THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY 04/1 April-July 2004 FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL EDITOR: SJEF HOEFSMIT ASSISTED BY: ROGER BOYES

Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Email: dems@skynet.be

Part 4. New Desor Explanations & Corrections

The New DESOR explanations

04/1 DEMS 30

In the past few years, we have noticed that some people, who had not used the old Desor volumes, were experiencing some difficulties in understanding the rules and signs in the New DESOR.  We asked Luciano and Giovanni to write a few explanations which would be helpful for DEMS members to better understand the New DESOR. Here is their response.
DEMS**

In "Section One - Sessions" (Volume One) we give a chronological survey of all the recordings made by Ellington with or without his orchestra, to which we either have listened, or (in the case of those to which we were unable to listen) of whose existence we are convinced.  In order to compose a chronological list of all the performances of the same piece in "Section Two - Titles" (Volume Two), we had to give only one title to each piece of music.  We have opted for the most generally known title, not necessarily the title of the first recording.  If on a release or in a session another title was used, we give that other title between parentheses like this: Don't Get Around Much Anymore (Never No Lament).  These alternate titles are brought together alphabetically in a list on page XXXIII.
Each recorded piece is followed by the labels and numbers of the first release and of important later releases on LP and/or CD.  These for collectors important LP and CD releases are brought together in "Section Three - Discs".  Previously unissued recordings are underlined.  The abbreviations of the label names can be found on page XXIII.
The last number after the recording (if any) at the end of its line is the matrix-number of the recording and/or the take number or occasionally the track number in the recording session.
If the recording is only a little fragment that was used to complete the main recording, the number of the release is placed between parentheses.  That means that only the minor portion of the tune (like an insert) is between parentheses.

Our aim was to describe in "Section Two - Titles" the recordings in a way which is understandable to people not able to read music.  On the first line you find the title at the left side, the names of composer/lyricist in the middle and the structure of the piece at the right side.
Under the title we have put occasional sub-titles.  Sometimes a sub-title also exists as the main title of a complete other composition.  If that is the case, we added to the sub-title this sign: #.
To achieve our objective we decided to subdivide each piece of music into a succession of choruses, numbered progressively (1°; 2°, and so on).  Each chorus number is followed by the initials of the musicians (see page XI and following pages) who performed that chorus, or it is followed by BAND if the whole band or a great part of the band was involved, like this: 2°DE;3°BAND;
Numbered choruses are separated by semi-colons [;]. The number of bars is not repeated in the description, if the chorus is completely and entirely performed by the same musician(s).  If on the other hand only a part of the chorus is performed by the same musician(s), we break down the description of the chorus to show the number of bars performed by each player (or by the band), followed by the initials of the performer (or by BAND), like this: 4°16DE,16BAND;
If only a part of the chorus is played we give the symbol (nc) after the chorus number like this: 1°(nc).  This is followed by the number of bars that are actually performed in the non-complete chorus like this: 1°(nc)16.  This is again followed by initials before we give the closing sign [;] and start the description of the following chorus like this: 1°(nc)16DE;
If a musician or the band plays for more than one chorus without interruption we write: 1°/2° or 4°/12°, and so on like this: 2°/6°DE;
If the piece contains more than one theme, as shown in the description of the structure of the piece at the right side of the first line, the chorus number is followed by a Roman numeral (1° I; 2° II, and so on) that shows which theme is being played in that chorus.
The sequence of choruses may be interrupted by other musical episodes.  These are indicated with an abbreviation (see page VII) followed by the number of bars performed.  The symbols for such episodes are: int (introduction); pas (passage); cod (coda); lib (ad libitum, when a soloist improvises freely out of the scheme of the theme structure).
Where a soloist does not play his usual instrument the abbreviation of the unusual instrument being played (see page VIII) is shown in parentheses after the soloist's initials like this: cod8OP(ce.)
If the initials of two or three performers are linked together with & (for instance: Fugueaditty: 3° LB & HC &JHa) you can hear each of them playing a distinctly different line.  If the performers play in unison (or in harmony) they are linked by a dash (for instance: Indigo Echoes: 1°RS-HC-JH(s.s.).
Other symbols are: PER (percussion), CHO (choir), AUD (audience).
All the performances of each piece are listed and described in chronological order.  Where there is no difference from another description we write "Same as", followed by the reference number of that other description.  If the description is like a previous one but differs in some detail we write "Same as..... but", followed by the different portion of the description.  If the description differs only because there is another soloist we write "Same as...., but..... instead of.....".  For instance: Crescendo In Blue: Same as 5743 ae, but JHa instead of JH.
If the recording we have described is not complete, because a portion is simply missing, we indicate that with this sign: %.
Luciano Massagli and Giovanni Volonté

I have taken the opportunity to remind you (or maybe tell you for the first time) what the next sections in the Bulletin contain.

