Gunther Schuller on Satchmo and true jazz creativity

"Armstrong's capacities in this respect [referring to his "intuitive grasp of musical logic and continuity, coupled with an imaginative sense of variation"] ought to lay to rest the strange notion held by many jazz musicians and jazz buffs that structural logic, a conscious sense of variation and development, is an intellectual preoccupation incompatible with true jazz creativity. Louis Armstrong never was and never will be an intellect. Yet there is no question that his music comes not only "from the belly" but also from a mind that thinks in musical terms and ideas"

[Gunther Schuller: Early Jazz. Its Roots And Musical Development (Oxford University Press, 1968)]

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"El potencial de Armstrong en este sentido [refiriéndose a su "conocimiento intuitivo de la lógica y continuidad musical, junto con su sentido imaginativo de la variación"] debería enterrar para siempre la extraña noción que defienden muchos músicos y entusiastas del jazz de que la lógica estructural, un sentido consciente de la variación y el desarrollo, es una preocupación intelectual incompatible con la auténtica creatividad jazzística. Louis Armstrong nunca fue ni será un intelecto. Sin embargo, no hay duda de que su música sale no sólo de "la barriga", sino también de una mente que piensa en términos e ideas musicales"

[Gunther Schuller: Early Jazz. Its Roots And Musical Development (Oxford University Press, 1968)]

Jazz and animals - have you ever worked in a circus?

Este divertido artículo se publicó en el ABC de 22 de junio de 1921 en la sección “Verdades y Mentiras”, firmada por un tal Raph Ruddy.

“La Jazz Band y los animales

La [sic] jazz, esa música de negros que priva en los restaurantes de moda y en los conciertos y los bailes de los grandes hoteles, tiene, entre otras, la virtud de enfurecer a los animales.

Así lo aseguran respetables hombres de ciencia de la Universidad de Columbia, profesores del Museo Americano de Historia Natural, que han hecho experimentos ad hoc en el parque de Nueva York.

Las pruebas comenzaron, dice el Daily Chronicle, con un fox-trot, ejecutado en la casa de los monos. En las jaulas de los inteligentes cuadrumanos se armó un jollín espantoso. Los simios, enloquecidos, aullaban y sacudían furiosamente las barras de hierro de su prisión. Algunos, en cambio, mostraban un descorazonamiento y una desesperación que casi arrancaba lágrimas a los espectadores.

A los leones, cuando la jazz band empezó a sonar, se les erizaron las crines de sus hermosas melenas; las magníficas fieras, con rugidos iracundos y saltos formidables, se lanzaban contra los barrotes de las jaulas con la evidente intención de hacer una matanza de músicos.

A los primeros compases de un one-step, el joven hipopótamo Caleb y su señora madre, Murphy, se zambulleron en su estanque y no volvieron a la superficie hasta que la banda se alejó.

Solamente dos de los elefantes oyeron la [sic] jazz sin enfurecerse. Luego se supo que habían trabajado en un circo durante algún tiempo.”

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This funny article was published in ABC on June 22, 1921 (“Truths and Lies” by a Raph Ruddy).

“The Jazz Band and the animals

Jazz, that negroes music which is in fashion at restaurants and at concerts and dances in big hotels, has, among others, the virtue of infuriating the animals.

Respectable scientists from the University of Columbia, teachers at the American Museum of Natural History, have carried out ad hoc experiments in the park of New York, and maintain this theory.

The Daily Chronicle reports that the experiments started by playing a fox-trot at the monkeys’ home. A terrible racket was made in the cages of the intelligent four-handed animals. The apes went mad and began howling and furiously shaking the iron bars from their prison. However, some of them showed a disheartening behaviour and a desperation that almost brought tears to the spectators’ eyes.

The lion’s beautiful manes bristled when the jazz band began to play; the magnificent wild animals, with irate roars and formidable jumps, threw themselves against the iron bars of the cages with the obvious intention of slaughtering the musicians.

In the very first bars of a one-step, young hippopotamus Caleb and its mother Murphy dived into their pond and didn’t surface until the band went away.

Only two elephants heard jazz without getting furious. Later we knew that they have worked in a circus for some time."

A little Tatum-credo

A few weeks ago, while doing some research through the Afro-American archives (Baltimore edition), I came across an article by Franklyn Frank, published May 23, 1936, where Frank picks a sixteen-piece all-afroamerican jazz band and his choice for piano is Teddy Weatherford:

"Weatherford is the only person closing the door to young Teddy Wilson, who is way ahead of Earl Hines (...) and Art Tatum, who generally sounds as if he is using twenty fingers trying to play ten symphonies in five minutes".

This negative comment on Art Tatum prompted me to post a message in the Stride Piano Yahoo Group, asking for any other contemporary published sources (30's-40's) with such kind of humorous criticism on Tatum's overwhelming technique.

I got several replies from some respected pianists and critics, almost unanimously praising Tatum and, in one of them, George Croll wrote a succint but, in my opinion, very accurate description of Tatum's pianism, which he called his "little Tatum-credo". Under his permission, I'm reproducing it here:

"Talking about speed and virtuosity is missing the essence of Tatum completely. Of course most people, especially Tatum-novices, are overwhelmed or dumbfounded by Tatum's dexterity, but the wonder of Art Tatum is his tremendous musicality.

