Derrière le Miroir

  The young girl in this photograph was seven years old when the picture was taken in 1966. She is Yoyo Maeght.

The man in the photograph is the Catalonian artist Joan Miró. Admirers of Duke Ellington will realise where this post is going...

Between 26 and 29 July, 1966, Duke Ellington and his Orchestra appeared at la Côte d'Azur with Ella Fitzgerald.

Fifty-seven years ago today, 27 July, 1966, a trio consisting of Duke Ellington on piano, John Lamb on bass and Sam Woodyard on drums played for Joan Miró at The Foundation Maeght, St Paul de Vence, France.

Yoyo Maeght is the granddaughter of French art dealer Aimé Maeght, founder, editor and publisher of the French art magazine Derrière le Miroir.

Yoyo was present at that recording session and we can step through the looking glass  via this delightful photograph I happened upon on-line recently...

In her book La Saga Maeght and the chapter The Minotaur watches over us, Yoyo writes...

A summer of 1966, here I am alongside Duke Ellington

"Miró and I are moving along the path that leads to the Foundation. Grandpa is there, among jazz musicians seated on a terrace with their instruments and our big Steinway which has been taken out. A black giant strikes down chords. Grandpa introduces me and Here I am sitting next to Duke Ellington, playing duet. Then the Duke improvises a memorable "Blues for Miró". Miró listens attentively, I stay by his side. 

At the end of the piece, Miró explains to me that, although the notes are so few, like the colors, their combinations are infinite. For me to understand even better - I'm only seven years old - he evokes Prévert who, with the same words as everyone, as me, gives life to unique poems. This discussion will forever change my life. The source is simple, genius does everything."

Turcaret Encore

Rosy Varte, georges Wilson and director Jean Vilar in rehearsal for Turcaret, 1960

With many thanks to Anne Legrand, we can now publish the musicians who took part in the recording session with Duke Ellington and Billy Strayhorn for Jean Vilar's production of Turcaret.

The personnel is as follows:

Maurice Thomas, Fred Gérard, Vincent Casino, Roger Guérin (tp) - André Paquinet, Marcel Galiègue, Billy Byers, Nat Peck (tb) - Jo Hrasko, René Nicolas (as) - Georges Grenu, Marcel Hrasko (ts) – Lucky Tompson (ts) William Boucaya (bar) - Raymond Guiot (fl) - Duke Ellington, Billy Strayhorn (p) - Guy Pedersen (b) - Christian Garros (d). 

Palais de Chaillot, Paris

30 December , 1960.

In what must have been only the briefest period for rehearsal and recording, Ellington and Strayhorn blended the talents of these musicians into a truly Ellingtonian sounding ensemble.

Much more research is needed yet into how their paths led these musicians to these dates but this is a splendid addition of research to the Duke Ellington discography.

On a final note - for now - about Turcaret, here is part of a chapter on the production from Le Jazz à la Lettre by Janick Séite:

L’appartenance d’Ellington à l’esprit baroque explique-t-elle l’intérêt que le musicien a éprouvé envers l’œuvre d’un écrivain que rien ne le prédisposait à rencontrer : le romancier et dramaturge Lesage ? Lesage, surtout connu pour son Gil Blas, a été classé par certains historiens de la littérature, au côté du Montesquieu des Lettres persanes ou du premier Voltaire, parmi les représentants typiques de cette variante (tardive et dégradée ?) du baroque à laquelle on donne le nom de rococo. Il reste que la rencontre du musicien et de l’écrivain doit d’abord tout au hasard. Son examen va permettre de considérer sous un autre jour cette question du rapport du jazz au langage qui est à mon sens la question centrale pas seulement de ce livre mais encore de l’art de Duke Ellington et peut-être même du jazz.
À la fin de 1960, le Duke effectue un séjour de huit semaines à Paris, une ville qu’il aime beaucoup. Il s’agit d’enregistrer, avec des musiciens français, la musique du film de Martin Ritt Paris Blues. Séjour professionnel donc, mais séjour d’agrément aussi : Duke a donné congé à son orchestre durant deux mois et il retrouve à Paris Fernanda de Castro Monte, une jeune femme sophistiquée et cosmopolite qui exercera une profonde influence sur son mode de vie et dont il a fait la connaissance peu de temps auparavant. Ce qui se rapproche le plus de l’idée que je me fais des vacances, dira-t-il à propos de ce séjour parisien. On multiplie les réceptions en son honneur ; il rencontre Jacques Prévert et Alexandre Trauner, Georges Auric et Charles Aznavour…