The New DESOR corrections are suggestions from anybody for the authors of the New DESOR to add or correct anything.  The authors have not yet accepted these corrections or additions.  Everybody is invited to make his comments or send in his own corrections or additions.

DESOR small corrections are corrections, which have been accepted and which could easily be written in the books.  References to earlier DEMS Bulletins are between parentheses, to help you find the background information about these corrections.  The corrections are printed on sheets, from which the numbers started with 5001.  These sheets are available from DEMS.  They are printed on both sides.  Eventual corrections on these corrections may appear on future 5000 sheets, but the 5000 sheets will not be updated.
If you have acquired your two New DESOR volumes recently and you want to have all the accepted corrections until this very moment, you can ask for a set of 6000 sheets.  These sheets will be updated three times a year (with each new DEMS Bulletin) and they contain all the "small corrections" from the past.  The advantage is that you not only have the most recent updated corrections but more so, that you have to go through your books only once.  The corrections are put in the correct sequence.

New DESOR correction-sheets is a constantly growing list of correction-sheets, which are authorised by Luciano Massagli and Giovanni Volonté and made available through DEMS.  They are only printed on one side (with the exception of the 5000 and 6000 sheets); to make it possible for you to cut them in pieces and to put the updated or new data in the books where they belong.  The 1000 series contains new or updated sessions, for section 1 of the New DESOR.  The sheets of the 2000 series contain titles and descriptions and belong to section 2 in Volume 2.  For section 3 (Discs), we made sheets in the 3000 series.  For section 4 no sheets are yet required.  The 5000 and 6000 sheets have just been explained.  We are used to publish the new additions to this list of correction-sheets in each Bulletin.  This time we will publish the list in full.  You may be a bit overwhelmed by the quantity of corrections, but you have four months time to digest, before we are back with the next set.

If you are interested in keeping your expensive New DESOR volumes updated, these sheets may be very handy.  They are also helpful for DEMS members to take part in the discussions and to add corrections and additions in order to make the New DESOR ready for a second edition, which we hope will come one day in any form considered convenient on that moment.  This may take many years and it is good to know that all the efforts of Luciano and Giovanni have been documented.  You are welcome to join the ever-growing group of contributors.
Sjef Hoefsmit**

04/1 DEMS 31

I have only signed my own suggestions with SH if it would cause confusion otherwise.
Sjef Hoefsmit**

Page 14. Session 3010, Aug30.  I repeat my suggestion in DEMS Bulletin 99/5-22.  Now I have heard the full version of Three Little Words as discovered by Steven Lasker (see 04/1-4) I am convinced that both versions of Three Little Words, DE3010e and g are not played by Ellington.

Page 129. Session 4611, 20Apr46.  The presence of Russell Procope (instead of Otto Hardwicke) is only confirmed in Klaus Stratemann p266.  Reading in Stanley Dance's "The World of Duke Ellington" p162, one is inclined to believe that Russell replaced Otto for the first time on 27Apr46.  In an interview in Salt Lake City (5oct62) Duke mentioned that Procope started in 1945, but Duke must have been thinking of the time Procope was a guest on the Treasury Show of 20oct45.

Page 156. In addition to all the conflicting opinions about session 4801 of 6Nov48, we can add the following message.
DEMS

"After hearing Y'oughta (03/3-25), I'm sure the only soloist on tenor sax is Ben Webster.  Best regards.
Claude Carrière."