Some of his assets are:

- Unique "sound" and incredible touch: no one else had/has that "contact" to the keys that sounds like playing legato and staccato at the same time.

- "Inaudible" pedal work, if he used the pedal at all.

- Absolutely infallible time and great swing-feeling.

- Unique, new way of playing with voicings.

- Ability to "compose spontaneously" (highly complex, but always musical).

- Endless inventive talent concerning melodies.

... He just had the "complete package" like no one else!

Even with Tatum there are shortcomings, too:

- His often mentioned inability to comp/to submit in a group-context.

- Quite un-original repertoire.

- Sometimes lack of taste.

Nobody is perfect, even God Tatum!"

Jazz photograph - Art in itself

Gjon Mili's art on jazz photograph: drummer Gene Krupa, unidentified bass player and pianist Eddie Heywood.

(c) Gjon Mili / Time Life

(c) Gjon Mili / Time Life

(c) Gjon Mili / Time Life

Fletcher Henderson - New Albert Theatre ad (May 3, 1930)

This concert ad was published in The Afro American (May 3, 1930). Fletcher Henderson's orchestra was going to play at the New Albert Theatre, Baltimore, and it strikes me that, among this amazing constellation of stars (Rex Stewart, Jimmy Harrison or Coleman Hawkins, to name a few), this advertisement underlines drummer Kaiser Marshall, "the world's greatest drummer".

Satchmo, the boop boop a doop man

Songstress and comedienne Helen Kane caused quite a sensation in the late 20's and early 30's with her remarkably unique style, full of charm and talent. His signature scat phrase was "boop boop a doop" and actually she was a bit overshadowed by Betty Boop, the character allegedly ripped-off from her persona.

Have you ever heard Louis Armstrong called "boop boop a doop man" in reference to his scat singing? No? Well, it's about time you read this brief notice published in The Afro American (May 3, 1930).

Meet Hot Lips Page, the jive exponent

This odd piece was published in The Afro American, October 6, 1945. Oran's perennial smile is well captured in the main picture, but the biographical small ones are funny, at most.

Fats Waller interview (NYTimes, July 25, 1943)

Murray Schumach interviewed Fats Waller after one of the “Early To Bed” performances at the Broadhurst Theatre in New York, and the results were published in the NYTimes (July 25, 1943), just a few months before his passing (December 15). I haven’t found any reference to this interview in the thoroughly researched and high regarded Fats Waller bible, Laurie Wright’s Fats In Fact (Storyville Publications, 1992), but it is mentioned and partially reproduced in Maurice Waller’s biography of his father (co-authored with Anthony Calabrese), called simply Fats Waller (Schirmer Books, 1977).

There are several highlights, one of them being Schumach’s description of Fats Waller’s performance of “Tea For Two” as arranged by Art Tatum. It has such a photographic quality that you can easily imagine the black and white picture:

“There was an unreal quality to the music, like something in an opium den. It was soft, liquid and lingering, the rhythm slow and subtle. Intricate runs fluttered around the melody. Fats was hunched slightly, cigarette almost touching his chin and the smoke drifting lazily past half-closed eyes. He seemed to have forgotten the handful of listeners”.

Fats Waller doesn’t fail to point out two of his strong pronouncements: his reverent respect and admiration for Art Tatum and his disdain for boogie-woogie:

“That Tatum, he was just too good (…). He had too much technique. When that man turns on the powerhouse don’t no one play him down. He sounds like a brass band.”

“That’s music [referring to Tatum’s arrangement of “Tea For Two”]. Subdued and blatant. None of this boogie-woogie stuff that’s just monotonous. Boogie-woogie is all right if you want to beat your brains out for five minutes. But for more than that you got to have melody. Jimmy Johnson taught me that. You got to hang onto the melody and never let it get boresome.”

More on Tatum's and Waller's mutual admiration soon!

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Murray Schumach entrevistó a Fats Waller después de una de las representaciones de “Early To Bed” en el teatro Broadhurst de Nueva York. El resultado se publicó en el New York Times de 25 de julio de 1943, unos pocos meses antes de su muerte, el 15 de diciembre. No he encontrado ninguna referencia a esta entrevista en la “biblia” de Fats Waller, Fats In Fact de Laurie Wright (Storyville Publications, 1992), pero sí se menciona y se transcribe parcialmente en la biografía de Maurice Waller (hijo de Fats) y Anthony Calíbrese, llamada sencillamente Fats Waller y publicada por Schirmer Books en 1977.

Hay algunos momentos notables. Uno de ellos es la descripción que hace Schumach de la interpretación de “Tea For Two” por Fats Waller, según el arreglo de Art Tatum. Hay una cualidad casi fotográfica en esa descripción; te puedes imaginar fácilmente la fotografía en blanco y negro:

“La música tenía una cualidad casi irreal, como si estuvieras en un fumadero de opio. Era suave, clara y persistente, con un ritmo lento y sutil. Complejas frases revoloteaban alrededor de la melodía. Fats estaba ligeramente encogido, con el cigarrillo casi tocándole la barbilla y el humo flotando con pereza alrededor de los ojos medio cerrados. Parecía haberse olvidado del puñado de oyentes.”

Fats Waller no deja de señalar dos de sus más marcadas opiniones: su admiración y respeto casi reverente por Art Tatum y su desprecio por el boogie-woogie:

“Ese Tatum es demasiado bueno. Tiene demasiada técnica. Cuando ese tío se pone a máxima potencia, nadie puede batirle. Suena como una banda al completo."

