The New DESOR corrections

Page 64. Session 4226. Tangerine was the closing number of this broadcast. It should be at the end of this (or maybe of another) session.
Sjef Hoefsmit

Tangerine is possibly the last title of the broadcast but we are puzzled to make corrections to the session 4226 where not only the order of the selections is probably wrong, but even the whole session is uncertain.
Luciano Massagli**

Page 89 or later. Morris Hodara made me a copy on tape of his disc (or discs) with a recording from a Carnation Contented Hour broadcast in which Duke played Sophisticated Lady combined with Mood Indigo, followed by a talk and a performance of Dancers in Love. I cannot find this session in the New DESOR.
Richard Ehrenzeller**

We only know two Carnation Contented Hour broadcasts with Duke, on 7oct46 and 19May47. This one is different. Sophisticated Lady and Mood Indigo are played with violins, probably by Percy Faith and his orchestra. There is no connection between Mood Indigo and the talk. It seems possible that the contents come from two different broadcasts. The sound is quite different. The structure of Dancers in Love is the same as 4594b, but it is not identical. There is going something wrong in the beginning of the first chorus in Richard's recording. I believe that we have one or two unknown sessions at our hands.
Sjef Hoefsmit**

Sophisticated Lady and Mood Indigo are undoubtedly "fresh", as well as Dancers in Love that possibly, as you suspect, comes from a different broadcast. We believe that we have one (or two) "fresh" sessions to add to the New DESOR. We hope that someone can help us with more details of the Carnation Contented Hour broadcasts.
Luciano Massagli**

Pages 179 and 865. Session 5201. Delete Fancy Dan 5201m. It is identical to 5204y. Put Tulip or Turnip and Basin Street Blues at the end of the concert after the Medley. Add two titles, Do Nothin' till You Hear from Me and Once There Lived a Fool between Blues at Sundown and Skin Deep. Willie Timner has sent me a tape with these 4 titles. They are nicely connected, which is not the case with the selections as mentioned on page 179 in the 5201 session.
Sjef Hoefsmit

We agree and we will make a correction-sheet for this session.
Luciano Massagli**

Pages 180 and 1187. Session 5205. DESOR has only one Take the "A" Train in this session. There are two more. One after It Don't Mean a Thing, which is clearly prior to the 2^nd intermission, and one after Blue Skies, which is clearly the end of the performance. Duke says at the end of the program that he will be in Portland on Monday, the day after tomorrow. That fits. The sequence of the selections cannot be correct. We may never know the correct sequence, I guess. See for the final Take the "A" Train DEMS 85/2-5.
Willie Timner

We will add two more Take the "A" Train themes in the suggested positions.
Luciano Massagli**

Pages 203 and 1104. Session 5407. There was a short rendition of Satin Doll prior to an intermission between Jam with Sam (5407 ab) and Things Ain't What They Used to Be (5407 ac).
Willie Timner

We have some doubts about Satin Doll (5407). This title is clearly cut at the beginning and it is not connected with Jam with Sam. We prefer to suspend any correction awaiting further investigations.
Luciano Massagli**

Pages 213 and 218. I have a recording of a live concert that took place in Ann Arbor, Michigan on 2Jul56. I mentioned the contents in a message to the Duke-Lym list. Sjef reacted and we exchanged tapes. The result is that we are both totally convinced that the six selections from the so called West Coast session from probably Nov55, documented in the New DESOR as session 5518, belong to and should be put at the start of the Ann Arbor concert of 2Jul56, session 5612.
Roger Garrett**

Roger's tape is of the highest quality (musically, technically and historically, a week before Newport). Roger is trying to make this concert commercially available on CD. I wish him success!
Sjef Hoefsmit**

Pages 215 and 216. Sessions 5603 and 5604. Delete from the NOTE: a later date. Add: Radio Recorders, Hollywood on 8 and 11Feb56. Source: tape legends from Radio Recorders, which came courtesy of Richard Weize of Bear Family.
Steven Lasker

Page 224. Session 5625. A-Flat Minor on the original Columbia/CBS releases (5625 d) is take -6. Half the Fun on UtD 2006 (5625 e) is track -3. See page 6 of the liner-notes of the Columbia Legacy CD CK 65568.
Sjef Hoefsmit

Page 350. Session 6362. Blues at Sundown track 14 (6362m) is not unissued. I have a D.J. copy, issued by Contact Records, label JP-14502, matrix C-45104. It is identical with the Azure cassette CA-23, produced in 1998.
The flip-side (C-45103) has Workin' Blues & Jail Blues which are identical with the original LP release CT CM-1. Note the artist's credit.
Steven Lasker

I agree with you that it should be mentioned in the New DESOR, even if it was not a readily available commercial release. That was also not the case with the AFRS records.
Sjef Hoefsmit

You appear to assume that Contact JP-14502 (45 r.p.m.) wasn't released commercially. If this is your assumption, I'm not sure I agree. Ask yourself this: Why would a record company manufacture and distribute promo copies of an otherwise unavailable record? It doesn't make sense. Perhaps a reader of DEMS can report a commercial, non-promo, copy of this apparently uncommon disc?
Steven Lasker