Page 304. Session 6123, 20Sep61.  You suggested to add at the end Congo Square (Matumbe).  That is wrong.  What you have on your tapes is the same as the recording of 2Mar61 (6102c).
Luciano Massagli

You are right.
SH

Page 306. Session 6128, 21Nov61.  How do you know that Eddie Mullens was present? Duke didn't mention him.  He called his band a ten piece band.  It is the question: did he consider himself a band member? On the other hand: Klaus Stratemann p445: "Ellington was recorded with 10 of his men." Did you hear two trumpets?
SH

We have listened to this recording session and we agree with you: we don't hear 2 trumpets and Duke didn't mention Eddie Mullens.  I don't remember where I got information about the presence of Mullens.  We will make a correction.  See 04/1-32.
Luciano Massagli.**

Page 332. Session 6318, 7Feb63.  You are wrong.  In Mood Indigo at the end of the programme, one can hear Ellington on the piano, which is not the case in Mood Indigo that opens the programme.
Luciano Massagli

You are right again! I admit that both versions are different.  However, I am convinced that they originate from the same recording, from which the first chorus was used for the opening and the last chorus plus coda was used for the conclusion of the programme.  I think that the middle part is missing.
SH

Page 338. Session 6333, 24Feb63.  About your suggestion in 03/3-26: we have not included the alternate take of Solitude because it is played by BS in a non-Ellington context.  We are still convinced that the pianist in the first take sounds more like Strayhorn than Ellington.  Nevertheles we understand that there is no reason to change the piano player after the first take.
Luciano Massagli**

You are wrong.  Duke is giving instructions from behind the piano.  I am convinced that he played all the "takes" of Solitude and not only the last one which is issued.
SH**

Putting my tapes in order I found the complete recording session of the Dollar Brand trio in Paris (24Feb63).  I listened to Solitude and to my great surprise I found that there are 4 complete takes of it, and not 2 as stated on the Danish Radio sheets.  It is indeed Ellington at the piano.  We made corrections, see 04/1-32 (p338 and p1132) and Correction-sheet 1058.
Luciano Massagli**

Page 350. Session 6362, 20Aug63.  On the sessions for My People we made a mistake: Pete Clark plays the bar sax (MIMM p199).  On the same page Duke says that Bob Freedman plays tenor, not bar sax.  We made corrections, see 04/1-32.
Luciano Massagli**

Page 354. Session 6366, 27Aug63.  About your suggestion on 03/3-27: we have not stated in the New DESOR that Billy played during this session.  How do you know he was there?
Luciano Massagli

You hear Billy's voice and you hear Duke say: "Strays", between tracks 25 and 27.  Either the date of this session is wrong, or the story in David Hajdu's "Lush Life" p228 is not completely true.
SH

You are right about Strayhorn: we hear him play the piano in My Mother, My Father and Love.  We will make a correction.  See 4/1-30.
Luciano Massagli**

Page 363. Session 6409, 20Feb64.  As I remember "Jazz 625" is the title given to a series of telecasts aired in 1985/90.  It is possible that the original telecast was "Jazz on Campus".
Luciano Massagli

Only in the Duke Ellington Itinerary of Joe Igo is the name "Jazz on Campus" mentioned.  I have not found that name anywhere else.  It is true that the programme was re-telecast in 1984 and 1986 (my video is recorded from a telecast on 30Mar90), but the name was "Jazz 625" from the beginning (See Klaus Stratemann p481).  Duke was the first to appear in that series.  It was the inauguration of the station BBC 2 and 625 reflects the number of lines on the screen.  The location was the BBC studio, which had nothing to do with a campus.
SH

Page 367. Session 6418, 10Mar64.  Do you know in which titles Valaste replaced Woodyard?
Luciano Massagli

I am sorry.  This is the only thing I know from DEMS 80/2-5: "Erkki Valaste for Sam Woodyard during first portion" (written by Benny Aasland).
SH

Page 380. Add between 6447 and 6448 an interview of Duke Ellington, Billy Strayhorn and Harry Carney at the Golden Akasaka Night Club by the American Armed Forces Far East Network.  The interview took 55':10" and included the time for playing a dozen commercial recordings.

Page 380. Session 6448.  It is not established that this interview took place in Tokyo.  It is however undoubtedly from Japan.

Pages 382 and 383. Session 6455, 26Aug64.
Volupté, 6455q, (part 3 of the "Suite for Swinging").  Only a part of the recording was used for the LP.  See page 1262, what was used is underlined: 1°DE;pas14DE+2DE;2°DE;cod14DE.

Igoo, take -1, 6455r.  The recording was used in its entirety for the first part of Igoo (part 1 of the Suite).  The rest of Igoo (part 1 of the Suite) was taken from
take -3, 6455t as follows (underlined is used): 1°IDE&JL;pas12BAND;2°/3°IBAND;pas10PG&BAND,2PG&BAND;4°IIBAND&JHa;5°IDE;6°IIBAND;7°I4DE,8DE;8°/11°IIDE;cod2DE.