“Eso sí que es música [refiriéndose al arreglo que hizo Tatum de “Tea For Two”]. Contenida y a la vez descarada. Nada de ese boogie-woogie, que es sencillamente monótono. El boogie-woogie está bien si quieres machacarte el cerebro durante cinco minutos. Pero a partir de ahí, necesitas tener una melodía. Eso me lo enseñó Jimmy Johnson. Tienes que aferrarte a la melodía y no dejar nunca que se vuelva aburrida.”

¡Pronto habrá más sobre la mutua admiración entre Tatum y Waller!

Louis Armstrong in Baltimore (April 28, 1930)

Oh boy, the King Of Them All is coming to town! Put on your best tuxedo, uncork your best bottle of French champagne and prepare yourself for a wild ride!

The Afro American (April 26, 1930)

I got the best Jelly Roll - Black Swan/OKeh ads

While doing some research through the Afro American archives (Baltimore edition), I came across these three ads from the OKeh (1930) and Black Swan Labels (1921). Small rounded treasures for 75 or 85 cents apiece!

The Afro American (June 14, 1930)

The Afro American (July 22, 1921)

The Afro American (September 30, 1921)

"La Canal" - May they stay around for another forty years!

Last week I went back to the Café Populart to catch the Canal Street Jazz Band live, this time in the very nice company of three good friends, with the common feature of no previous jazz knowledge or interest. The excursion was absolutely successful, both for the quality of the performance and for having planted a seed -I hope- on three possible future jazz fans.

You can't go wrong with Jim Kashishian and his musical mates: their book contains a large selection of 1910's and 1920's tunes combined with a bunch of hits from the Swing Era, all spiced with a good menu from both the Fats Waller and the Duke Ellington repertoire. Their approach to the music is direct and vital. Paraphrasing the Spanish byword "vive y deja vivir", I'd say their leitmotiv would be "enjoy and let enjoy". In even less words: Hot Jazz as played in 2009.

As the photo coverage (courtesy of Salvador Arias) proves, Ucranian trumpeter Evgeni Riechkalov keeps on sitting in for Pepe Núñez, who is still recovering from gall bladder surgery. His trading bars with Jim Kashishian reminded me of those wonderful miniatures from the early Ellington band with Tricky Sam Nanton and Bubber Miley on board and even (why not!) of that relatively unknown masterpiece called "Chatter Jazz: The Talkative Horns Of Rex Stewart And Dickie Wells" (RCA, 1959).

In a brief talk with Jim at the end of the second set [see last picture], I managed to give him regards from his fellow trombonist Ron L'Herault and otherwise I was confirmed that there are no plans to record a new CD for now. I'm afraid we have to stick to the four discs they have recorded in almost forty years and, thanks God, to their live performances.

May they stay around for another forty years!

Max Roach's hommage to Jo Jones - the hi-hat tribute

Michael Steinman's heartfelt, thought-provoking and accurately descriptive writing on Papa Jo Jones, and specially the last picture he included, showing the poignant moment when Max Roach passes by and respectfully stares at Jo’s coffin, reminded me of a youtube video I had seen several months ago.

On it, Max Roach plays his own hommage to Jo Jones' habilities with the hi-hat. At the end, Papa Jo comes in the stage just to receive a standing ovation.

Martin Williams on jazz romanticism

"We would do such men [King Oliver, Jelly Roll Morton] wrong to make them the victims of our own romanticism or nostalgia. Yet the music itself has been the victim of romanticism. A player considered an amiable amateur by his elders is dug up by the more exclusive partisans of New Orleans jazz, who go into verbal ecstasies when he executes a major triad. A ditty originally written in New York City for comedian Bert Williams is hallowed as a "traditional New Orleans piece". A trumpeter adds a few obvious pick-up notes and some doublings to an old blues theme, and his work is transcribed and picked over like variants in a Shakespearean text. Dozens of men who stayed at home, simply because they were not good enough musicians to undertake Chicago or New York, find themselves more prolifically recorded than an important player like Jimmy Noone.

(...)

I ask you to glance with me at two aspects of New Orleans and its traditional music today. First, there is a local jazz appreciation club. It's Jim Crow.

Second, as I write there are a couple of halls in the city hiring the older musicians and functioning as tourist attractions. One of them is shrewdly operated, and some players feel they offer conditions that are awful for performance and in backstage facilities. Both frequently hire honest but third- and fourth-rate players -"ham-fat musicians" the performers call them because they grease their instrument valves with ham fat. Some of them, for all their robust charm and admirable energy, can't keep steady time or play in tune. And some of them are apt to find themselves with a local following and, as a result, get recorded. When they do, they may very well get glowing national reviews as the noble bearers of the great tradition.

It is not so much that King Oliver turns in his grave when such pronouncements are made. It's that a skillful and knowledgeable musician in New Orleans today, now in his late fifties, sixties or even seventies, is apt to be turning in his tracks."

Martin Williams in "Jazz Masters Of New Orleans" (published by The MacMillan Company, 1967)

Bobby Hackett - Soprano trombone ad

Here's another treasured gift from Fernando Ortiz de Urbina's collection of 50's & 60's Downbeat issues. It's an advertisement, published on January 8, 1959, of what is called a "Bb slide trumpet" but is, in fact, a soprano trombone (also pitched in Bb), as some research on several trumpet & trombone websites prove [check, for example, 8notes.com]. Not only Getzen, but also Jupiter and other brands marketed it as a "Bb slide trumpet" which was actually a baroque instrument.

