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In the early 1990’s Kenny Burrell participated in some Ellington conferences.
The first one was Ellington ’90 in Ottawa, where he was was an important part of the music program. Together with Harold Ashby, Wild Bill Davis, John Lamb and Butch Ballard, Burrell formed the Ellingtonians group and also appeared as soloist with the Andrew Homzy Jazz Orchestra.
The concert with the Ellingtonians has been published on the website.
Kenny Burrell was back at the Ellington ’93 conference in New York, where he once again was part of the music program but also made a presentation on Teaching Ellingtonia the second day.
Burrell first became involved in jazz education in 1978, when he started to teach a 10-week overview of Duke Ellington for UCLA’s Center for African American Studies.
By that time his two first LP album dedicated to Duke Ellington’s music – Ellington Is Forever (Fantasy F 79005) and Ellington Is Forever vol 2 (Fantasy 79008) had been issued.
Burrell’s love for Duke was not obvious in his early career. He belonged to the part of the hardbop generation that came out of Detroit and joined those coming from New York or Philadelphia in recording the new style of jazz for labels like Blue Note and Prestige.
They occasionally included an Ellington song like Cotton Tail, Caravan, The The A Train, Perdido etc in what they recorded but if it was thanks to Kenny Burrell is hard to say.
An interest in Ellington could possibly be spotted in the 1961 Taft Jordan Plays Ellington album (Moodsville MVLP 21). It is not known to which extent Burrell participated in the selection of songs but he certainly played a lot of Ellington music when the album was recorded.
In an interview on the WBUR jazz program in Boston in 1985, Kenny Burrell told the interviewer Tony Cennamo that it was the publicist Al Morgan who had introduced him to Ellington’s music. Unfortunately no date for this is given.
In an interview for National Public Radio in 2014, Burrell said: When I was at Wayne State University in the ’50s, it was a problem studying jazz, even talking about it in some cases, so I decided if I had a chance, I would teach jazz.” And this he did for many years.
In his presentation at Ellington ’93, he explains his approach to this as regards Ellingtonia.
At Ellington ’93 in New York, Kurt Dietrich did another presentation on Ellington’s trombone players. On this occasion, he talked about Juan Tizol, Ellington’s valve trombone player 1929-1944 and 1951-1953 and occasionally in the early 1960’s.
In the presentation, Dietrich gives a short biography of Tizol but the focus is on Tizol – the trombone player.
He talks about Tizol’s stylistic features and illustrate them with excerpts of Twelve Street Rag (Jan. 14, 1931), Caravan (May 14, 1937), Battle Of The Swing (Dec. 19, 1938) and Come Sunday (Jan. 23, 1943). I
It is a pity that his presentation was restricted to 30 minutes because it is obvious that he had much more to share.
For those, who would like to know more about Tizol, Nanton, Lawrence Brown and other Ellington trombonists, Dietrich’s book Duke’s Bones: Ellington’s Great Trombonists is highly recommended.
Anyone, who would like to go deeper into Tizol’s life and career, should read Basilio Serrano’s biography Juan Tizol – His Caravan Through American Life and Culture
A three page overview of Tizol’s life, career and achivements written by Bo Haufman is available in DESS Bulletin 2011-2.
There exists also an interview in which Tizol talks about his time with Ellington.
Another interesting video is a short lecture in the Jazz Academy series in which the lead trombone player in the Jazz At LIncoln Center Orchestra, Vincent Gardner, demonstrates the Tizol way to play the trombone melody in Ko-Ko.
Today is the 80th anniversary of Ellington’s dance date in Crystal Ballroom, Fargo, North Dakota.
Duke Ellington and his orchestra spent most of September, the whole of October and a couple of days in the beginning of November in Chicago for a long engagement at Hotel Sherman, a week-long engagement at Oriental Theatre and a couple of recording sessions for RCA-Victor.
On November 2, Cootie Williams left the band for Benny Goodman and the last thing he did in a Ellington context was a small group recording session for the Bluebird label with Johnny Hodges and His Orchestra.
The following week, Ellington started a short tour of one-nighters . He and the band played in East Grand Forks, Minnesota and Winnipeg, Manitoba (CA) before arriving in Fargo, North Dakota on Nov. 7 for the dance date at its Crystal Ballroom.
This was the main dance hall in Fargo and located on the second floor of the Fargo City Auditorium at the corner of First Avenue South and Broadway. It featured a glass ball two feet in diameter hanging from the ceiling that reflected the lights of the dance hall.
As all Ellington aficionados know, waiting for Ellington in Crystal Ballroom was not only a dance audience but also two young students – Jack Towers and Richard Burris.
Together with the orchestra and the audience, they managed to turn a rather normal dance date into a legacy by recording almost everything the band played during the night on their portable equipment – an acetate disc player, one speaker and three microphones of which one was a RCA Dynamic placed stage center for the soloists.
They got the permission from Ellington to record the dance just before it started but apparently William Morris Agency had agreed to it earlier.
Towers has been interviewed many times about Fargo and the recordings he and Burris made. Here are three of them.
In February or March 1980, Towers spoke to the National Public Radio (NPR) engineer Jim Anderson about the process of making, then restoring his Grammy-winning recording. The interview was aired on Morning Edition on March 6, 1980.
In 1981, in conjunction with the Ellington Study Group meeting in New York, Dick Buckley interviewed Towers about Fargo. He then used it in his program “Jazz Forum” on Nov. 7, 1981, which was commemorating the Crystal Ballroom dance.
Another interview with Jack Towers on Fargo took place in 2000 in conjuction with the 60th anniversary of the Crystal Ballroom dance.
This time, it was Rob Bamberger who interviewed him and his wife Brenda on “Hot Jazz Saturday Night” – Bamberger’s weekly program on the public radio station WAMU in Washington D.C. The music played on the program was from a pre-release of the Storyville’s Fargo 60th Anniversary CD album.
The first release of music from Crystal Ballroom happened without the direct involvement of Jack Towers. In the interview with Dick Buckley he says that “in the early 60s” he had a “very poor tape” which he gave to someone who visited him in Washington.
The tape ended up in New York “or someplace” and “a bootleg of very bad quality came out in Europe about six months later. Palm or some label like that.”
Apparently, Towers was upset about the tape coming out, and in the early 1970s,” Towers says in the interview, “I got interested in doing a better dub of it and helped a fellow in Sweden produce a pretty good version of it for Jazz Society.” This must be considered as the first real issue of the Crystal Ballroom dance.
According to Carl A. Hällström, who was behind Jazz Society and other labels, “the idea for the Fargo album on Jazz Society came from my visit with the Towers family in Washington in the summer of 1973. The music had already been out in two bad versions: two LPs in Denmark and three LPs (Palm 30) in England. I wanted to produce a legitimate version of better quality and I made a deal with Jack Towers.”
“Tape transfers from the original acetates made at the Library of Congress in the late 60 ‘s were then edited by Olle Swembel at Europa film in Stockholm in 1974”, Carl says , “and the Jazz Society two LP-set came out in late 1975. ”
“I did not then have any general retail distribution in Sweden; It was Leif Anderson who sold it. It was some years later that I first had AMIGO as distributor and then AD LIB, which sold much more even though the price was higher. Jurgen Schildt’s review of Fargo in AFTONBLADET helped very well!”
Later the Canadian label Jazz Guild issued material from the dance supplementing the Jazz Society album
In 1978, the Book-of-the-Month Club issued a three LP-set with the same content as the Jazz Society and Jazz Guild albums combined. However, Towers had worked further on the tapes producing a new version for the issue and he was very proud that the new album won the Grammy Award for “Best Large Jazz Ensemble Album” in 1980.
The 1990 issue of the Fargo dance on the Canadian label Vintage Jazz Classics must be considered as another hallmark since it includes everything that was recorded on November 7, 1940.
However, the ultimate version in terms of sound quality must considered to be Storyville’s Fargo 1940 Special 60th Anniversary Edition. For this issue, Towers had restored the tapes and improved them as much as possible.
It should also be said that the joy and value of the listed Fargo albums is not only the music but also the almost scholarly liner notes that come with them. The list of authors are impressive. Eddie Lambert, Jerry Valburn, Andrew Homzy and Annie Kuebler.
Kuebler’s liner notes is the most extensive and very detailed. It was reprinted in Journal of Jazz Studies in 2012 and the article is available to DESS members in the concert section of our Ellington Archive.
In the Fargo box, there is also other Fargo material like Jack Tower’s photos from Crystal Ballroom and Martin Fredricks’ booklet about the dance.
Last Monday afternoon, DESScafé was launched.
The opening song was quite naturally Duke’s Place.
DESScafé is meant to be a meeting place for DESS members to enjoy and discuss music related to Ellington. Before the end of the afternoon, 16 members had shared some coffee in the café on its first opening day.
The theme for the afternoon was Ellington Played By Others.
Six members had selected the music and did the introductions. It ranged from Black And Tan Fantasy played by Mills Blue Rhythm Band (recorded May 1, 1931 and first issued on Banner 32199) to Bill Evans’ version of Reflections in D recorded in January or February 1978 and originally issued on Warner Bros. BSK 3177.
In between these two Ellington compositions, the visitors to the afternoon in the cafe listened to:
Black And Tan Fantasy – Jimmie Lunceford and His Orchestra, Sep. 5, 1934 (Decca 453)
Bird of Paradise – Jimmie Lunceford and His Orchestra, May 29, 1935 (Decca 639)
Bird of Paradise – Duke Ellington Trio, May 20,1964 (Music Masters)
Caravan – Bunny Berigan and His Orchestra, Aug. 18, 1937 (Victor 25653)
Take The “A” Train – Glenn Miller and His Orchesta, May 28, 1941 (Bluebird 11187)
Just A-Sittin’ and A-Rockin’ – Stan Kentor, Oct. 30, 1945 (Capitol 229)
Prelude To A Kiss – Woody Herman and His Orchestra, June 18, 1951 (MGM 11611)
Jazzbiten – Simon Brehms orkester,Sep 9, 1954 (Musica A9217)
Things Ain’t What They Used To Be – Charles Mingus and His Jazz Group, Nov. 13, 1959 (Columbia CL 1440)
I’m Gonna Go Fishin’ – Gerry Mulligan and The Concert Jazz Band, May 21, 1960 (Verve 10216)
A playlist is available in the DESScafé area of the website.
The new issue of the DESS Bulletin has been with its subscribers = the DESS members since a week now. Its is another very good job by its longtime editor och the DESS Chairman this year Bo Haufman.
The cover story is about Paul Gonsalves – the gentle giant in the Ellington band for more than 30 years.
He is portraited by Bo Haufman in a five-page article.
Bo admits that it is an immense topic and that Gonsalves is not his favorite tenor man. Despite this, he gives a very good and detailed portrait of Gonsalves. It covers among other things his early career, his entrancer into the Ellington band and significant recordings with Ellington.
Bo considers that Gonsalves is at his best in ballads and slow numbers and his selection of recordings has a bias towards this.
His selection does not include I have Just Seen Her on the Columbia album All American In Jazz, which Gonsalves apparently considered as his best performance.
Bo’s article also covers Gonsalves’ many recordings with others and in this list he includes the album Boom-jacki-boom-chick, which he says, “should absolutely be included in a Gonsalves collection”.
The new issue also has a reprint of an interview of Gonsalves in Crescendo Magazin in 1964. In it, Gonsalves talks among other things about the influences when he developed his style. “Hawk was my main influence, then Ben Webster and Don Byas. ….. Other influences were Lester Young Chu Berry and even Bud Freeman.”
He also talks about his years in the Basie band – “they were a wonderful experience” – and about the Diminuendo and Crescendo in Blue effect. “After a few years … you don’t want to play it at all.” “Actually, what I really like to play are ballads”, he said.
The reprint from Mike Zirpolo’s Swing and Beyond website is this time the article about Billy Strayhorn, Billy May and Chelsea Bridge that Zirpolo published in February 2017. It is about two boys from Pittsburgh, two very different careers and two interpretations of the same song. A highly recommended article.
For those, who would like to hear the music, go to the article at https://swingandbeyond.com/2017/02/11/chelsea-bridge-billy-and-billy-strayhorn-and-may/.
Besides these three articles, there is a lot more to read in the new issues of the DESS Bulletin, among it another two articles by Bo Haufman.
One is about Leonard Feather – The Golden Feather – and the other about the names of the two parts of The Beautiful Indians suite – Hiawatha and Minnehaha.
Kurt Dietrich continued his presentations on Ellington’s trombone players with one at Ottawa ’90 about Joe “Tricky Sam” Nanton. Since the one on Lawrence Brown at Washington ’89, he had finished his dissertion and Nanton was the second trombonist, which Dietrich had researched for it.
In his presentation, Dietrich plays excerpts of Jubilee Stomp (March 3, 1927), Black And Tan Fantasy (Nov. 3, 1927), It Don’t Mean A Thing (Feb. 2, 1932), Under The Old Apple Tree (Aug. 15, 1933), Harlem Speaks (July 13, 1933), Work Song (Jan. 23, 1943) and Blue Serge (Feb. 15, 1941).
Summer issue of Blue Light
The summer issue of Blue Light is available to DESUK members since a couple of weeks ago.
As usual it provides some good reading. This time, Patrick Olsen presents a couple of new contributors.
Gareth Evans, who is of the new generation on the DESUK Committee, writes about the LP album Duke Ellington, Masterpieces: 1926-68 with 70 Ellington recordings, that Martin Williams together with Gunther Schuller was working on for the Smithsonian at the end of the 1980’s but which never saw the light of the day.
Williams talked about the the project at the Ellington ’89 conference in Washington D.C. and the DESS website published his presentation on 10th April 2018 together with some other presentations on the first day of the conference. Link: https://ellington.se/2018/04/10/ellington-89-in-washington-d-c-3/
Evans lists the recordings that Willams and Schuller had chosen, makes some critical comments to the selection and provides his own Ellington masterpieces list. He has also put up a playlist on Spotify with a selection from his list ( https://open.spotify.com/playlist/78G0522OsSohS7B7ZCwzkO).
Another first-time contributor is the American researcher Dr. Katherine Leo, who specializes in “the intersection of American music and legal histories”. Her five-page article deals with the 1993 court case Tempo Music, Incorporated v. Famous Music Corporation (i.e. the Duke Ellington and Billy Strayhorn estates) regarding copyrights to Satin Doll.
She gives the background to the case, the legal framework, the court’s dealing with the case and the impact of its conclusion. The key issue in the case was if a harmonic progression could be copyrighted and the court decided that “the Satin Doll progression met the legal threshold for originality and thus copyrightability”.
Dr. Leo will publish an article in the upcoming issue of Jazz Perspectives on copyright aspects of ODJB’s Livery Stable Blues.
Besides these two articles, the new issue has contributions by Ian Bradley (Uptown Lockdown), Brian Priestly (review of the new BB&B record), Frank Griffith and others. The feature Reminiscing introduced a couple of issues ago also has interesting contributions to read.
Jimmie Blanton Blog
Matthias Heyman – the Jimmie Blanton specialist and much more – has set up a page on his website “with tidbits, little-known facts, and deep dives on jazz bassist Jimmie Blanton (1918– 1942). The url is https://www.mattheyman.com/pitter-panter-chatter.
The page has also a link to articles that he has published in academic journals on Blanton, Ellington, and jazz bass playing. They are very interesting and stimulating. Good reading while one waits for Heyman’s book on Jimmie Blanton.
Wynton Marsalis on Ellington
In the June 1991 issue, Down Beat published an article by Wynton Marsalis on Duke Ellington
It was an adaptation of a speech he gave at the 1991 International Association of Jazz Educators conference in Washington D.C. The article is not an analysis of Ellington’s music but rather an expression of love and respect.
Marsalis admits that he never listened to Ellington’s music when growing up and when he heard it, he didn’t really like it. “It sounded like like the type of music that old people dance to in ballrooms, thinking they were doing something hip.”
But when he had moved to New York, things started to change. Thanks to Stanley Crouch, Marsalis one days started to listen to Ellington records and his view changed. “I could see a broad vision of what our country was about, a broad vision of what we should be dealing with.”
The full article is available to DESS members in the Ellington Archive.
Ellington på YouTube m.m.
Ellington- och filmspecialisten Brian Koller håller kretsen av Ellingtonvänner underrättad när det dyker upp nya Ellington videos på YouTube. Tack för det, Brian! Nedan är ett urval av de som har lagts upp de senaste månaderna.
Nyligen lade någon upp konserten av Lincoln Center Jazz Orchestra för att fira 100 årsdagen av Billy Strayhorns födelse. Den gavs i juni 2016.
En lång video med The Royal Variety Performance 1973 lades upp så sent som igår och i den framträder också Ellington och hans orkester. Den delen börjar 56 minuter 35 sekunder in i videon och varar ungefär 15 minuter.
Den 23 mars 1965 spelade Ellington på Tyrone Guthrie Theatre i Minneapolis och under en av pauserna intervjuade jazzradiomannen Leigh Kamman honom. Två utdrag ur intervjun lades upp på YouTube under sommaren.
Det är också fallet med en kort reklamfilm för ett känt cigarettmärke.
Koller har också uppmärksammat oss Ellingtonvänner på en artikel i jazztidningen The Syncopated Times om Ellingtons tidiga trumpetare.
The third of the three programs with Ellington material from the Mercer Ellington donation, which Danish Radio put on the air in July 1960, was broadcasted on July 23, 1990 with Fleming Sjølund-Jensen as presenter.
The program starts with a segment of another Ellington interview, this one made by Guiana Broadcast Service. “If you had to do it all over again, would you?”, the interviewer asks Ellington. “Yes”, he replies, “but I don’t know if I would be as lucky” and then dwells on this issue.
Sjølund-Jensen dates the interview to October 1969 but it is actually from June 9, 1969. It was most likely done in Georgetown, the capital of Guyana, which was included in Ellington’s West Indian June 6-18, 1969.
Ellington and the band spent the first two weeks of October 1969 in Las Vegas. Possibly the interview was done during this engagement?
The broadcast continues with stockpile recordings from the early 1970’s. First comes The Checkered Hat from Feb. 23, 1971 with Norris Turney soloing in his own composition. It has been issued by Storyville on its Togo Brava CD.
Next are two selections from the May 13, 1971 stockpile session – Perdido (-11) and Charpoy (-12). Perdido is a feature for Money Johnson while Wild Bill Davis has the solo role in the Strayhorn composition Charpoy. It is issued on the Musicmaster label (CD) while Perdido can be found on the Togo Brava CD.
I Got It Bad, which follows, is an interesting version in an arrangement of Wild Bill Davis. Harry Carney and particularly Cootie Williams have the solo roles. It was recorded in the stockpile session Dec. 11, 1970 and has been issued by Storyville on the New York, New York CD.
After this, the program continues with Mood Indigo and Don’t You Know I Care from the stockpile session June 12, 1972.
Sjølund-Jensen then gives the listeners the pleasure to hear two full takes of Mood Indigo with a brk take in between them. This is no doubt the highlight of the broadcast. The first one is more than 9 minutes long and has not been issues on LP or CD so far. The second full take is almost 6 minutes long and is also included in Storyville’s New York, New York CD.
Ellington played similar versions of Mood Indigo at dance dates in Pennsylvania on April 14 and 19 but in June 12 Tyree Glenn was back in the band for a short time and that makes a lot of difference!
Don’t You Know I Care is a particular feature for Harold Minerve, who had joined the Ellington band in April 1971 to take over after Johnny Hodges.The take (-1) played in the broadcast has not been issued on LP or CD.
The broadcast ends with two contrasting songs.
First comes the solemn Christman Surprise sung by Lena Horne at the first performance of Concert of Sacred Music in Fifth Avenue Presbytarian Church in NYC on Dec. 26, 1965. The lyrics are by Rev. C. Julian Barlett and the music by Billy Strayhorn.
It is followed by Ray Charles’ I Can’t Stop Lovin’ You, which Ellington recorded on May 19, 1964 for Reprise. The version played in the program (-2) has not been issued so far.
As Sjølund-Jensen says is his sign-off “We Can’t Stop Lovin’ You, Duke!”
The second of the three programs with Ellington material from the Mercer Ellington donation, which Danish Radio put on the air in July 1960, was broadcasted on July 16, 1960 with Fleming Sjølund-Jensen as presenter.
It is the second DESS “goodie” this month and is available in the ”Goodies” section of the website.
The program starts with another three selections from the stockpile session March 16, 1962. The Blues Ain’t sung by Milt Grayson ended broadcast 41. This time Sjølund-Jensen plays three more numbers with Grayson – Do Nothin Till You Hear From Me (-7) which also has a long solo by Lawrence Brown, Where In The World (-11, -12-13- 15) and One More Twist aka One More Once (-15, -16), in which Paul Gonsalves also solo.
None of the selection have been issued on records so far.
Next comes two selections from the stockpile session Aug. 30, 1965 – Trombone Buster (-7) with Buster Cooper and Louie Bellson in leading roles and When I Am Feeling Kinda Blue aka Imagine My Frustration (-6) featuring Johnny Hodges. Trombone Buster is issued in the Private Collection series (vol 8) while the take of When I Am Feeling Kinda Blue is not issued so far.
The two following numbers are not easily found in discographies.
They are from a small group recording session with Cat Anderson as leader. Nothing from the session has been issued so far and Ellington participate only as a coach from the control room.This is why it is absent from the most common discographies.
In the broadcast, the session is said to be from August 18, 1962 but this is rather unlikely since Ellington recorded with Coleman Hawkins for Impulse that day.