From the released take -4 of Igoo (part 5 of the Suite) the segments were taken out of sequence.
Sequence numbers are at the end of each line between brackets.
1°I8DE,4DE;2°IBAND;3°/4°IIBAND; [2]
5°I2DE&JL,10DE&JL; [1]
pas12BAND;6°/7°IBAND;pas6PG&BAND, [3]
6PG&BAND;8°IIBAND&JHa;9°I2DE&JL, [5]
10DE&JL;10°IIBAND; [4]
11°IDE;pas4DE,8DE;12°IIDE;13°II(nc)8DE;cod6DE,8DE. [6]

Shufflelady , take -2, 6455y, was also only partly used for part 2 of the Suite.
This is the description with the used part underlined:
1°/3°;4°9BAND&DE,3BAND&DE;5°BAND&DE;6°BAND&JH;7°/8°BAND.

Soul Train, take -1, 6455am. Only 8 bars have been used for the beginning of part 4 of the Suite.
1°DE;2°2HC,2CW,2HC,2CW,2HC,2CW;3°BAND;4°2HC,2CW,2HC,2CW,2HC,2CW;5°DE;6°(nc)4DE.

Soul Train, take -3, 6455ap. The first 4 bars were deleted:
1°(nc)4DE;2°2HC,2CW,2HC,2CW,2HC,2CW;3°(nc)11BAND.

Shufflelady, take -5, 6455as, part 7 of the Suite.  Only the end was used
1°DE;2°/3°BAND&DE;4°11JH&BAND,1JH+BAND;5°JH&BAND;6°BAND.

Spon, take -3, 6455au.  Only the last chorus (nc) was used for the end of part 6 of the Suite.
1°16DE&SW,8DE,8DE&SW;2°16BAND,10CW,6BAND;
3°(nc)16PG;4°(nc)16BAND&PG;5°(nc)16DE+JL.

Spon, take -5, 6455aw.  This take with the exception of its last chorus (nc) is at the beginning of part 6 of the Suite.
int4JL;1°16DE&BAND,16CW;2°(nc)16PG;3°(nc)16BAND;4°(nc)16DE&JL.

See for almost identical analyses Klaus Stratemann p495.

Page 383. Session 6456, 2Sep64.  The spelling of his name is Whitteker, not Whittaker.  See corrections on 04/1-32.
What you find on Rarities 29 is the "soundtrack" of the actual telecast titled "The Duke" which was a part of the series, called "Festival".

Page 384. Session 6457, 3&4Sep64.  The vocal part of Come Sunday (David Danced), 6457j, was not sung by Emma Kemp.  There are three persuasive reasons to support this assertion:- The voice is that of Joya Sherrill, Duke announced Joya specifically for doing this song and Emma Kemp's name is not found in the detailed credits at the end of the telecast.  Klaus Stratemann (p497) is in error.  Make also a correction on page 1475 of the New DESOR.  See corrections on 04/1-32.

Page 384. Session 6458, 6,8&9Sep64.  Make a note for the personnel at the 6458 session: Eddie Johnson, (t.s.) replaced PG in a, b and c. (See Mark Tucker's liner-notes for the Mosaic Reprise set, p20&28)
In DEMS 99/4-10/1, I suggested to credit Eddie for a, b, e and k.  I have changed my mind.  I found track numbers of the selected recordings for the album in the Danish Arkiv # 35238.  These track numbers indicate that there were three sessions.  The selections as mentioned in the New DESOR follow the sequence of recording.  The first session included tracks 4, 13 and 16.  The second one the tracks 7, 11, 17, 24, 27 and 36 and the last one had tracks numbers 2, 4 and 10.  The middle session is too long for Eddie Johnson, who said: "I didn't play on more than four tunes".  Mark Tucker chose the third session as the probable one.  I believe it must have been the first session.  The only selection which I did not point out in my contribution in 99/4-10/1 is Feed the Birds.  In spite of what Eddie Lambert wrote on p252 of his "Listener’s Guide", repeated listening to Feed the Birds has not resulted in the conclusion that the tenor could not have been played by someone other than Paul Gonsalves.
Lambert, Tucker and I agree on the fact that Eddie did not replace Paul in the second session (running from 4658d until/including 4658i).  Paul soloed in the second session in 4658d, f and i!
An additional argument to choose the first session is what Jeff Lindberg wrote (DEMS 99/4-10/1).  "On Eddie's day Duke recorded only pieces that Gonsalves did not solo on".  It is true that one cannot be sure that Paul played in the three numbers of the final set, but if the last day was the day with Eddie, what did Duke have to choose from?
I have in my own files split the session into three parts, each with its own date.  See correction on 04/1-32.

Page 384. Session 6459, 11Sep64.
The correct spelling is CULLEN.  The building still exists on the University of Houston campus and is now called Cullen Performance Hall.  It is named after Hugh Roy Cullen, a well-known oilman who was very generous in donating funds for such endeavors.  See corrections on 04/1-32.
Charles Waters

Page 387. Session 6502, 12Jan65.  Many edited versions of these two films are circulating on video.  Film #19 runs from 6502a until/including 6502i.  Film #20 runs from 6502j until/including 6502s.  In film #19 Duke wore black trousers and in film #20 he wore grey trousers.  This helps to sort things out.
There is indeed only one recording of Things Ain't What They Used To Be as indicated on page 1233, where a description of 6502i is missing.  Klaus Stratemann (p501/502) was in error.
The title of 6502i should be changed into Take the "A" Train.  There are three distinctly different recordings of that title in the films: 6502a, i and j.
There is a great difference in the music between a and i (both with black trousers).  There is only a slight difference in the music between a and j.  But the difference between these two is not only that Duke wore different trousers.  He stays at the piano in a, whereas he stands up at bar 9 of the incomplete chorus in j.
The closing 6502i was also used as the beginning of one of the videos (on which it is followed by Cotton Tail).  In this instance the picture continues until the end of the selection.  When 6502i is used as the end of a video (after Do Nothin' Till You Hear from Me) the music is complete (and identical) but the picture is replaced by credits.
Between 6502i and Cotton Tail, Duke suddenly changes trousers from black into grey.
After 6502g, Do Nothin' Till You Hear from Me, Lawrence Brown left the stage at the left side.  But before 6502i, the closing Take the "A" Train, we see Cat Anderson leave the stage at the right side, while Lawrence is already seated.  That confirms the fact that Jam with Sam, which is missing on all videos, preceded the closing theme 6502i and not Do Nothin' Till You Hear from Me as some videos would make us believe.

Page 388. Session 6505, 26Jan65.  The title of the broadcast from "France Inter" was "Paris sur Scène", recorded at the "Maison de la Radio", studio 104.  The introduction was spoken by Maurice Cullaz.  The broadcast was produced by Jean Chouquet.  See corrections on 04/1-32.
François Moulé

Page 390. Add between sessions 6509 and 6510 an interview, dated 31Jan65, recorded for later broadcast in the programme "Jazz Aktuelt".  The introduction is spoken by Per Møller Hansen.  We hear, taken from the concert, Things Ain't What They Used To Be (not complete), followed by an interview with Duke (5':13"), translated into Danish by Børge Roger Henrichsen.  This is followed by Solitude, by Sathima Bea Benjamin, accompanied by Dollar Brand, taken from the second concert.  The broadcast concluded with the award presentation to drummer Alex Riel (during the second concert) and with an interview with Alex Riel in Danish.
Ole Nielsen

Page 392. Session 6515, 12Feb65.  Ole Nielsen and Timner have this recording on 11Feb65.  Duke was in Munich on both dates.  Do we have a confirmation for the 12th?
In my files and in the old Desor the date of the concert was 11Feb65.  This date was than changed to 12Feb65, ref. DEMS Bulletin 93/1-1, where it is stated that Ellington was in Nürnberg on the 11th and in Munich on the 12th.
Luciano Massagli

I am still not sure.  Duke was probably not in Nürnberg on the 11th, because he also played a Bal Paré (see Stratemann p504) in Munich.  Stratemann has Ellington two days in Munich and nothing at all in Nürnberg.  We need help from somebody who can check for us in German newspapers.
SH

Pages 395 and 396. Sessions 6520 and 6522 were two parts in a series called "Jazz 54" from BBC 2.  The parts were named "Ellington in Europe".  Part 1 was telecast on 27Mar65 and part 2 on 10Apr65 (see Klaus Stratemann p681).  Four parts of the interview from session 6521 were used in part 1 of "Ellington in Europe".  The whole interview plus the musical selections were telecast separately on 26Mar65 in the programme titled "Late Night Line Up" probably in combination with an announcement of the telecast "Ellington in Europe", part 1, the next day.

Pages 398, 399 and 400. Sessions 6528 - 6532.  I believe that the old Desor was right and that Mercer Ellington left the band (as a trumpet player) after they returned home from Europe.  See also the liner-notes of the Mosaic 5 CD set of Reprise recordings.  It is easily to correct if we change the reference number for the personnel from 6503 into 6504.

Page 399. Session 6530, 17Mar65.  The end of take -1, 6530i, was replaced by the last part of take -8, the insert 6530o.

Page 401. Session 6533, 14Apr65. 6533v, Virgin Jungle, take -2.  On the Reprise release the ending was replaced with the complete coda insert 6533w.  On the Discovery (DS-841) release only the last part of the coda insert was used.
I wonder if the title of 6533x and y is properly spelled.  The 5 CD set of Mosaic and all my LPs have Fiddler on the Diddle.  Timner and Nielsen have Fiddle on the Diddle.
You are surely correct in querying this spelling.  It must be Fiddler on the Diddle.  The Leonard Feather sleeve notes to the original LP issue indicate that this is so, where Ellington himself is quoted, calling it an instance of 'using word-plays on the titles of various Broadway shows'.  The Fiddler on the Diddle spelling is the only one which retains the punning reference to Fiddler on the Roof.  Fiddle on the Diddle makes a kind of sense but loses the punning reference; Fiddle on the Diddler as per DE6533 doesn't make sense.  The Stanley Dance notes on the same LP issue though, have Fiddle on a Diddle, in which the punning reference is also lost.
Roger Boyes

Page 403. Sessions 6540 and 6541, 30Jun and 2Jul65.
I am not happy with these sessions as released on Red Baron.  Why not give a full overview.  If Billy Strayhorn is among the personnel, why not include the selection in which he played the piano? Or should we believe that Duke and Billy played all four mentioned titles together?
SH

As always we have not included the other titles because they are played by Billy Strayhorn in a non-Ellington context.
Luciano Massagli

I find it hard to believe that in Boo-Dah, 6540a, described under Smada on page 1128, Billy Strayhorn took over from Ellington in choruses 4° and 5°.  I vote for Duke all the way.  I also believe that Stanley Dance is right in the liner-notes where he stated that Duke played Day Dream and Just A-Sittin' and A-Rockin' on 30Jun65.
I hear indeed in the 2Jul65 session two piano-players simultaniously in Pig Sty and I can agree with you that Strayhorn played in Oink, but I have my doubts about Multicoloured Blue.  As long as we are not sure about who played what, I suggest that both complete sessions should be documented in the New DESOR.
SH

Page 406. Session 6550, 30Aug65.
El Viti, 6550k and 6550l were respectively mentioned intercut take -2 and intercut take -3.  What we have on the released CD is 6550j from which the last part was replaced by the first part of intercut -2 and the last part of intercut -3: 6550k and l think both should have the release number between parentheses.
Trombone Buster, 6550x.  What we have on the released CD are the first 20 bars of 6550v and the rest taken from 6550x.  Should 6550v not have the release number between parentheses? See corrections on 04/1-32.

Pages 407 and 408. Session 6552, 18Sep65.  What made you decide to drop Dizzy Gillespie, Rex Stewart and Clark Terry from the personnel listing for Rockin' in Rhythm? You mentioned their presence in the old Desor and it is confirmed by Jimmy Lyons in his book "Dizzy, Duke, The Count and Me" p162.
I have listened to the recording.  Dizzy, Rex and Clark were not credited by Duke (at least not on my tape), but one can hear some very distinctive trumpet sounds in the coda.  Dizzy was announced by Duke for the encore he did without the band, but with John Hendricks, in my files as Goodnight Interlude.

Page 417. Session 6614, 7Feb66, 2nd concert. (Correction-sheet 1039) Duke and Jimmy Jones both played (the same) piano in Cotton Tail.
Bo Scherman

Page 423. Sessions 6626 and 6627, 19Feb66.
Both sessions were from Manchester, 19Feb66; 6626 being the second concert and 6627 being the first.  The first concert (6627) starts with Take the "A" Train, followed by Main Stem for which the musicians had to look for their parts.  This was not the case in the second concert (6626).