Paul Whiteman against jazz

This curious statement, not favouring -to say the least- jazz dancing was made by popular bandleader Paul Whiteman to the American Society of Teachers of Dancing and published in the New York Times (August 31, 1923):

"I hold no brief for jazz, and any change the dancing masters can make in rhythm will be welcome. I'll be the first to play and will do my best to popularize it. (...)"

Jazz on the River - 1947

With Sidney Bechet (would he double on soprano sax, that he was mostly playing those days?) and Albert Nicholas on clarinet, Danny Barker on guitar, James P. Johnson on piano, Pops Foster on bass and Baby Dodds on drums, this must have been a trip to jazz heaven!

Line-up is very similar to those of the "This Is Jazz" broadcasts from May 31, 1947 (remove Sidney Bechet, add Wild Bill Davison on cornet, George Brunies on trombone and Blue Lu Barker on vocals, and put Joe Sullivan instead of James P. Johnson) and June 7, 1947 (remove Sidney Bechet, add Wild Bill Davison on cornet and put Freddie Moore instead of Baby Dodds), so the remaining -and not listed in the New York Times article- musicians might be Wild Bill Davison on cornet and Jimmy Archey ("This Is Jazz" broadcasts from June 14 and June 21) or George Brunies on trombone.

Any help from moldy figs and other dried fruits is much appreciated!

Teagarden's right to sing the blues - against the cabaret tax

A few days ago, among other little treasures from his extensive collection of Downbeat issues from the 50's and the 60's, my good friend and fellow researcher Fernando Ortiz de Urbina sent me this curious petition to repeal or reduce the "20% cabaret tax", promoted by Jack Teagarden and published in Downbeat, August 20, 1959.

Some research through the New York Times digital archives brings these two articles, published on December 4, 1917 and August 9, 1918, where the purpose and the method of calculation of this tax, that first went into effect on November 1, 1917, are explained.

Paul Whiteman pays $7,750 to settle suit

Unsurprisingly, musicians also have to deal with earthy matters, and not even the so-called King of Jazz escaped from a knotty divorce. This article was published in the New York Times, March 25, 1926, when Paul Whiteman was a very popular bandleader.

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Como no podía ser de otra forma, los músicos también tienen que lidiar con los asuntos terrenales, y ni siquiera el presunto “Rey del Jazz” se libró de un divorcio espinoso. Este artículo se publicó en el New York Times el 25 de marzo de 1926, época en la que Paul Whiteman era un director de orquesta muy popular.

Johnny Windhurst

Trumpeter Johnny Windhurst is one of those excellent second-line jazz musicians who never was in the spotlight and just deserved a few lines in the most complete jazz encyclopaedias –no mention of him in 90% of the jazz history books densely populating my shelves-. A self-taught musician, his golden tone was mainly influenced by Bix Beiderbecke white followers such as Bobby Hackett.

From left to right: Johnny Windhurst, Milt Gabler, Jack Crystal, Eddie Condon and Henry "Red" Allen

Born in Bronx, New York, in November 5, 1926, at age 15 he was sitting in at Nick’s and by 1945 he replaced Bunk Johnson in Sidney Bechet’s band playing at the Savoy Café in Boston. He played at the Jazz at Town Hall concert in September 1946 and at the World’s Greatest Jazz Concert #2 on April 26, 1947, worked in Chicago for a time and then moved to California, where he played with clarinettist Edmond Hall. Other employers around this time included Louis Armstrong and Nappy Lamare. He also led his own band in Ohio and Boston, and was a latter day associate of Eddie Condon, playing and recording with the guitarist in the early '50s and back again in 1967. He recorded with singers Lee Wiley (1952) and Barbara Lea (1955-1957) and with trombonist Jack Teagarden (1955).

His only leader recording session, for the Transition label, took place on April 22, 1956, backed by Jimmy Andrews on piano, Buell Neidlinger on bass and Walt Gifford on drums. Bud Blacklock replaced Andrews on “When You’re Smiling”, where Hamilton Carson joined on tenor sax. The disc was called Jazz At Columbus Avenue (Transition TRLP-2).

Here’s Johnny Windhurst in 1958, leading an ensemble during one of those Art Ford Jazz Parties and waving though “Pennies From Heaven”. Roland Hanna is on piano, Mary Osborne on guitar, Mark Goldberg on bass and Morey Feld on drums.

Jam sessions at Nick's - No holds barred!

This long article was published in the New York Times, December 5, 1943, and it describes in detail the jam sessions at Nick's. The atmosphere is so accurately reflected that in fact you can almost smell "it".

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Este largo artículo se publicó en el New York Times de 5 de diciembre de 1943 y describe detalladamente las jam sessions en Nick's. Refleja la atmósfera de esas jam sessions con tanta precisión que en realidad casi puedes "olerlo".

[click on the images to get full size scans]

Baby Dodds footage

Born in New Orleans, Louisiana, on December 24, 1898, Warren Baby Dodds, brother of clarinettist Johnny Dodds, was one of first great drummers of jazz. Listing just three of the groups he recorded with is like a “who’s who” on classic New Orleans Chicago-recorded jazz: King Oliver’s Creole Band, Jelly Roll Morton’s Red Hot Peppers and Louis Armstrong & His Hot Seven.

