Thursday, 13 February 2025

Take The A Tone...

Jack Chambers' groundbreaking new book A Tone Parallel to Duke Ellington The man in the Music sees publication on 17 March 2025. Details of the book are printed below. Copies may be pre-ordered here.

A Tone Parallel to Duke Ellington

The Man in the Music

Jack Chambers 

Ellington’s music with fresh thematic explorations to delight music lovers


Description

In this insightful new volume, Jack Chambers explores Edward Kennedy “Duke” Ellington’s music thematically, collating motifs, memes, and predilections that caught Ellington's attention and inspired his restless muse. In presenting Ellington’s work in this manner, Chambers situates the music in the context in which it was created—historical, political, musical, biographic, and personal. Chambers offers a novel kind of access to the man and the music.

Ellington’s music presents a daunting task for listeners because of its sheer volume. The numbers defy credulity. Ellington (1899–1974) wrote more than two thousand compositions in numerous genres, including pop songs, big band swing, revues, hymns, tone poems, soundtracks, suites, ballets, concertos, and symphonies. Where to start? The themes in this book offer natural entry points. They provide the context in which the music came into being, with enough biography to satisfy music lovers, even those who come to the book knowing very little about Ellington’s life. Each chapter features its own playlist as a guide to the music discussed, and, in some cases, fuller listings in case readers might want to pursue a topic further. In the early chapters, Chambers covers topics that occupied Ellington through much of his career, and in later chapters he covers more specific themes, some of them from Ellington's last decades, which are less well studied. The music, Ellington said, is his “continuing autobiography,” and it reveals the man behind it.

Reviews

"A Tone Parallel to Duke Ellington is original and stimulating, a significant contribution to the literature on the music of Duke Ellington. Written in an elegant and engaging style, the book offers new insight to Ellington scholars but at the same time offers an accessible point of entry to readers new to Ellington’s work, life, and times. Demonstrating exemplary knowledge and expertise, Jack Chambers’ thematic approach sheds new light on Ellington’s achievements, making astute observations on their limits and offering much food for thought on Ellington’s legacy and its future. This is a book for scholars, students, Ellington’s legion of admirers, and anyone interested in one of the most culturally significant figures of the twentieth century."

- Ian Bradley, former editor of Blue Light, the Duke Ellington Society UK journal


"As we mark the 125th anniversary of Duke Ellington’s birth, and the 50th year since his passing, Jack Chambers’s book will be a focal point for the attention generated about Ellington. It is a valuable entry point for new Ellington fans."

- Steven C. Bowie, author of Concerto for Cootie: The Life and Times of Cootie Williams

JACK CHAMBERS is professor at the University of Toronto and an acclaimed author and teacher of music and language. He is a longtime con- tributor to the Globe and Mail (Toronto), Coda magazine, and other jazz journals, and a participant in annual conferences. His jazz writings include the prizewinning biography Milestones:  e Music and Times of Miles Davis; Bouncin’ with Bartok:  e Incomplete Works of Richard Twardzik; and numerous articles and reviews.

Thursday, 6 February 2025

Live: February 2025





Michael Hashim All Billy Strayhorn Concert

8 February, 2025 
Joe Solomon Studio, 53 East 34th St., Room 201, New York, NY  🎷

The wonderful Neal Kirkwood is hosting and playing piano with your humble narrator on saxophones, the mighty Jennifer Vincent on contrabass and Jazz Legend Steve Little on drums.

We invite you to Joe Solomon Studio, 53 East 34th St., Room 201. Enter left of Pasteur Pharmacy Display, scroll to Joe Solomon Room 201, press buzzer. We start at 7:30pm and the space is very small so you might want to RSVP at hashimoo2@gmail.com. We will be concentrating on rarities like Absinthe, Something to Live For, Smada, Ballad for Very Tired and Very Sad Lotus Eaters, Snibor, Blood Count

...be seeing you!



Sunday, February 16th 15:00 (EST)
Ellington Effect Workshop #48 with David Berger

Join us for the 48th Zoom webinar in David Berger's Ellington Effect workshop series, which will focus on Ellington's iconic composition Jack The Bear. The Ellington Effect workshops are monthly Zoom meetings where David dives into a single composition each time, analyzing it musically line by line, as well as relating pertinent stories about Duke and the band, and answering questions from attendees.  

Get a ticket here, or an annual membership here.

About Jack The Bear

Originally written in 1939, the story told to me by Mercer Ellington goes that Ellington wasn’t happy with it and put it aside. While Strayhorn was staying with Mercer, he studied Duke’s scores that were laying around the apartment. When he came across this one, he understood the problem Ellington was having with it and offered a solution. 