Does Ellington's belonging to the Baroque spirit explain the interest that the musician felt in the work of a writer whom nothing predisposed him to meet: the novelist and playwright Lesage? Lesage, best known for his Gil Blas, has been classified by certain historians of literature, alongside the Montesquieu of Persian Letters or the first Voltaire, among the typical representatives of this variant (late and degraded?) of the Baroque to which we give the name rococo. It remains that the meeting of the musician and the writer must first of all happen by chance. Its examination will allow us to consider in another light this question of the relationship of jazz to language which is in my opinion the central question not only of this book but also of the art of Duke Ellington and perhaps even of jazz.

At the end of 1960, the Duke spent eight weeks in Paris, a city he loved very much. It is a question of recording, with French musicians, the music of the film of Martin Ritt Paris Blues. A professional stay, therefore, but also a holiday for pleasure: Duke gave his orchestra a two-month leave and he found Fernanda de Castro Monte in Paris, a sophisticated and cosmopolitan young woman who would exert a profound influence on his way of life and whose met shortly before. What comes closest to the idea that I have of holidays, he will say about this Parisian stay. Receptions in his honor are multiplied; he meets Jacques Prévert and Alexandre Trauner, Georges Auric and Charles Aznavour…

A Bushel and a Peck

One of the most fascinating presentations given at La Maison du Duke's Symposium Internationale April last was Duke Ellington, Jean Vilar and Turcaret by Anne Legrand.

Recent research has shed much light on Ellington and Strayhorn's involvement in  Jean Vilar's 1961 production of Alain-René Lesage's 18th Century comedy Turcaret for Théatre National Populaire.

I was inspired to find out more about this production, finding the following radio broadcast and article posted below.

Further research is required on one particular aspect of Anne Legrand's talk which caught my ear: the personnel for the recording of Ellington and Strayhorn's music which took place on 30 December, 1960 is known.

One name in particular was a surprise: trombonist Nat Peck. Peck, who lived to be 90 years old, had a very interesting career and his story is worthy of a post all of its own. Suffice to say for now that the reason Peck was on my radar was as a member of what was known in Europe as The American Band of the Allied Expeditionary Forces created and led by Major Glenn Miller. Miller's is a name sprinkled with stardust as, by association, is any musician who worked with him. Peck came to be in Paris due to the continental tour the ABAEF which began in 1945 and which, of course, famously, Miller did not lead having gone missing in flight in December of the previous year. While Peck subsequently settled and made a career in the United Kingdom, it is a wonderful synchronism that if not with Miller himself, Peck should make a recording in Paris with Duke Ellington. Nat Peck joins that very select band (or rather orchestra) of being a fully-fledged Ellingtonian.

I shall make further enquiries into the personnel on that date at La Théâtre Palais de Chaillot and write an updated post. 

C'était juste un an après la mort de Gérard Philipe, en décembre 1960. Dirigée par Jean Vilar, la troupe du Théâtre National Populaire, le TNP, alors installé au Palais de Chaillot, devait jouer "Turcaret" une pièce à la fois cynique et gaie du dix-huitième siècle, d'Alain-René Lesage. Délaissant la musique de Scarlatti auparavant utilisée, Jean Vilar a alors l’idée insolite de demander à Duke Ellington de composer une musique de scène pour Turcaret.

 

It was just a year after the death of Gérard Philipe, in December 1960. Led by Jean Vilar, the troupe of the Théâtre National Populaire, the TNP, then installed at the Palais de Chaillot, was to perform "Turcaret", a play both cynical and cheerful from the eighteenth century, by Alain-René Lesage. Leaving the music of Scarlatti previously used, Jean Vilar then had the unusual idea of asking Duke Ellington to compose incidental music for Turcaret.

Vient le soir du 29 décembre 1960. Les comédiens et les techniciens du TNP attendent Duke Ellington qui, après avoir assisté à quelques répétitions, doit proposer les premiers thèmes et achever de composer la musique pour la pièce. Il arrive à minuit, avec ses dix-sept musiciens.