Here’s Baby Dodds in what must be the first instructional jazz movie ever (1946) and, as far as I know, the only existing footage of him, doing his trademark press roll and soloing on tom-tom with some foot muffle over a rhythmically simplified background piano statement of the “Tea For Two” theme.

Alphonse Picou's funeral procession

Alphonse Picou's funeral procession in February 1961 was one of the largest New Orleans had seen. There was music and there was dancing; there was also pain but, above all, there was joy. Several brass bands (and many additional musicians) played that day to give Picou a send off, among them The Eureka Brass Band. The American Music DVD called Sing On. A Film Of New Orleans Brass Bands (AMVD-2) includes footage from that performance.

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El desfile del funeral de Alphonse Picou en febrero de 1961 fue uno de los más multitudinarios que jamás había tenido lugar en Nueva Orlans. Hubo música y baile, y también estuvo presente el dolor pero, sobre todo, hubo alegría. Algunas brass bands (y muchos otros músicos) tocaron aquel día para despedir a Picou, entre ellas la Eureka Brass Band. El DVD editado por American Music Sing On. A Film Of New Orleans Brass Bands (AMDV-2) incluye una grabación de esa actuación.

© Robert W. Kelley / LIFE


© Robert W. Kelley / LIFE


© Robert W. Kelley / LIFE


© Robert W. Kelley / LIFE


© Robert W. Kelley / LIFE

The Great Eight on tour

Let's take a glance at this mixed-bag all-star band touring Europe in 1983, doing an uptempo rendition of Charlie Shavers' "Undecided". Under the name of The Great Eight, you can have small pills of Teddy Wilson's swinging piano, Slam Stewart's vocalizing bass, Buddy Tate's powerful Texas-tenor tone and Tal Farlow's modern guitar style, all in the same plate.

During this European tour, this group was recorded at the Berlin Philharmonie on February 20, 1983 and a double LP was issued on Wim Wigt's Timeless label: Swingin' The Forties With The Great Eight (Timeless SPJ185/86). It has never been reissued on CD.

Billy Butterfield (tp), Johnny Mince (cl), Buddy Tate (ts), Red Norvo (vib), Teddy Wilson (p), Tal Farlow (g), Slam Stewart (b), Sam Woodyard (d).

"Diminuendo And Crescendo In Blue" on cd

GRABACIONES DE “DIMINUENDO AND CRESCENDO IN BLUE” PUBLICADAS EN CD
Por Agustín Pérez Gasco

Este artículo fue publicado originalmente en Tomajazz (2006).

A) 20 de septiembre de 1937. Nueva York.

Sesión de estudio para ARC-Brunswick.

Duke Ellington & His Famous Orchestra: Rex Stewart (corneta), Freddy Jenkins, Arthur Whetsel y Cootie Williams (trompetas) (*), Lawrence Brown (trombón), Juan Tizol (trombón de pistones), Barney Bigard (clarinete y saxo tenor), Johnny Hodges (clarinete, saxos soprano y alto), Otto Hardwick (saxos alto y bajo), Harry Carney (clarinete, saxos alto y barítono), Duke Ellington (piano), Fred Guy (guitarra), Billy Taylor (contrabajo), Sonny Greer (batería).

Se grabaron, entre otros temas:

- Diminuendo In Blue (M648-1)

- Diminuendo In Blue (M648-2)

- Crescendo In Blue (M649-1)

- Crescendo In Blue (M649-2)

Las tomas máster (M648-1 y M649-1) se encuentran disponibles en CD en The Chronogical Duke Ellington 1937, vol.2 (Classics 687) y las tomas alternativas (M648-2 y M649-2) en Duke Ellington: The Alternative Takes In Chronological Order Vol. 6: 1937-1938 (Neatwork RP 2042) y en 1932-1941 (Giants Of Jazz CD 53046).

(*) Otras fuentes citan a Danny Barker como trompetista en esta sesión y dejan fuera a Freddy Jenkins y Arthur Whetsel.

B) 9 de junio de 1945. Toledo, Ohio.

ABC Treasury Broadcast No. 9 "Your Saturday Date With The Duke" desde el teatro Paramount.

Duke Ellington & His Orchestra: Rex Stewart (corneta), Cat Anderson, Shelton Hemphill, Taft Jordan y Ray Nance (trompetas), Lawrence Brown y Joe Nanton (trombones), Claude Jones (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Otto Hardwick y Johnny Hodges (saxos altos), Al Sears (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Fred Guy (guitarra), Junior Raglin (contrabajo), Sonny Greer (batería), Marie Ellington (voz en “Rocks In My Bed”).

Se grabaron, entre otros temas:

Blues Cluster :

- Diminuendo In Blue (VP-1492)

- Rocks In My Bed

- Crescendo In Blue(VP-1492)

Disponibles en CD en Duke Ellington And His Orchestra: The Treasury Shows, volume 5 (Storyville/D.E.T.S. DETS 9005).

C) 7 de julio de 1945. Nueva York.

ABC Treasury Broadcast No. 13 "Your Saturday Date With The Duke" desde Radio City, Studio 6B.