Two major changes were made: adding an intro using the reed soli from the first shout chorus in call-and-response with bass solo and replacing the opening tutti call-and-response with piano/tutti call-and-response. In the recap the new bass player replaces the piano and continues to play a cadenza in time. This was Jimmy Blanton’s spectacular debut on vinyl with the Duke Ellington Orchestra. Jazz bass playing would never be the same.

Between Blanton’s huge sound, virtuosity, propulsive, swinging time, and adventurous harmonic and melodic ideas he eclipsed every bassist on earth. After Sonny Greer heard Blanton in a club in St. Louis, he brought Ellington to hear this 19-year-old phenom. Duke hired him on the spot. On his first gig with the band, he stood next to Billy Taylor, who approached Ellington at the end of the night with his resignation saying that sharing the bandstand with this kid would be too embarrassing. 

Immediately, Ellington knew he had the next innovation in jazz. On November 22, 1939 he recorded three duet tracks with Blanton, two of which were released by Columbia. Not being big band recordings, Columbia didn’t push them, so they didn’t reach a wide audience, but Blanton was playing with the band nightly and lighting a fire under everyone. Count Basie’s rhythm section had been the standard for the past three years, but now Ellington was pushing the boundaries of swing. 

In January, 1940 Ben Webster joined the band. This gave Ellington a great tenor saxophone soloist for the first time and a fifth voice in the sax section, which would now rival Jimmie Lunceford’s 5-man sax section. Ellington began writing new charts to feature Blanton and Webster, but he needed to continue to play some of the older charts written for four saxes, two, of which, were not recorded: Ko-Ko and Jack The Bear. For Ko-Ko Ellington wrote Ben a new part, but for Jack The Bear and all the other charts the band played, Ben, who sat between Hardwick and Bigard doubled their lead parts down a octave. 

Like many other Ellington charts, he combines the 12-bar blues form with other forms. The solos, accompaniment, ensemble playing, composition and arranging are all at the highest level. Recorded in tandem with Ko-Ko, Ellington ushered in a new era, which has come to be called The Blanton-Webster Band. 

Although Ellington had great bands before and afterwards, this 3-year period from 1940-43 is recognized as not only his best band, but the best large ensemble in the history of jazz. With the exception of the two newcomers, the personnel has been steady for years, with the core of the band going back to the 1920s. 

Ellington’s writing became more inspired and mature. In his personal life, Cotton Club dancer Evie Ellis moved in with him and would stay for the rest of his life. These first three years were fulfilling for him with her, but like all his other relationships, he got tired of the same thing. His aversion to confrontation and not wanting to hurt Evie, he never asked her to leave, but it was never the same. A few years earlier with Mildred, he just moved and neglected to tell her. Apparently, that wouldn’t work with Evie. 

In the meantime, for these first three years, Ellington is at the top of his game—a man possessed. The experimentation of the 1930s has led to everything coming together in ways that the other bands and arrangers have never even dreamed possible, while serving the swing dancers and listeners. 

He has become a cultural icon displaying elegance and sophistication in dress, manners, elocution and intelligence. Orson Welles said that Ellington was the only genius he knew besides himself.  The two of them planned to make a movie about the history of jazz at this time, but it never came to fruition. 

Although the public was unaware, the Duke Ellington Orchestra was the first racially integrated band since Juan Tizol joined in 1929. In January, 1940 Herb Jeffries joined. He previously sang with Earl Hines and acted in films, where he was billed the Bronze Buckaroo, but in reality Herb was of Sicilian decent, which means that somewhere in his family’s history there were some Africans, but not recently. Herb was in the vernacular “passing”.


Wednesday, 15 January 2025

All The Timex In The World

 


Louis Armstrong expert Ricky Riccardi yesterday posted to That's My Home: Louis Armstrong House Virtual Exhibits a superb recollection of the second day's rehearsals for the fourth Timex All Star Jazz Show featuring Duke Ellington.

The rehearsal took place on 6 January, 1959 at the CBS Broadcast Center, 524 West 57th Street, NYC. 

Understandably, images and text on the web page are both locked. The above screen shot shows Ellington with vocalist Ruth Olay (an extremely interesting surname there which plugs directly into research we are doing at Ellington Live at present).

The photograph is copyright Maynard Frank Wolfe and no copyright infringement is intended.

Ricky's post is superb and may be found here.

A soundtrack to this particular episode of the Timex All Star Jazz Show was released on this LP:



We can present most of the music Ellington played on the show courtesy of the Cathode YouTube...

Rockin' In Rhythm


Sophisticated Lady



Things Ain't What They Used To Be




... and finally, a somewhat blurred video but here is the entire ensemble jamming on...