Page 370. Session 6424 – 21Mar64.
See discussions under "page 551" in Bulletins 00/4-23 and 01/1-28 concerning Fleurette Africaine = Little African Flower = Les Fleurs Africains. (4:00) piano solo by Duke Ellington.
This selection was not played during the 15Nov69 concert in Geneva. It was telecast by "TV Suisse Romande" (French speaking part of Switzerland) on 1Apr69. It was acquired from the ORTF (French TV) show "Jacques Dieval's Club du Piano". It was recorded in Paris on 21Mar64 in the same session as Take the "A" Train (6424a) for the same programme of Jacques (not Jack) Dieval. I suggest for Fleurette Africaine 6424b.
Maybe other Dieval's programmes exist with Duke Ellington's participation, but I have never found one.
Claude Perrottet**

Luigi Sanfilippo wrote me long ago that this Jacques Dieval session does not exist. It is however confirmed by Klaus Stratemann, by Timner and by Giovanni Volonté. François Moulé has tried to find confirmation of this telecast, but he could not find any trace yet. This does not mean that Claude Perrottet must be wrong. Duke was in Paris that day where he played a concert at the Théatre Des Champs Elysées.
Sjef Hoefsmit**

Page 383. Session 6456 – 2Sep64, 6456q, Blues No. 09 is Isfahan.
Jozeph Maréchal

Page 1071. The description of Perdido, 6509v from Copenhagen 31Jan65, is wrong. Gonsalves did not play his solo. He was fast asleep. Hamilton took over.
Joe Farrier

Page 1102. Theme Saddest Tale.
Duke said in the interview broadcast in the programme "Hot Corner" from the Earl Theatre in Philadelphia (New DESOR 4703) about the bass clarinet in Saddest Tale:
"No that was a 'mezzo'. It was a man who was a professor up in Connecticut there somewhere, who invented some in between instruments and he came down and loaned us his clarinet which was quite a thing. He called it a 'mezzo'. It was between the regular B flat clarinet and the bass."
Tony Schmidt

Page 1228. You Left Me Everything but You – The Wonder of You. Recordings between 6Jun44 and 29Dec45.
There's something amusing to be mentioned concerning the lyrics of this song credited to Duke Ellington, Johnny Hodges and Don George (nothing to do with Everything but You by Duke, Harry James and Don George, except part of the title).
The first recording from 6Jun44 is titled You Left Me Everything but You (4431a) with vocal by Wini Johnson and indeed the refrain is based on the words "you left me everything but you". Fourteen months later the very same melody is re-titled The Wonder of You and recorded several times end of 1945 (4584g-4599d), now with Joya Sherrill singing and with completely different lyrics, always ending with "...the wonder of you".
Jean Portier**

In MIMMp503 the 1944 song You Left Me Everything but You is credited to Duke and Don George. They are both mentioned as composer and as lyricist. Johnny Hodges is not mentioned. The 1945 song The Wonder of You is credited to Duke and Johnny Hodges as composer and Don George as lyricist. These credits are mentioned in DESOR. This is again one of the many puzzling copyright mysteries.
Sjef Hoefsmit**

Page 1267. Jean Portier reported in Bulletin 00/2-19 to have noticed discrepancies in the structures of Warm Valley.
Giovanni Volonté suggested in Bulletin 00/3-25 that take -1 (4018d) and take -2 (4031a) were invertted on disc 9 of the RCA Centennial Edition.
Hoefsmit wrote that if that is true, also the two takes on the French RCA LPs "Works of Duke - Complete Edition" were inverted.
Having inspected the metal parts, and after comparing a test of take one with what is heard on the 24-CD box, I can state with absolute certainty that the performances represented on the box as being takes one and two are in fact those takes.
Steven Lasker

Page 1440. I read in a press release from the Ascona Jazz Festival: "Even though Satchmo always maintained that he was born on the 4^th of July 1900, there are no longer any doubts regarding his true birth date, in August 1901."
Should we make a correction on page 1440? Does anyone know the exact day in August?
Jozeph Maréchal

Ken Burns says in part 2 of his television series that the correct date is 4 August 1901.
Sjef Hoefsmit

Page 1503. How sure are you about Cootie Williams' birthdate being 24Jul? According to Cootie in an oral history interview he was born 10Jul11 in Mobile, Alabama.
Annie Kuebler

Annie's information is supported by a list of birth and death dates in the Dutch journal "Names & Numbers". There Cootie's birthdate is given as 10Jul11, giving the SSDI (Social Security Death Index) and the Virgin Encyclopædia of Jazz as sources.
Rob van de Velde

According to John Chilton, Cootie was born in Mobile Alabama on 24Jul10.
Michael Palmer

Just to try and nail this once and for all. The statement of the 10Jul11 date goes back all the way to Hugues Panassié in the liner-notes to Cootie's r-and-b recording live in Paris for French Decca, and from there it went into "Jazz, The Rough Guide" (1995 edition). At that time I checked with John Chilton, who normally relies on documentation such as you describe. At that time he had seen nothing to prove conclusively that 1910 was wrong, and found it hard to believe that Cootie was professionally active at age 14. Nevertheless we stuck to 10Jul11, and I believe the Virgin Encyclopædia picked it up from us.
Brian Priestley

DESOR small corrections 5004

New DESOR correction-sheets