Comes the evening of December 29, 1960. The actors and the technicians of the TNP wait for Duke Ellington who, after having attended a few rehearsals, must propose the first themes and finish composing the music for the play. He arrives at midnight, with his seventeen musicians.

Commence alors une nuit inoubliable et unique. Une nuit hors du commun, entre minuit et sept heures du matin. Une nuit durant laquelle se produisit la rencontre étonnante de Duke Ellington et des comédiens du TNP (Georges Wilson, Christiane Minazzoli, Roger Mollien, Rosy Varte, Dominique Paturel...). Une nuit où le jazz croisa le dix-huitième siècle français, avec Duke, qui avait tout compris, et qui disait avec son très joli accent: "Le Chevalier, c'éi moi. Et meutenant, l'éir dé la Baronne..."

Thus begins an unforgettable and unique night. An unusual night, between midnight and seven in the morning. A night during which occurred the astonishing meeting of Duke Ellington and the actors of the TNP (Georges Wilson, Christiane Minazzoli, Roger Mollien, Rosy Varte, Dominique Paturel...). One night when jazz crossed paths with eighteenth-century France, with Duke, who understood everything, and who said with his very pretty accent: "Le Chevalier, c'éi moi. Et meutenant, l'éir de la Baronne..."

Genèse du projet :

 

Il y a deux ans, Christiane Minazzoli, qui fut comédienne au TNP, m’a confié l’enregistrement inédit d’une nuit pendant laquelle Duke Ellington était venu enregistrer (et achever de composer) la musique de scène de Turcaret, d’Alain-René Lesage, une pièce du dix-huitième siècle qui annonce déjà le ton et l’insolence des pièces de Marivaux.

Two years ago, Christiane Minazzoli, who was an actress at the TNP, entrusted me with the unpublished recording of a night during which Duke Ellington had come to record (and finish composing) the incidental music for Turcaret, by Alain-René Lesage, an eighteenth-century play which already announces the tone and insolence of Marivaux's plays.

Vous imaginez mon émotion : des inédits de Duke ? Le croisement du jazz et du XVIIIème siècle ? Et tout cela au TNP du temps de Jean Vilar, ce Théâtre National Populaire que je mets très haut dans mon petit Panthéon personnel, même si cette admiration peut sembler –à tort- classique à certains?

Can you imagine my emotion: unreleased Duke songs? The intersection of jazz and the 18th century? And all this at the TNP in Jean Vilar's time, this Théâtre National Populaire that I place very high in my personal little Pantheon, even if this admiration may seem – wrongly – classic to some?

Il me fallait à tout prix reconstituer l’histoire de cette nuit, de cet enregistrement insolite, qui dura de minuit à sept heures du matin, le 29 décembre 1960, au Palais de Chaillot, à Paris.

I had to reconstruct at all costs the story of this night, of this unusual recording, which lasted from midnight to seven o'clock in the morning, on December 29, 1960, at the Palais de Chaillot, in Paris.

      Georges Wilson (Turcaret) et Christiane Minazzoli (La Baronne) en répétition

 

Dominique Paturel (Frontin) et Rosy Varte (Lisette)

Georges Wilson (Turcaret) et Christiane Minazzoli (La Baronne) en répétition Georges Wilson (Turcaret) et Christiane Minazzoli (La Baronne) en répétition

 Dominique Paturel (Frontin) et Rosy Varte (Lisette) Dominique Paturel (Frontin) et Rosy Varte (Lisette)

Au début je voulais en faire un film documentaire, et j’ai recherché désespérément, remontant toutes les pistes possibles, quelques archives photographiques de cette nuit-là. Oh des photos de Duke à Paris ce mois de décembre 1960, j’en ai trouvé des centaines. Mais pas avec Jean Vilar ou les comédiens du TNP à Chaillot. Où diable étaient les photographes du TNP, Jean Pierre Leloir ou Agnès Varda ? Personne n’avait donc pensé à utiliser cette nuit-là la petite caméra dont se servaient Georges Wilson ou Maurice Coussoneau ? Et la compagne de Duke, qu’il appelait « Comtesse » et qui a tant impressionné Christiane Minazzoli, n’avait-elle pas pris quelques photos ? Avait-elle des descendants à New-York ?