Perdido





Thursday, 9 January 2025

Live: January 2025

It is advisable to book any event listed here in advance when possible and check with the promoter/ organiser to ensure any performance is going ahead as planned before travelling.

Sunday, 19 January 2025, 12:00 (GMT)

Harlem Live with Bob Hunt

Station Road, Blisworth NN7 3DS

Superb 13-piece band featuring a host of Midlands jazz stars and Sarah Spencer (vocals). Do not miss this spectacular band!

Tickets £15.00 in advance.

For reservations and enquiries call Tad Newton on 01604 858549.

Sunday, 19 January 2025, 15:00 (EST)

Ellington Effect Workshop 47 

Echoes of Harlem with David Berger 


From David Berger:

Join us for the 47th Zoom webinar in David Berger's Ellington Effect workshop series, which will focus on Ellington's iconic composition Echoes Of Harlem. The Ellington Effect workshops are monthly Zoom meetings where David dives into a single composition each time, analyzing it musically line by line, as well as relating pertinent stories about Duke and the band, and answering questions from attendees.  This one will take place on Sunday, January 19th at 3:00pm EST. 



About Echoes Of Harlem

Originally titled Cootie’s Concerto (not to be confused with the later Concerto For Cootie), this big band version was preceded by a small band version with a slightly different form. The main theme has Cootie playing over an Fm shuffle bass line ostinato. The contrasting theme in the relative major (Ab), first stated by the saxes and then by Cootie, is one of Ellington’s most expressively beautiful cantabile melodies. This theme was first recorded in a small group recording in 1932 as Clouds In My Heart with alternate titles of Harlem Romance and Never Again.

Aside from the minor/major opposites in the themes, the minor vamp repeats the simple i V chords while the major theme begins on the subdominant and goes through a series of chromatic harmonies not resolving to the tonic until the 16th bar. In addition, Cootie plays plunger on the a theme and open on the b. The plunger/open combination will be used again in Concerto For Cootie.

Echoes Of Harlem is part of the series of concertos Ellington composed for Hodges, Bigard, Stewart, and Brown in the late 1930s. Johnny’s Concerto was never recorded. The set of parts that have survived do not include Hodges’ melody. He never got around to writing concertos for Otto, Harry, Artie, Tricky, Tizol, or the rhythm section.

Echoes Of Harlem was a big hit adding to Cootie’s fame and prompting other bands to play and record it. It also inspired similar pieces from other composers, most notably Earl Hagen’s Harlem Nocturne.


Friday, 24 January 2025, 20:30 (GMT)

The Pocket Ellington directed by Alex Webb
Featuring Tony Kofi and Alana Barnes 

Toulouse Lautrec Jazz Club, 140 Newington Butts, Kennington, London, SE11 4RN
Tel: +44 (0) 20 7582 6800
E-mail: info@toulouselautrec.co.uk


A swinging, seven-piece celebration of the Ellington repertoire with Alan Barnes (reeds), Tony Kofi (tenor), Simon Finch (trumpet), David Lalljee (trombone), Dave Green (bass) and Winston Clifford (drums). 

Tickets and further details here.

As well as clever adaptations of Ellington classics by pianist / MD Alex Webb, the group also plays music from arranger/composers influenced by the Duke, including Mingus, Monk and Gil Evans.  Music for the heart, ears and feet.

Alan Barnes (reeds): A highly regarded British saxophonist and clarinetist known for his versatility and skill across multiple reed instruments. He’s an active performer, recording artist, and arranger in the jazz scene, blending traditional and modern jazz styles.

Tony Kofi (tenor saxophone): A prominent British jazz saxophonist who has gained recognition for his powerful playing and contribution to hard bop and contemporary jazz. He’s a former member of the Jazz Warriors and has collaborated widely in the jazz world.Tony Kofi (tenor saxophone): My bio here is also solid. Tony Kofi is a prominent jazz saxophonist, widely respected for his work, including as a member of the Jazz Warriors and various solo projects.

Dave Green (bass): A legendary British double bassist known for his long-standing contributions to jazz. He has played with numerous iconic figures, including Stan Tracey, Humphrey Lyttelton, and even American jazz stars like Ben Webster and Sonny Rollins when they toured the UK.

Winston Clifford (drums): A versatile and dynamic British drummer with a wide-ranging career. Known for his work in both traditional and contemporary jazz settings, his playing is characterized by a deep sense of groove and musicality.






