If Beale Street Could Talk...

 

… from “His Master’s Voice” Record Review, July-August, 1949 (No. 4907)

W. C. Handy’s Beale Street Blues has never been more enchantingly presented than it is by Duke Ellington in this latest record by his band of one of  the classic items of the jazz repertoire.

In his lovely slow arrangement of the piece the Duke has gone all out to capture the nostalgia and musical charm of early folk music known as the blues. Following an introduction (based, incidentally, on a phrase the Duke used in his Black, Brown and Beige suite) Jimmy Hamilton’s lovely clarinet is heard rhapsodizing above rich toned trombones to produce music that is gripping in its intensity. Then Harold baker’s trumpet takes over, backed by the reeds, to produce a more caressive mood. Later the mood reverts to poignancy as Ray 

Nance’s pungent trumpet is heard, this time over the whole ensemble, the voicing of which is something worth hearing for itself alone. 

Rockabye River is, if possible, even more enthralling. Another captivating slow melody, it variegates between the frantic yearning of fiercely growling trumpets and the more restrained heart appeal of some of the loveliest alto saxophone playing that has been heard, even from the inimitable Johnny Hodges.

Both records are Ellington at his most soul-stirring best and will go straight to the hearts of jazz and more conventional music lovers alike.

Get Reel

 

Nothing sets an archivist's pulse racing quite like a pile of boxed reel-to-reel tapes. Eleven such specimens were auctioned recently on eBay, as pictured above. The text ran:

Item description from the seller

Duke Ellington REEL TO REEL Possible MASTERS Remastered by Jack Towers LOT of 11 I recently accquired these large format Reel To Reel Tapes from a person that buys out houses, estates, storage units and the like. They do smell musty but look pretty clean and well preserved. I mention the possiblity that these might be Masters and Remastered by Jack Towers because a lot recently sold for quite a bit and these have the same boxes and handwriiting on them. I am starting these at a much lower price and letting the experts and risk takers do what they do best. I will quickly respond to any and all questions and the only things that I can gurantee are that you will get the exact ones pictured, that I will ship them safely and quickly, and that I am being 100% honest as to how I am selling them. I hope these do end up with someone that will love them, play them, and really enjoy them. I have added shipping options. I am hoping that Fed EX shows up as the default option. I have included Media Mail but please check it against Fed Ex as Fed Ex may be less and provide a faster service. It is much less than Priority Mail. If it does not please check it first before emailing me because you should see a drop in shipping rates if it is not displaying as the defalult. If you do not want priority mail please let me know asap because I box things up and ship them out very quickly. I cannot use Priority Boxes so adding a note to your payment will get it packed up quicker.

The name of the late Jack Towers is often appended to sales of such tapes. Such was the case with a second lot auctioned some weeks earlier.

The contents of the tapes, so far as we can tell from what is written on the boxes and the notated inserts, are, in part (those Columbia studio sessions fro the fifties) reflected in the contents of several of the LPs on the Up-to-Date label issued by Jerry Valburn through the 1980s. A friend and colleague of Jack Towers, the provenance of these particular tapes is perhaps confirmed with this association.

To the contents of the tapes themselves and a little detective work may shine a light.

The tape labelled Fairfield Jazz Festival 28 July 1956 is likely correct. This recording found its way onto a commercial issue and may be heard here.

The tape labelled Taniment Playhouse 27 June, 1959 again corresponds to a recording which does exist among collectors. A couple of the tracks have appeared on this album. The full discographical information courtesy ellingtonia.com) is as follows:

Concert, Playhouse

Cat Anderson, Harold Baker, Andres Marenguito(t); Clark Terry(t,flh); Ray Nance(t,vn,v); Britt Woodman, Quentin Jackson, John Sanders(tb); Jimmy Hamilton(cl,ts); Russell Procope(cl,as); Johnny Hodges(as); Paul Gonsalves(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Jimmy Woode(sb); Jimmy Johnson(d); Lil Greenwood, Ozzie Bailey(v)

Take The "A" Train (theme)

