but also some more firm information that the orchestra played dances and did concerts in New England from 24 January to 7 February (TDWAW 1 1925-01-26 )

Was Bechet in the band the this tour? It is doubtful since there is no mentioning of Bechet in any of the reviews of the New England tour reprinted in Wild Throng Dances Madly in Cellar Club.

Did he appear when Ellington and The Washingtonians went back to New York circa mid-February for the reopening of Hollywood Cabaret (now called Club Kentucky) on 19 February 1925? He is not mentioned in any of the newspaper articles, reviews and listings which were published after the opening but neither were other members of the band except Ellington.

All this indicates that Bechet was out of The Washingtonians in the late summer or early fall of 1924. In his autobiography, Barney Bigard says that Ellington fired Bechet after he had been absent for three days without any trace. “Where the hell have you been? Ellington asked Bechet according to Bigard. And he answered: “I jumped in a car and we got lost and I just now finally found out where I was.”

Did this happen while the band was on tour or in New York?

One possibility is that he was fired in conjuction with “the side trip to New England” that Ken Steiner talks about in his booklet (see above). In Music Is My Mistress, Ellington says that the New England tour with Bechet was quite unruly in terms of band behaviour and that he had enough of Bechet when the band was back in New York.

Another possibility is that Bechet did not appear when Ellington and the band started to rehearse for the Creole Follies Revue or in conjunction with that.

Whether it was one or the other, there is evidence that Bechet may have been out of The Washingtonians by mid- August. An ad in The Post-Star, Glen Falls, N.Y. 12 August 1924, announces a three day appearance by Sidney Bechet and his orchestra of colored dancers and singers at the Empire Theatre on 14-16 August (Thursday, Friday and Saturday).

As can be seen in the ad, It was not a show like In Bamville or Seven-Eleven but rather a kind of vaudeville with different elements. The role of Bechet with his dancers and singers is not clear, neither is it if this was a one time things or something with which Bechet toured.

A show apperance is of course not in itself proof enough that Bechet was fired in mid-August 1924 but together with the other indications above and the fact that he also resumed his recording activities in October 1924 makes it quite obvious that Bechet’s stay with Ellington and The Washingtonians was only three months.

In his Bechet biography, Chilton says that “Bechet casually resumed his work in late-night clubs after he was fired by Ellington and again secured the job as a leader of the Rhythm Clubs’s resident group. But Chilton complicated matters for us when he start to talk about Bechet’s recording activities. He does not say anything about Bechet’s recording sessions during the last three months of 1924 but starts with the ones in 1925. This might indicate that Chilton considers that Bechet was fired by Ellington in late 1924 but he does not say this directly and does not provide a date or a span of dates for when it happened.

In the spring of 1925 Bechet had joined  or was preparing to join a tour with with the show Seven-Eleven. In his book, Chilton quotes a news piece in the 9 May, 1925 issue of the Baltimore Afro-American: “Bechet, the clarinet wizard, has been added to the musical unit in Seven-Eleven.” The tour was quite long and Bechet stayed with it until early July when it arrived in New York.

There he collected a big payment of royalties for his compositions and decided to open a club at 145th Street called Club Basha. Johnny Hodges joined the band there and “it was then he used to show me different things on the soprano” (Chilton). More about Club Basha can be read in Chilton’s book and also about Bechet’s departure for Europe with La Revue nègre in September 1925.

Postscript

The short stay in The Washingtonians was not the only time Bechet played with Ellington. It also happened in 1932 when Bechet joined the Ellington orchestra for a week (23-29 April). Ellington was to record The Sheik of Araby and when he heard that Bechet was out of work, he decided to invite him to be part of Ellington Orchestra for a week to help Johnny Hodges to recreate the spectacular chorus that Bechet usually played on the song. So he had and Juan Tizol transcribed what Bechet played. It become Hodges solo when Ellington recorded The Sheik of Araby 16 May 1932.

Those who would like to know more about this is recommended to read the article about it in the DEMS Bulletin 2002-2.

Author Ulf Lundin with the support of David Palmquist

DE-SB final 1

 

 

 

 

DR Ellington Broadcasts 48

Broadcast 48 took place on 4 April 1992.  This time it was produced and presented by Bjarne Busk

It is the the first “goodie” in September 2022 and is available in the ”Goodies” section of the website.

Once again, the program is a broadcast of an (almost) full concert. This time, it is the appearance of Duke Ellington and His Orchestra together with the Cleveland Pops Orchestra (aka Cleveland Summer Orchestra at the Summer Pop Concerts in Cleveland, Ohio on 25 July 1956.

However, Busk starts with an excerpt from an interview of Ellington by Ted Cassidy in Januari 1958 about his symphonic works

As Busk will confirm in the broadcast, the program had three parts: First, the combined Cleveland Pops Orchestra and the Duke Ellington Orchestra played New World A-Comin’ in an arrangement by Luther Henderson. They were conducted by Louis Lane, the musical director of the Pops Orchestra and Ellington was of course the piano soloist.

Then the combined orchestras performed Night Creature, also in an arrangement by Luther Henderson. This time, Ellington was the conducter.

After a refreshing break, Ellington and His Orchestra took over the stage for a short concert, which begun with Skin Deep, followed by a full Medley and ending with Jam With Sam and V.I.P. Boogie. In  the broadcast, only I Got It Bad/It Don’t Mean A Thing (nc) from the Medley and VIP Boogie followed by Jam With Sam is played.

As an extra goodie, we give our readers Skin Deep and the full Medley here.

 

 

 

%d bloggers like this: