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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!
After a break of almost four and a half years, Danish Radio resumed its broadcasting of Ellington material from the Mercer Ellington donation by putting on the air three programs in July, 1990. They had been put together by Fleming Sjølund-Jensen, who was also the presenter in the programs.
The program broadcasted on July 9, 1990 is the third DESS “goodie” this month. It is available in the ”Goodies” section of the website.
The program starts with two selections from an stockpile session, Love You Madly and Satin Doll . Both of them are mainly showcases for Paul Gonsalves.
Sjølund-Jensen gives the date for this session as January 29, 1957 and in the first volume of the Private Collection (LMR 83000), where they are included, it is Dec 16, 1956.
However, in NDESOR the reciording date for the two songs is revised to February 1957.
Between the two songs, there is an excerpt of an interview of Ellington in March 1962, in which he talks about from where he got the name Duke and the origin of the “Love You Madly” phrase.
Next, the broadcast turns to the April 14, 1965 stockpile session April 14, 1965 and Sjølund-Jensen lets the listerners hear Blues take 2 and Limbo take 1 and 2.
The session produced six songs, which were later included in the Concert in the Virgin Islands album but the two in the broadcast – Blues (aka Big Fat Alice’s Blues) take 2 and Limbo take 1 and 2 are not among them.
The broadcast continues with three songs from a concert broadcast by the King-FM radio station from the DJ’s at 2214 4th Avenue in Seattle –The Shepherd, Drag and Take The A Train (theme) The first is of course a feature for Cootie Williams and the second for Johnny Hodges. The first documented performance of Drag is actually the first concert in Stockholm on January 24, 1967.
After this, we hear part of a recording session in Chicago on March 16, 1962 with Milt Grayson in the central role. On this occasion he recorded five Ellington songs with a small Ellington group . One of them being The Blues Ain’t and the six takes of it ends the broadcast. Ellington is coaching in this part of the stock pile session and Strayhorn is at the piano.
Duke Ellington’s monthlong tour of Europe between April 1 and May 1, 1939 took him and the orchestra to France, Belgium, The Netherlands, Sweden, Denmark and Norway.
They spent most of the time in Sweden, where Ellington gave 22 concerts in 14 cities. He played three times in both Stockholm and Göteborg.
In addition, Ellington and the orchestra performed in Oslo, Norway and in Copenhagen, Denmark, (two concerts in each city).
The tour meant that thousands of Swedes, most of them young, experienced Ellington and his music directly. Many of them also made contact with Ellington and band members to shake hands and get their concert programs autographed.
The website has published two articles about the tour in Sweden with some quite unique photos. One is about Ellington’s concerts in Stockholm on April 16, April 24 and April 29 and the other about the concert in Storvik on April 23, 1939
Ellington’s European tour is well documented in The Duke – Where and When with links to what has been witten about the tour and lists of the music played at the concerts in The Netherlands.
Preparing for the Ellington ’90 conference, John E. Hasse researched the Ellington Archive for material about the 1939 tour and on the last day of the conference he made an hourlong presentation on it.
As a true pedagog, Hasse had prepared an eight pages handout with essential information from his presentation. Roger Boyes of DESUK has very kindly shared his copy of the handout with the website to allow us to share it with our readers.
The Ellington Effect
David Berger – composer, arranger, orchestra leader, lecturer, Ellington collaborator and foremost expert on the music of Duke Ellington – launched last month an ambitious and important initiativ to write a new, 5-part book series that will analyzes in depth the music of Ellington.
He is calling for support to make the project happen and the most important at the moment is to raise USD 25.000 to match a much larger grant. He is counting on the support of the Duke Ellington community. Give it before May 13!
Jimmie Blanton – again
In January, the website reported on the Blanton CD issued by Maison du Duke (https://ellington.se/2020/01/12/smatt-och-gott-i-januari-2020-1/).
We noticed then that two tunes from the Kraft Music Hall broadcasts were not included in the CD – Jive Rhapsody from Jan 16, 1941 and Flamingo from Oct. 9 1941 – and promised to make them available to DESS members and other visitors to the website.
Here they are.
In the Goodies Room, DESS members can also listen to and download a segment with Pyramid, Pussy Willow and I’m Checking Out -Goom Bye from the broadcast from Club Caprice in the Coronado Hotel in St. Louis on Nov. 1 or 2, 1939.
DEMS and NDESOR give the date of the broadcast as Nov. 1 but the consensus today is that it is rather from Nov. 2.
There is an extensive summary of the di’sscussion of the dates for the broadcast and Blanton’s joining of the Ellington orchestra in the TDWAW website (http://tdwaw.ellingtonweb.ca/TDWAW.html#Yr1939). Go to the Nov 1 and Nov 2 entries.
Ellington Exhibition at Georgetown University
For the Ellington 2020 conference, Professor Anna Celenza had prepared an exhibition of Ellington items held in the Georgetown University Library’s Special Collections. To give as many as possible the opportunity to visit the exhibition, the library has posted a virtual version of the exhibition on their webpage. “If you click on the images, you can download high-resolution images of the various items”, she says in the email she circulated to everybody, who had registered for the conference.
Ellington Concert in Lebanon 1963
In mid April, there was an extensive discussion in the Duke-LYM mailing list about Ellington’s concert in Bagdad or Lebanon on Nov. 18, 19 or 20,. 1963 It was televised and possibly also filmed. The result is titled Le Roi du Jazz Americain Duke Ellington et Son Orchestre.
Lee Farley, the editor of the Duke Ellington Society of Southern California’s newsletter, wrote an article about the concert and the video in the 2011 Summer-Fall issue of the newsletter.
He has generously shared the article with the international Ellington community. On the DESS website, it is available here
The concert is available on YouTube.
NDESOR correction sheets
The complete set of correction sheets for NDESOR put together by Sjef Hoefsmit with contributions and help from many in the Ellington community is now available in the Ellington Archive of the DESS website.
Today is the Maestro’s 121st birthday and the members of the Duke Ellington Society of Sweden join members of other Ellington societies and Ellington fans in general in paying tribute to the memory of one of the most extraordinary personalities of jazz and music in the 20th century . The DESS Bulletin, the DESS website and the quarterly meetings is our way to keep the memory alive and to get new generations interested in Ellington’s music and achievements.
The Ellington community celebrated Ellington’s 100th birthday with the 17th Ellington Study Group Conference in Washington D.C. so today might be the proper moment to start revisiting this conference.
As part of this, we give our readers the opportunity to hear Mark Tucker’s presentation Ellington, Washington and the Music of Memory, which was the first of the presentations at the conference. It is available at the end of the article.
But first a little bit about the conference itself.
It seems that it was organized fairly late. There was no announcement about it at the Ellington ’98 conference in Chicago the year before and when Göran Wallén – the Chairman of DESS at the time – brought it up with Theodore (Ted) Hudson – Vice President of the Washington D.C. Ellington Society – , the answer was: “We have not thought about it.”
But Göran Wallén’s question must have triggered some action because in the Sep.-Nov. 1998 issue of the DEMS Bulletin, it was announced that “Ellington ’99 – the 17th Annual Ellington Conference” was to take place in Washington D.C. “April 28 through May 2, 199” and that the conference was sponsored by the Washington D.C. Duke Ellington Society.
When asked about what he remembers from the ’99 conference, Göran Wallén says: “There was a lot of travelling by to Smithsonian, Library of Congress for study visits and music events and to schools and addresses with an Ellington connection. Unfortunately, there was less time for presentations than at earlier conferences like the ones in Oldham in 1988 and in Chicago in 1989.
Asked the same question, Bjarne Busk answers: “As I remember the conference, part of it was about Duke’s growing up in Washington D.C. and his association with the city. One highlight was the bus tour in Ellington’s Washington – his birth place, where he lived as a boy and young man, places where he played, the commorative statue etc.
Among other things, we stopped at the bar where Duke had played pool in his youth. I wanted to go in and play a little bit but I was firmly told that if I did that I would not come out in one piece.”
Ted Hudson, who played an important role in organizing the conference, has very kindly donated a copy of the official conference program to the website. There are all the details of the conference, including the greetings from President Bill Clinton. Thank you, Ted!
There was a strong element of Ellington’s religious side in the conference. The Smithsonian Jazz Masterworks Orchestra provided a concert of Ellington’s sacred music drawn from the three major recorded sacred concerts. Rev. Mark S. Harvey talked about The Sacred Concerts and Duke Ellington’s Religious Vision and Annie Kuebler lectured on The Spiritual Works of Duke Ellington and Mary Lou Williams: Singing His Praise or Seeking Redemption.
Another group of presentations focused on Ellington’s music and his orchestra.
A panel led by Patricia Willard included among others the Ellington singers June Norton and Yvonne Duke, who talked about their memories of Duke. Claire Gordon “recalled her years as an Ellington enthusiast and employee” in her presentation Me ‘n Duke.
In this category was also Peter MacHare’s presentation Duke Ellington and the Classics, Peter Townsend’s Ellington ’42: A Year In The Life and Jeff Lindberg’s Transcription Crises. Will We Allow Corporate Publishers to Suppress Ellington/Strayhorn’s Creativity In the 21st Century?
In addition, Steven Lasker shared some new discoveries with the audience and Phil Schaap ended the two days of presentation by talking about Duke Ellington’s World Music: Jazz an International Jazz Form.
Ellington ’99 was also the moment when two long-awaited major publications about Duke Ellington’s work and music was unveiled.
Elaine Norsworthy and Peter MacHare presented Eddie Lambert’s Duke Ellington: A Listener’s Guide and Luciano Massagli and Giovanni M. Volonté were present to introduce The New DESOR – the result of many years of incredible work.
The conference had some 170 registered participants and 14 of them were Swedes.
Among the attendees was also Lois Moody, chairperson of Ellington ’90 in Ottawa. After the conference, she wrote a long and detailed report for the Ottawa chapter of Duke Ellington Society. It was also published in the DEMS Bulletin 1999/3.
Now back to Mark Tucker’s presentation. We quote from Lois Moody’s report: “Through examples performed at the piano, Tucker traced the influences of Washington life on Ellington’s and stated his belief that conscious use of memories in composition is more important than technique.”
Here is Tucker’s presentation. Due to technical problems when it was delivered, the file has been edited to improve the sound quality.
The fifth ”goodie” in April is program 40 in the Duke Ellington series of broadcast by the Danish Radio in the mid-1980s to the mid-1990s. The broadcast is available in the “Goodies” section of the website.
The program was broadcasted on Jan 5, 1986. The presenter is once again Erik V Krustrup
It starts with a segment from an interview of Ellington in Toronto in March 1973.
The interview is followed by the Louie Bellson composition Ortseam (=Maestro). It was recorded in the stockpile session on March 3, 1968 with Rufus Jones as the main soloist.
The next selection in the program is Soso (aka Woods) from Togo Brava Suite. It is take 22, which is included in Storyville’s Togo Brava Suite CD.
After another segment of the March 1973 interview, Krustrup moves on to the stockpile session on April 4, 1969.
It features singer Shirley Witherspoon, who was with the band for five months in the beginning of 1969. She recorded three songs in this session and one of them was I Love My Lovin’ Lover. Krustrup chose take 5 of the song. For this take (and a couple of others), Jimmie Jones had taken over the piano chair from Ellington.
However, in the two other selections from the April 4, 1969 session – Happy Birthday (for Buster Cooper) and Rockin’ In Rhythm, (nc) – Ellington is back at the piano.
The next stockpile session featured in the program is the one from June 15, 1970. First comes two takes of All Too Soon – take 27 (nc) and take 28 – and a little bit later in the broadcast Some Summer Fun (take 38).
Between All Too Soon and Some Summer Fun, Krustrup lets the listeners hear more from the group that played Riddle (take 21) in broadcast 39 – Ellington, Wild Bill Davis, Joe Benjamin and Rufus Jones. Benny Aaslund lists what is played this time as Riddle take 22. However, in NDESOR it is listed as Blues No. 18 and this seems more correct since the song played has a different structure than Riddle in broadcast 39.
Blues No. 18 is followed by what Benny Aaslund in his DR listings simply calls an unidentified title with no recording date. However, it is what NDESOR lists as No Title recorded in the same session as Blues No. 18. Its NDESOR number is DE7106am.
Krustrup mistakingly announces Some Summer Fun which follows (see above), as Orgasm, which is a different song composed by Don Byas.
The last stockpile sessions in the program are April 27 and April 28, 1971. From the first one, Krustrup plays Fanfare from the Goutelas Suite (take 27 brkd and take 28) and Hick – a rocked-up version of New York, New York – from the second.
The broadcast ends with two unissued takes from The Third Sacred Concert in Westminister Abbey on Oct. 24, 1973 – Praise God And Dance and In The Beginning God. Before them Ellington talks about The Sacred Concerts in an interview from New Zealand on Feb. 9, 1970.
Broadcast 40 was the last in the originally scheduled series of programs with material from the Mercer Ellington donation. However, in July 1990 three more programs were broadcasted and they were followed by more programs in1991, 1992, 1993 and 1994.
The part of the file with No Title had problems and we have replaced it with a copy from another file.