Duke Ellington & His Orchestra: Rex Stewart (corneta), Cat Anderson, Shelton Hemphill, Taft Jordan y Ray Nance (trompetas), Lawrence Brown y Joe “Tricky Sam” Nanton (trombones), Claude Jones (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Otto Hardwick (saxo alto y clarinete), Al Sears (saxo tenor), Harry Carney (saxo barítono y clarinete), Duke Ellington (piano), Fred Guy (guitarra), Junior Raglin (contrabajo), Sonny Greer (batería).

Se grabaron, entre otros temas:

MEDLEY:

- Diminuendo In Blue (D5TC588)

- Carnegie Blues

- Crescendo In Blue (D5TC588)

Disponibles en CD en Duke Ellington And His Orchestra: The Treasury Shows, volume 7 (Storyville/D.E.T.S. DETS 9007).

D) 21 de septiembre de 1945. Nueva York.

Emisión radiofónica desde el club New Zanzibar.

Duke Ellington & His Orchestra: Rex Stewart (corneta), Cat Anderson, Shelton Hemphill, Taft Jordan y Ray Nance (trompetas), Lawrence Brown y Joe “Tricky Sam” Nanton (trombones), Claude Jones (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Otto Hardwick (clarinete y saxo alto), Al Sears (saxo tenor), Harry Carney (clarinete, clarinete bajo y saxo barítono), Duke Ellington (piano), Fred Guy (guitarra), Junior Raglin (contrabajo), Sonny Greer (batería), Joya Sherrill (voz en “Rocks In My Bed”).

Se grabaron, entre otros temas:

- Diminuendo In Blue

- Rocks In My Bed

- Crescendo In Blue

Disponibles en CD en Duke Ellington And His Orchestra: The Treasury Shows, volume 8 (Storyville/D.E.T.S. DETS 9008).

E) 4 de enero de 1946. Nueva York.

Concierto en el Carnegie Hall.

Duke Ellington & His Orchestra: Cat Anderson, Shelton Hemphill, Taft Jordan y Francis Williams (trompetas), Lawrence Brown y Wilbur DeParis (trombones), Claude Jones (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Otto Hardwick (saxo alto y clarinete), Al Sears (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Al Lucas (guitarra), Oscar Pettiford (contrabajo), Sonny Greer (batería), Kay Davis (voz en “Diminuendo In Blue” y “Transbluency”).

Se grabaron, entre otros temas:

- Diminuendo In Blue

- Transbluency (A Blue Fog You Can Almost See Through)

- Crescendo In Blue

Disponibles en CD en The Duke Ellington Carnegie Hall Concerts: January 1946 (Prestige 2PCD-24074-2).

F) 23 de octubre de 1946. Nueva York.

Sesión de estudio para Musicraft en el WOR Studio 3.

Duke Ellington & His Orchestra: Shorty Baker, Shelton Hemphill, Taft Jordan, Francis Williams y Ray Nance (trompetas), Lawrence Brown y Wilbur DeParis (trombones), Claude Jones (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Al Sears (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Fred Guy (guitarra), Oscar Pettiford (contrabajo), Sonny Greer (batería).

Se grabó, además de “Magenta Haze”:

- Diminuendo In Blue (5765-4)

Disponible en CD en Happy Go Lucky Local (Musicraft MVSCD-52).

G) 31 de agosto de 1947. Los Angeles.

Concierto en el Hollywood Bowl.

Duke Ellington & His Orchestra: Shorty Baker, Dud Bascomb, Shelton Hemphill y Francis Williams (trompetas), Ray Nance (trompeta y violín), Lawrence Brown y Tyree Glenn (trombones), Claude Jones (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Al Sears (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano),Fred Guy (guitarra), Oscar Pettiford (contrabajo), Sonny Greer (batería), Kay Davies (voz en “Transbluency”).

Se grabaron, entre otros temas:

- Diminuendo In Blue

- Transbluency (A Blue Fog You Can Almost See Through)

- Crescendo In Blue

Disponibles en CD en At the Hollywood Bowl 1947 (Unique Jazz RKO1033).

H) 30 de marzo de 1953. Pasadena, California. (*)

Concierto en el Civic Auditorium.

Duke Ellington & His Orchestra: Cat Anderson, Willie Cook, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), Juan Tizol (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Rick Henderson (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Oscar Pettiford (violonchelo), Wendell Marshall (contrabajo), Butch Ballard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (**)

Disponible en CD en 1953 Pasadena Concert (GNP 9045).

(*) Otras fuentes citan abril de 1953.

(**) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

I) 7 de julio de 1956. Newport, Rhode Island.

Concierto en el Newport Jazz Festival, Freebody Park.

Duke Ellington & His Orchestra: Cat Anderson, Willie Cook, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), John Sanders (trombón de pistones), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Jimmy Hamilton (clarinete y saxo tenor), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Jimmy Woode (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (*) (CO56806)

Disponible en CD en Complete Ellington At Newport (Columbia C2K 64932).

(*) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

J) 28 de julio de 1956. Fairfield, Connecticut.

Concierto en el University Stadium.

Duke Ellington & His Orchestra: Cat Anderson, Willie Cook, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), John Sanders (trombón de pistones), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Jimmy Hamilton (clarinete y saxo tenor), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Jimmy Woode (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue

Disponible en CD en The Happening / Paul Gonsalves (Musica Jazz MJCD 1153).

K) 1 de junio de 1957. Carrolltown, Pennsylvania.

Concierto/Baile en el Sunset Ballroom.

Duke Ellington & His Orchestra: Shorty Baker, Willie Cook, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), John Sanders (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Joe Benjamin (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en All Star Road Band Vol. II (CBS AGK 39137).

(*) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

L) 24 de junio de 1958. Chicago.

Sesión de grabación en los Universal Studios.

Paul Gonsalves (saxo tenor), Duke Ellington (piano), Jimmy Woode (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en Happy Reunion (Sony AK 40030).

(*) Aunque aparece así listado en las ediciones, en realidad se trata únicamente de “Wailing Interval”.

M) 29 de octubre de 1958. París, Francia. (*)

Concierto en el Teatro Alhambra.

Duke Ellington & His Orchestra: Cat Anderson, Shorty Baker, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), John Sanders (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Jimmy Woode (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en Duke Ellington At The Alhambra (Pablo PACD-5313-2).

(*) Otras fuentes citan 28 de octubre de 1958.(**) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

N) 6 de noviembre de 1958. Gotemburgo, Alemania.

Concierto en el Konserthuset.

Duke Ellington & His Orchestra: Cat Anderson, Shorty Baker, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), John Sanders (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Jimmy Woode (contrabajo), Sam Woodyard (batería).Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue

Disponible en CD en (Jazz Life 267322) y (Bandstand BDCD 1509).

Ñ) 14 de noviembre de 1958. Munich, Alemania.

Concierto en el Deutsches Museum.

Duke Ellington & His Orchestra: Cat Anderson, Shorty Baker, Ray Nance y Clark Terry (trompetas), Quentin Jackson y Britt Woodman (trombones), John Sanders (trombón de pistones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Jimmy Woode (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en The Duke in Munich (Storyville STCD 8324).

(*) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

O) 20 de septiembre de 1959. París, Francia.

Segundo concierto en la Salle Pleyel.

Duke Ellington & His Orchestra: Cat Anderson, Andre Ford, Ray Nance y Clark Terry (trompetas), Quentin Jackson, Britt Woodman y Booty Wood (trombones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Jimmy Woode (contrabajo), James Johnson (batería).

Se grabaron, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en Top Jazz (Sarpe SJ 1013).

(*) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

P) 27 de mayo de 1960. Santa Monica, California.

Concierto en el Civic Auditorium.

Duke Ellington & His Orchestra: Willie Cook, Andre Ford, Ray Nance y Ed Mullens (trompetas), Lawrence Brown, Britt Woodman y Booty Wood (trombones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Aaron Bell (contrabajo), Sam Woodyard (batería).

Se grabaron, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en Duke Ellington in Concert 1960 (Hindsight HCD-268).

(*) Aunque las ediciones no lo mencionan, contiene “Wailing Interval” como interludio entre “Diminuendo” y “Crescendo”.

Q) 22 de julio de 1960. Sacramento, California.

Concierto/baile en la Mather Air Force Base.

Duke Ellington & His Orchestra: Willie Cook, Fats Ford, Ed Mullens y Ray Nance (trompetas), Lawrence Brown, Booty Wood y Britt Woodman (trombones), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Aaron Bell (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo In Blue

- Wailing Interval

Disponible en CD en Hot Summer Dance (Red Baron AK 48631).

R) 22 de enero de 1963. Londres, Reino Unido.

Programa de televisión grabado en los estudios Granada Chelsea, titulado Duke Ellington & His Famous Orchestra y emitido el 13 de febrero de 1963.

Duke Ellington & His Orchestra: Ray Nance (corneta), Cat Anderson, Roy Burrowes y Cootie Williams (trompetas), Lawrence Brown y Buster Cooper (trombones), Chuck Connors (trombón bajo), Russell Procope (clarinete y saxo alto), Johnny Hodges (saxo alto), Jimmy Hamilton (clarinete y saxo tenor), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Ernie Shepard (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en London: The Great Concerts (MusicMasters 65106-2).

(*) Aunque figura así en las diversas ediciones, en realidad se trata de “Diminuendo In Blue” seguido de “Wailing Interval”. “Crescendo In Blue” no se interpretó.

S) 14 de enero de 1964. Nueva York.

Retransmisión de la emisora WNEW desde Basin Street East.

Duke Ellington & His Orchestra: Cat Anderson, Rolf Ericson, Herbie Jones y Cootie Williams (trompetas), Lawrence Brown y Buster Cooper (trombones), Chuck Connors (trombón bajo), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Ernie Shepard (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Diminuendo and Crescendo In Blue (*)

Disponible en CD en At Basin Street East: The Complete Concert of 14 January 1964 (Music & Arts CD 908).

(*) Aunque figura así en las diversas ediciones, en realidad se trata de “Diminuendo In Blue” seguido de “Wailing Interval”.“Crescendo In Blue” no se interpretó.

T) 29 de marzo de 1964. Nueva York.

Concierto en el Carnegie Hall.

Duke Ellington & His Orchestra: Cat Anderson, Rolf Ericson, Herb Jones y Cootie Williams (trompetas), Lawrence Brown y Buster Cooper (trombones), Chuck Connors (trombón bajo), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Major Holley (contrabajo), Sam Woodyard (batería).

Se grabó, entre otros temas:

- Crescendo In Blue (*)

Disponible en CD en Live At Carnegie Hall 1964 (Moon MCD061-2/68-2 y Jazz Up JU322/JU323).

(*) Aunque figura así en las diversas ediciones, se trata en realidad de “Wailing Interval”.

U) 31 de mayo de 1964. Chicago.

Concierto/baile en el Holiday Ballroom.

Duke Ellington & His Orchestra: Cat Anderson, Herb Jones, Cootie Williams y Nat Woodard (trompetas), Lawrence Brown y Buster Cooper (trombones), Chuck Connors (trombón bajo), Jimmy Hamilton (clarinete y saxo tenor), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Paul Gonsalves (saxo tenor), Harry Carney (saxo barítono), Duke Ellington (piano), Peck Morrison (contrabajo), Sam Woodyard (batería).

Se grabó entre otros:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en All Star Road Band (CBS AGK 40012).

(*) Aunque figura así en las diversas ediciones, en realidad se trata de “Diminuendo In Blue” seguido de “Wailing Interval”. “Crescendo In Blue” no está incluido.

V) 26 de julio de 1966. Juan-les-Pins, Francia.

Concierto en el Square Frank Jay Gould.

Duke Ellington & His Orchestra: Cat Anderson, Mercer Ellington, Herb Jones y Cootie Williams (trompetas), Lawrence Brown y Buster Cooper (trombones), Chuck Connors (trombón bajo), Johnny Hodges (saxo alto), Russell Procope (clarinete y saxo alto), Jimmy Hamilton (clarinete y saxo tenor), Paul Gonsalves (saxo tenor), Harry Carney (clarinete y saxo barítono), Ellington (piano), John Lamb (contrabajo), Sam Woodyard (batería).

Entre otros temas se grabaron:

- Diminuendo In Blue- Blow By Blow (*)

Disponibles en CD en Côte d'Azur Concerts (Verve 314 539 033-2) y en Ella and Duke at the Côte d'Azur (Verve V-4072-2).

(*) También llamado “Wailing Interval”.

W) 10 de noviembre de 1969. Colonia, Alemania.

Primer concierto en la Opernhaus.

Duke Ellington & His Orchestra: Cat Anderson, Benny Bailey, Mercer Ellington, Cootie Williams y Nelson Williams (trompetas), Lawrence Brown y Ake Persson (trombones), Chuck Connors (trombón bajo), Russell Procope (clarinete y saxo alto), Johnny Hodges, Norris Turney (saxo alto), Paul Gonsalves (saxo tenor), Harold Ashby (clarinete y saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Wild Bill Davis (órgano), Victor Gaskin (contrabajo), Rufus Jones (batería).

Entre otros temas, se grabó:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en April In Paris (West Wind 2046).

(*) Aunque figura así en las diversas ediciones, en realidad se trata de “Diminuendo In Blue” seguido de “Wailing Interval”. “Crescendo In Blue” no está incluido.

X) 20 de noviembre de 1969. París, Francia.

Concierto en el Teatro L’Alcazar.

Duke Ellington & His Orchestra: Cat Anderson, Rolf Ericson, Mercer Ellington, Cootie Williams y Nelson Williams (trompetas), Lawrence Brown (trombón), Chuck Connors (trombón bajo), Russell Procope (clarinete y saxo alto), Johnny Hodges, Norris Turney (saxo alto), Paul Gonsalves (saxo tenor), Harold Ashby (clarinete y saxo tenor), Harry Carney (clarinete y saxo barítono), Duke Ellington (piano), Wild Bill Davis (órgano), Victor Gaskin (contrabajo), Rufus Jones (batería).

Entre otros temas, se grabó:

- Diminuendo And Crescendo In Blue (*)

Disponible en CD en Top Jazz (Sarpe SJ 1024).

(*) Aunque figura así en las diversas ediciones, en realidad se trata de “Diminuendo In Blue” seguido de “Wailing Interval”. “Crescendo In Blue” no está incluido.

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Notas:

Los músicos e instrumentos citados en cada entrada son los presentes en la sesión de grabación, no necesariamente en la versión correpondiente de “Diminuendo And Crescendo In Blue”.

Cuando está disponible, se cita el número de matriz junto al título del tema, entre paréntesis.

La relación de CDs en los que aparece cada versión de “Diminuendo And Crescendo In Blue” no es exhaustiva y, en algunos casos, dichos CDs pueden estar descatalogados.

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Otras grabaciones conocidas de “Diminuendo And Crescendo In Blue” no publicadas en CD

- 19 de abril de 1947. Concierto en la Universidad de Cornell. Ithaca, Nueva York.

- 30 de junio de 1951. Concierto en el Club Birdland. Nueva York.

©2006, Agustín Pérez Gasco

Anatomy of a jam session [revisited]

Regarding my post from May 4, and thanks to jazz critics (and faithful readers) Fernando Ortiz de Urbina and Michael Steinman, we now have a few more educated guesses for that 1943 picture taken at photographer Gjon Mili's studio in New York: George Wettling is on the right, behind the piano; Al Hall is most probably on bass, and drummer O'Neill Spencer is talking to the white woman on the second picture. On the other hand, jazz scholar C.J. Hazevoet confirms that it is Leo Parker on alto sax.

There are several more pictures from that jam session available at the LIFE magazine on-line archives. As an example, here's a couple, one of them showing Dizzy Gillespie on trumpet.

© Gjon Mili / LIFE

© Gjon Mili / LIFE