Tuesday, 7 January 2025

The Jasmine Releases: Discography





Duke Ellington and his famous Orchestra
6 April 1953
Capitol Recording Session, Capitol Studio, Hollywood, Los Angeles, CA
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, Juan Tizol(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Wendell Marshall(sb); Butch Ballard(d); Jimmy Grissom(v)
Satin Doll
Without A Song vJG

Duke Ellington and his famous Orchestra
7 April 1953
Capitol Recording Session, Capitol Studio, Hollywood, Los Angeles, CA
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, Juan Tizol(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Wendell Marshall(sb); Butch Ballard(d); Jimmy Grissom(v)
Nothin', Nothin', Baby v JG 

Duke Ellington and his famous Orchestra 
9 April 1953
Capitol Recording Session, Capitol Studio, Hollywood, Los Angeles, CA
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, Juan Tizol(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Billy Strayhorn(p); Wendell Marshall(sb); Butch Ballard(d); Jimmy Grissom(v)
Boo-Dah
Ballin' The Blues vJG
Warm Valley
Blue Jean Beguine

Duke Ellington and his famous Orchestra
30 June 1953 
Capitol recording session, Universal Studios, Chicago IL 
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, Juan Tizol(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Wendell Marshall(sb); Butch Ballard(d); Jimmy Grissom(v) 
Give Me The Right vJG
Is It A Sin? vJG
Don't Touch Me v JG

Duke Ellington and his famous Orchestra
1 July 1953
Capitol recording session, Universal Studios, Chicago, IL
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, Juan Tizol(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Wendell Marshall(sb); Butch Ballard(d); Jimmy Grissom(v)
Hear My Plea vJG
What More Can I Say? vJG

Duke Ellington 
15 December 1953
Capitol recording session, Capitol Studios, New York City, NY
Ray Nance(vl); Duke Ellington(p); Wendell Marshall(sb); Dave Black(d); Jimmy Grissom(v)
Chili Bowl
Blue Moon vJG
Ray Nance out
Oh! Well vJG

Duke Ellington and his famous Orchestra
21 December 1953
Capitol recording session, Capitol Studios, New York City, NY
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, Alfred Cobbs(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Billy Strayhorn(p); Wendell Marshall(sb); Dave Black(d); Jimmy Grissom(v)
Ultra De Luxe

Duke Ellington and his famous Orchestra
28 December 1953
Capitol recording session, Universal Studios, Chicago, IL
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, George Jean(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Wendell Marshall(sb); Dave Black(d)
Night Time

Duke Ellington & his famous Orchestra
26 April 1954
Capitol recording session, Hollywood, Los Angeles CA
Cat Anderson, Willie Cook, Ray Nance, Clark Terry, Gerald Wilson, t; Quentin Jackson, Britt Woodman, tb; John Sanders, vtb; Russell Procope, as, cl; Rick Henderson, as; Paul Gonsalves, ts; Jimmy Hamilton, cl, ts; Harry Carney, bs, bcl; Duke Ellington p; Wendell Marshall, b; Dave Black, d; Ralph Collier, conga.
All Day Long
Bunny Hop Mambo
Isle Of Capri
Band Call

Duke Ellington & his famous Orchestra
1 September, 1954. Los Angeles.
Capitol recording session, Capitol Studio, Hollywood, Los Angeles, CA
Cat Anderson, Willie Cook, Ray Nance, Clark Terry, Gerald Wilson, t; Quentin Jackson, Britt Woodman, tb; John Sanders, vtb; Russell Procope, as, cl; Rick Henderson, as; Paul Gonsalves, ts; Jimmy Hamilton, cl, ts; Harry Carney, bs, bcl; Duke Ellington, p; Wendell Marshall, b; 
Dave Black, d; Ralph Collier, conga.
Smile
Echo Tango
If I Give My Heart To You
Chile Bowl

Duke Ellington and his famous Orchestra
8 October 1954
Capitol recording session, Universal Studios, Chicago, IL
Willie Cook, Cat Anderson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, John Sanders(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Oscar Pettiford(sb); Frank Rollo(bo); Dave Black(d); Jimmy Grissom(v)
Twelfth Street Rag

Duke Ellington and his famous Orchestra
17 May 1955
Capitol recording session, Universal Studios, Chicago, IL
Willie Cook, Cat Anderson, Gerald Wilson, Clark Terry(t); Ray Nance(t,vl,v); Britt Woodman, Quentin Jackson, John Sanders(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,ss,as); Rick Henderson(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Jimmy Woode(sb); Dave Black(d)
Harlem Air-Shaft

Duke Ellington
19 May 1955
Capitol recording session, Universal Studios, Chicago, IL
Ray Nance(t); Quentin Jackson(tb); Russell Procope(cl,ss,as); Duke Ellington(ep); Jimmy Woode(sb); Dave Black(d); Jimmy Grissom(v)
So Long vJG