¬ Black And Tan Fantasy

- | Creole Love Call

_|The Mooch

Perdido

Sophisticated Lady

Sonnet To Hank Cinq

What Else Can You Do With A Drum? - vOB

Autumn Leaves - vOB

Hand Me Down Love - vOB

Tenderly

V.I.P. Boogie

Haupé

Flirtibird

All Of Me

Take The "A" Train - vRN

Take The "A" Train

Skin Deep

Medley

-      1. Don't Get Around Much Anymore

-      2. Do Nothin' Till You Hear From Me - vOB

-      3. In A Sentimental Mood

-      4. Mood Indigo

-      5. I'm Beginning To See The Light

-      6. Sophisticated Lady

-      7. Caravan

-      8. Satin Doll

-      9. Just Squeeze Me - vRN

-    10. It Don't Mean A Thing - vRN

-    11. Solitude

-    12. Things Ain't What They Used To Be

I Got It Bad - vLG

Walkin' And Singin' The Blues - vLG

¬ Diminuendo In Blue

_| Wailing Interval

Jones

The Carrolltown tape has been mis-labelled 27 June 1959, perhaps transposing the tainment tape date. The correct date is likely 22 June 1957. This recording was made available commercially on the Doctor Jazz label as All Star Road Band. 

The tape labelled Ellington Cleveland Pops Orchestra 25 July 1956 is a concert which took place on that date at Severance Hall, Cleveland, Ohio.

The combined Cleveland Pops Orchestra and the Duke Ellington Orchestra played New World A-Comin’ in an arrangement by Luther Henderson. They were conducted by Louis Lane, the musical director of the Pops Orchestra and Ellington was the piano soloist. They also played Night Creature, another arrangement by Luther Henderson. Ellington conducted.

Following the interval, Ellington and his Orchestra played Skin Deep and a  Medley  with Jam With Sam and V.I.P. Boogie for the finale. 

The tape labelled Ellington Manchester is likely he concert which took place on19 January 1963 as part of the Orchestra's tour of the UK at that time. Again, from ellingtonia.com:

2nd Concert, Free Trade Hall

Cootie Williams, Roy Burrowes, Cat Anderson(t); Ray Nance(t,vn); Lawrence Brown, Buster Cooper(tb); Chuck Connors(btb); Jimmy Hamilton(cl,ts); Russell Procope(cl,as); Johnny Hodges(as); Paul Gonsalves(ts); Harry Carney(bar,cl,bcl); Duke Ellington(p); Ernie Shepard(sb); Sam Woodyard(d); Milt Grayson(v).

Take The "A" Train (theme)

Afro-Bossa (Boola)

¬ Kinda Dukish

_| Rockin' In Rhythm

Silk Lace (Caliné)

Eighth Veil

Pyramid

-Asphalt Jungle Theme

Guitar Amour

Cop-Out

Jam With Sam

Main Stem

Do Nothin' Till You Hear From Me (New Concerto For Cootie)

Tutti For Cootie

Star-Crossed Lovers

Things Ain't What They Used To Be

All Of Me

Perdido

The Blues Ain't - vMG

Do Nothin' Till You Hear From Me - vMG

One More Once - vMG

Duke Ellington(tk) acc. by Jimmy Hamilton, Russell Procope(cl), Harry Carney(bcl).

Monologue

Take The "A" Train (theme)

God Save The Queen

 

The remaining tapes,

Ellington Col 1938

Ellington Col 1939-40

Ellington Columbia 12-51

Ellington Columbia 58

would all seem to be studio recordings for Columbia, some of which were issued on the Up-to-Date series of albums.

Although the lot lists 11 tapes, there are, in fact 12 pictured. One tape is labelled (or mis-labelled) Ellington World Complete 1943. The title is struck through. And on the very top of the pile there appears to be a smaller tape in a box which does not seem to feature in the content descriptors.

Update:

Duke In Africa

15, 16, 17 January 2026 

Frederick P. Rose Hall, Broadway at 60th Street, New York, NY 10019

Duke in Africa is a powerful tribute to Duke Ellington’s profound connection to the African continent. This concert explores how the legendary composer’s works drew inspiration from African rhythms and cultural themes. 

Co-music directors, the Jazz at Lincoln Center Orchestra’s own Chris Lewis and Alexa Tarantino, lead the JLCO in a dynamic program featuring selections from Ellington’s works: Afro-Bossa (1963), a lively blend of Afro-Cuban and Brazilian rhythms; Liberian Suite (1947), written for Liberia’s centennial; and Togo Brava Suite (1971), a Grammy Award-winning composition.

Discover how Ellington’s music cuts across cultural boundaries, rooted in African traditions, and resonating with audiences worldwide.

There will be a pre-concert lecture before the show at 18:30 (EDT)

Details here.