In a article in the DEMS Bulletin 1990-3, Benny Åslund claims that the correct date is Sep. 18, 1962. It is a possible date. Ellington was in New York at the time and busy in recording studios. On Sep 17 he recorded the Money Jungle album.
Sjølund-Jensen lets the listeners first hear what he says Cat Anderson calls De De Dada Dum but also gives the title as Organ Grinder’s Swing. Anderson takes the opportuni to demonstrate his growl style.
The second tune is called On Flight and Anderson is certainly flying high in it. Paul Gonsalves also has a solo spot.
Next in the broadcast come two selections from the Jan 7, 1967 stockpile session. Ellington sits once again in the control room and this time it is Melba Liston, who has taken over the piano chair. She is also responsible for all the arrangements.
The selections are Jump For Joy (-7, -9 brk, -10) and I Like The Sunrise (-2, -3, -4, -5 and -9). Both are sung by Tony Watkins.
The broadcast ends with Together and Jeep’s Blues (nc) from a concert in November 1958. It is most likely the second concert at Theatre De L’Alhambra in Paris on Oct. 29, 1958.
Spring issue of Blue Light
This issue was delayed because of the Covid 19 pandemic and reached the DESUK members in early May.
It is dominated by a 12 page article by Roger Boyes titled Black, Brown and Beige – New York City Winter 1943. It is a very impressive piece of work which in a sense is series of mini essays with BB&B as the common theme. Some of the titles are A Theme for a Lifetime, Very Public Preparations, Rye High and Carnegie Hall, The Reviews and Boston – A Modified Programme.
The article follows similar articles published in earlier issues of Blue Light and hopefully there will be more. Will there in the end be a book about Ellington in the 1940s?
Boyes also contributes to the new issue with an interesting and detailed comment on the article Duke Stride Piano in the previous issue of Blue Light.
A lengthy comment by Brian Priestly on Con Chapman’s Hodges book belongs to the same category. It expresses quite a critical view on the book.
Finally Mike Westbrook writes about his composition On Duke’s Birthday which was supposed to have been performed at Ronnie Scott’s in London on Ellington’s birthday this year.
Upbeat CD with rare Ellington
The English Upbeat Mail Order company, which specialises in New Orleans revival and Dixieland music, took over the Canadian Jazz Oracle label last year. This label with John R.T. Davies as President produced a total of 71 CD titles of comprehensive and rare recordings from the 1920s and ‘30s. “The sound quality and remastering were state-of-the-art, the liner notes were lengthy and authoritative, and the packaging was top-notch.” (Scott Yannow)
Jazz Oracle rewarded good customers with a Gift from the President CD with very rare takes. One of them was take B of Ellington’s recording of Tishomingo Blues on June 28, 1928 and another take 2 of Without You Emaline recorded by Bubber Miley and His Mileage Makers on May 16, 1930.
Upbeat has recently reissued the CD as Vintage Jazz Rarities.
The CD has the same excellent sound as the original CD. However, a track with Mound City Blue Blowers has been left out for us who would like to have it all. But is is good that the tracks are in chronological order.
Essentially Ellington 2020
Essentially Ellington High School Jazz Band Competition organiserad av Jazz at Lincoln Center börjar fira sitt 25-årsjubileum i morgon. P.g.a. av Covid 19 pandemin är det ett rent virtuellt evenemang som kommer att vara tillgängligt genom strömmande medier som Facebook Live och Livestream.
Hela programmet finns tillgängligt här. Skrolla bara ner en liten bit på sidan. Själva tävlingen äger rum på fredag med början kl 20.00 svensk tid. Den föregås av av en stor virtuell jamsession på torsdagen och ett evenemang kallat 25 solon – 25 år. Men det bjuds naturligtvis mycket annat intressant. Det är bara att titta i programmet.
The Seven Tones Project
Detta är ett fantastiskt projekt på Facebook..
Enkelt uttryckt handlar det om ett kortfilmsprojektprojekt i vilket filmmakare och musiker kombinerar mycket vackra filmbilder med Ellington och Strayhorn musik. “Inspired by Ellington” är projektets huvudslogan.
Facebookadressen är https://www.facebook.com/theseventonesproject/. Där finns alla filmer att se och höra.
Projektet finns också på YouTube.
Här är några exempel på filmer.
Covid19 stoppade Ellingtonkonferensen i Washingto D.C men den utlöste också att nya tolkningar av Ellington- och Strayhornmusik strömmade ut över världen!