Georges Wilson (Turcaret) and Christiane Minazzoli (La Baronne) in rehearsal Georges Wilson (Turcaret) and Christiane Minazzoli (La Baronne) in rehearsal

  Dominique Paturel (Frontin) and Rosy Varte (Lisette) Dominique Paturel (Frontin) and Rosy Varte (Lisette)

At first I wanted to make a documentary film of it, and I searched desperately, going back to all possible leads, for some photographic archives of that night. Oh photos of Duke in Paris this month of December 1960, I found hundreds. But not with Jean Vilar or the actors of the TNP in Chaillot. Where the hell were the TNP photographers, Jean Pierre Leloir or Agnès Varda? So no one had thought to use that night the little camera used by Georges Wilson or Maurice Coussoneau? And Duke's companion, whom he called "Countess" and who so impressed Christiane Minazzoli, hadn't she taken some photos? Did she have descendants in New York?

J’ai dérangé un nombre effroyable de gens, tous d’une patience et d’une bienveillance admirables.

 

Mais d’image, il n’y en avait pas, sans doute parce que l’époque était encore modeste, et que la mode n’était pas au *making off * .

 

Duke au TNP était donc destiné à être mis en scène et raconté à la radio. Et France Culture offrait cet espace de liberté là.

I had disturbed an appalling number of people, all of them with admirable patience and benevolence.

 

But there wasn't any image, no doubt because the era was still modest, and the fashion was not for *making off*.

 

Duke at the TNP was therefore intended to be staged and told on the radio. And France Culture offered this space of freedom there.

Parmi les témoins, comédiens du TNP, musiciens de Duke et spectateurs inattendus que j’ai retrouvés, je regrette de n’avoir pu vous faire entendre le récit des trombonistes André Paquinet et Marcel Galiègue, qui étaient trop souffrants pour témoigner le jour de notre rendez-vous. Et je remercie encore une fois ici tous ceux qui ont participé à ce documentaire.

Among the witnesses, actors from the TNP, musicians from Duke and unexpected spectators that I found, I regret not having been able to let you hear the story of the trombonists André Paquinet and Marcel Galiègue, who were too ill to testify on the day of our meeting. And I thank here once again all those who participated in this documentary.

 

Madeleine Sultan

 

 

Duke au TNP may be listened to here.

To shed further light on this production of Turcaret, here is an extract from Le Monde dated 9 January, 1961. 34.49% of the article is hidden behind a paywall but this contemporary report gives more than a flavour of the circumstances surrounding Ellington and Strayhorn's commission to write the music for Lesage's staging of Turcaret.

Alain-René Lesage et Duke Ellington... Il n'y avait que Jean Vilar pour oser pareil mariage. Je lui ai demandé comment l'idée lui en était venue. Duke Ellington assistait à l'entretien. Entre le directeur du T.N.P. et sa nouvelle recrue peu de moyens de communication. Les barrières du langage, qu'ils pourraient mais n'osent franchir, réduisent leurs dialogues à des sourires, à des clins d'œil complices. Une jeune femme est là, blonde et pâle, arme du compositeur. Elle s'est faite leur interprète.

Jean Vilar me dit que c'est en écoutant un de ses disques, Such sweet thunder, un " à la manière " de Shakespeare plein de verve et d'invention musicale, qu'il a pensé à Duke Ellington comme à un collaborateur possible, Il montait le Songe d'une nuit d'été. C'était tout indiqué.

" Je lui ai écrit aux États-Unis. Il n'a pas répondu. Quand j'ai su qu'il était venu ici tourner Paris Blues, je lui ai dépêché Maurice Jarre. Nous lui avons proposé Turcaret (1). Il a dit oui. J'étais ravi, mais un peu inquiet. Il passe huit heures par jour au studio. Trouverait-il le temps de venir à Chaillot ? J'ai été vite rassuré. C'est un bourreau de travail. Il n'avait jamais lu la pièce. Je la lui communique. Trente-six heures après il la connaissait pas cœur. Il c assisté à deux ou trois bribes de répétitions seulement, griffonnant quelques notes sur des bouts de papier sortis de ses poches. Au bout d'une semaine tout était composé, enregistré. La partition est assez longue : dix-huit minutes. Son style ? Dix-huitième siècle d'abord, et puis résolument moderne. "

Je me tourne vers le phénomène. Au nom de Such sweet Thunder il a dressé l'oreille.

" Pour Lesage j'ai fait comme pour Shakespeare. Je ne me suis occupé que de ses personnages. Chacun d'eux m'a inspiré un thème particulier. Il y a le thème de Frontin, le thème de Lisette, le thème de Turcaret... Aucun d'eux ne m'était étranger. Je dirai même que ce sont de vieux copains : je les ai presque tous sous la main, dans mon orchestre En deux cents ans les gens n'ont pas tellement changé, et rien n'est mieux partagé que le goût de l'argent.

Translation:

Alain-René Lesage and Duke Ellington... There was only Jean Vilar to dare such a marriage. I asked him how the idea came to him. Duke Ellington attended the interview. Between the director of the T.N.P. and his new recruit few means of communication. The barriers of language, which they could but dare not cross, reduce their dialogues to smiles, to knowing winks. A young woman is there, blonde and pale, the weapon of the composer. She became their interpreter.

Jean Vilar tells me that it was while listening to one of his records, Such Sweet Thunder, a Shakespearean "style" full of verve and musical invention, that he thought of Duke Ellington as a possible collaborator, He was putting on A Midsummer Night's Dream. It was indicated.

"I wrote to him in the United States. He did not answer. When I found out that he had come here to shoot Paris Blues, I sent Maurice Jarre to him. We offered him Turcaret. He said yes. I was delighted, but a little worried. He spends eight hours a day in the studio. Would he find the time to come to Chaillot? I was quickly reassured. I gave it to him. Thirty-six hours later he didn't know it at all. He only attended two or three snatches of rehearsals, scribbling a few notes on scraps of paper taken out of his pockets. After a week everything was composed, recorded. The score is quite long: eighteen minutes. His style? Eighteenth century first, and then resolutely modern. "

I turn to the phenomenon. In the name of Such sweet Thunder he pricked up his ears.

" For Lesage I did as for Shakespeare. I only took care of his characters. Each of them inspired me with a particular theme. There is Frontin's theme, Lisette's theme, Turcaret's theme... None of them were foreign to me. I would even say that they are old friends: I have almost all of them at hand, in my orchestra."

Source

 

In Order: Ellington Rules, Okeh!

 

For the record, here is a part-discography of those titles Duke Ellington recorded for the Okeh label which fall within the parameters of the most recent issue, Volume 2 of Duke Ellington In Order.

Unlike the practice of numerous 'grey label' consortia which publish without due acknowledgement, choking streaming services and video sites with 'out-of-copyright' dubbing of Ellington's early works, the Producers of Duke Ellington In Order are absolutely scrupulous in ensuring rights are recognised and honoured. Work continues on ascertaining and clarifying those rights as the series evolves. Streaming comes of age with this exceptional project under the expert tutelage of Charles L. Granata.

Sessions not covered on In Order Volume 2.

 

I have listed only the titles which appeared on The Okeh Ellington, Columbia C2K 46177 (Columbia Jazz Masterpieces, US, 1991) There were alternate takes recorded for several titles (The Mooche, East St Louis Toodle-O on 3 April, 1930, Sweet Mamaon 12 June, 1930) 

 

1929:

 

Joe Turner and his Memphis Men         

New York City, NY    

4 April 1929

Columbia recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

I Must Have That Man                   

Freeze And Melt     

Mississippi Moan

 

Duke Ellington and his Memphis Men   

New York City, NY    

28 May 1929

Columbia recording session

Arthur Whetsel, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

That Rhythm Man  

 

Sonny Greer and his Memphis Men       

New York City, NY    

Same session

Arthur Whetsel, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard,Harry Carney(cl); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

Beggar's Blues       

 

Arthur Whetsel, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(as); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

Saturday Night Function

 

The Harlem Footwarmers

New York City, NY    

2 August 1929

Okeh recording session

Arthur Whetsel(t); Joe Nanton(tb); Barney Bigard(cl,ts); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d,ch)

Jungle Jamboree    

Snake Hip Dance   

 

The Harlem Footwarmers 

New York City, NY    

20 November 1929

Okeh recording session

Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard,Harry Carney(cl); Duke Ellington(p); Fred Guy(bj); Sonny Greer(d)

Lazy Duke    

 

Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl); Johnny Hodges(as); Harry Carney(bar); Duke Ellington(p); Fred Guy(bj); Sonny Greer(d)

Blues Of The Vagabond    

Syncopated Shuffle

 

1930

 

Mills Ten Blackberries

New York City, NY    

3 April 1930

Columbia recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d,ch)

The Mooche

Ragamuffin Romeo*          

East St. Louis Toodle-O

 

*This title did not appear on European issues of The Okeh Ellington                     

 

Discography: Ellington In Order Volume 2 (1928-30)

 

Duke Ellington and his Cotton Club Orchestra  

New York City, NY      

15 November 1928

Victor recording session

Arthur Whetsel, Bubber Miley, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d); Irving Mills, Ozie Ware(v)

Bandana Babies vOW        

Diga Diga DoovIM,OW        

I Must Have That Man        

 

Duke Ellington and his Orchestra            

New York City, NY      

22 November 1928

Okeh recording session

Arthur Whetsel, Bubber Miley, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

The Blues With A Feeling  

Goin' To Town          

Misty Mornin'          

 

Warren Mills and his Blue Serenaders

20 December 1928

Brunswick recording session

MM(vn); Arthur Whetsel, Bubber Miley(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d); n/k, Hall Johnson Choir(v)

St. Louis Bluesv n/k, Hall Johnson Choir     

St. Louis Bluesv n/k, Hall Johnson Choir     

St. Louis Bluesv n/k, Hall Johnson Choir     

 

Duke Ellington and his Cotton Club Orchestra  

New York City, NY      

16 January 1929

RCA-Victor recording session

Arthur Whetsel, Bubber Miley, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

Flaming Youth         

Flaming Youth         

Saturday Night Function   

High Life       

Doin' The Voom Voom        

Doin' The Voom Voom        

 

Duke Ellington’s Orchestra

New York City, NY      

18 February 1929

RCA-Victor recording session

Arthur Whetsel, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

Japanese Dream      

Harlemania  

Duke Ellington and his Cotton Club Orchestra 

New York City, NY    

7 March 1929

RCA-Victor recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

The Dicty Glide        

The Dicty Glide        

Hot FeetvCW            

Sloppy JoevSG        

Sloppy JoevSG        

Stevedore Stomp

 

Duke Ellington and his Cotton Club Orchestra

New York City, NY      

12 April 1929

RCA-Victor recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d); Harmonica Charlie(hca)

A Night At The Cotton Club Part 1

A Night At The Cotton Club Part 2            

 

Duke Ellington and his Cotton Club Orchestra

New York City, NY      

3 May 1929

RCA-Victor recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

Cotton Club Stomp

Misty Mornin'          

Arabian Lover          

 

Cootie Williams(t); Barney Bigard(cl); Johnny Hodges(as); Duke Ellington(p); Fred Guy(bj); Wellman Braud(bb); Sonny Greer(d)

Saratoga Swing

 

Duke Ellington’s Orchestra 

New York City, NY      

16 September 1929

RCA-Victor recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Teddy Bunn(g); Wellman Braud(sb); Sonny Greer(d,ch)

Mississippi    

The Duke Steps Out

Haunted Nights        

Swanee Shuffle        

 

Duke Ellington and his Cotton Club Orchestra  

New York City, NY      

14 November 1929

RCA-Victor recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d)

Breakfast Dance      

Jazz Lips       

March Of The Hoodlums

 

Duke Ellington and his Cotton Club Orchestra

New York City, NY      

11 April 1930

RCA-Victor recording session

Arthur Whetsel, Cootie Williams(t); Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d); Frank Marvin(v)

Double Check Stomp

My Gal Is Good For Nothing But LovevFM        

I Was Made To Love YouvFM        

 

Duke Ellington and his Cotton Club Orchestra  

New York City, NY      

4 June 1930

RCA-Victor recording session

Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(bj); Wellman Braud(sb); Sonny Greer(d,ch)

Sweet Dreams Of Love        

Sweet Dreams Of Love        

Jungle Nights In Harlem    

Sweet Jazz O' Mine

Sweet Jazz O' Mine

Shout 'Em Aunt Tillie