Page 426. Session 6636, 29Mar66.  On the cover of Doctor Jazz, Jerome Richardson replaced Harry Carney in West Indian Pancake.  In the liner-notes is stated that the reason for this replacement was the fact that Harry arrived too late, which means that he was also replaced in Take the "A" Train.

Page 431. Session 6649, 2Jun66.  Duke came on stage between 6649e and 6649f.  I cannot confirm the sequence of the first group of 5 selections.

Pages 432 and 433. Session 6650, 26Jun66.  After the Medley 6650a, the studio orchestra played another Medley, featuring Dean Martin.  This also contained five selections: It Don't Mean a Thing; Hold Tight; Hubba Hubba Hubba; The Music Goes 'Round and 'Round and Swingin' Down the Lane.  In the transition between the fourth and fifth selection we hear distinctly Ellington on the piano.

Page 436. Session 6658, 18Jul66.  The playing of the piano and the speaking of the texts were recorded separately.  There were several attempts at the narration for Field Enterprises and there were several attempts at the spoken introduction to Dancers in Love.  One of each was used for the release.

Page 441. Session 6668, 23Aug66.  The date is wrong, as was Klaus Stratemann.  I have listened to an interview which took place on 24Aug66 in which it was stated that the concert was "tomorrow".

Page 442. Session 6669, 2Sep66.  Put behind the title Meditation, between parentheses the title Just One Big Question.  That was the title on the release.  The location was Chicago, not N.Y.C.

Page 445. Session 6678, 16Nov66.
Add at the beginning of the Medley: Satin Doll and Solitude.

Page 447. Session 6681, 21Nov66.  At this opening night, Joe Bushkin and Skitch Henderson joined (on piano) the band in Jam with Sam.

Page 448. Session 6683, 29Nov66.
The unknown interviewer was Johnny Carson.

Page 671. Session 7251, 23oct72.  I wonder why Duke's poem about "togetherness" is not included between 7251a and 7251b, since the poem, titled "Into Each Life Some Jazz Must Fall" has been included, 20May64, 6439m.  They were both recorded without any instrumental sound.
Lance Travis

Page 768. Blues No.10.  The introduction by Duke was taken from Launching Pad.

Page 860. El Viti, 6618f should read: Same as 6550h.

Page 899. History of Jazz, 5003d.  The note says that each chorus was based on another theme.  That's not the case for 5° and 6°.  They were based on the same theme.  5° seems to depict the sound of Glenn Miller and 6° seems to be inspired by Tommy Dorsey's sound.

Page 902. Hot Feet.  I have just got the Jan Evensmo book "History of the Jazz Tenor Saxophone".  On p32 of Volume 5 it says, that it was really Harry Carney who played the tenor sax solo on Hot Feet from 7Mar29, and not Barney Bigard as stated everywhere (including the New DESOR).
Bjarne Busk

Source: Steven Lasker, who got it from a Brooks Kerr conversation with Harry Carney, in which Harry stated that he played the solo on Bigard's tenor sax:
"I found HC's assertion both instantly credible and perfectly obvious, since HC's opening solo exhibits a blistering attack and propulsive drive absent from Bigard's other recorded solos of the period."
Steven Lasker

Jan Evensmo: "Personally I have no reason to disagree, exciting discovery!"
Bjarne Busk

If we accept Harry as the tenor-player, we will have to credit Barney with the clarinet part, which seems even a bit more unlikely.
SH

Page 969. Jones.  As we all know it was Clark Terry who wrote Jones.  He put the name of his wife, Pauline Reddon (who died in 1979), on the tune, because Clark worked with BMI and Duke was associated with ASCAP.  Source: A Clark Terry interview with Steve Voce from 1995.

Page 1082. Purple People.  About your suggestion on 03/3-27: you are right about Bob's name as clarinetist.  We will make corrections.  See 04/1-32
Luciano Massagli**

Page 1449. Harry Carney joined the band on 26Jun27, not on 16Jun27.  He made this statement in an interview with Bob Davis at the University of Northern Illinois, probably on 20Mar74.  See also Frank Dutton in Storyville # 91 p10.

Page 1473. "Jimmie" Jones.  Why not accept "Jimmie" Blanton, who signed with "Jimmie" as suggested by Hoefsmit in his Comments on Timner 4th edition page 1 (which came with Bulletin 98/2) and write Jones' first name as "Jimmie" whose name is always spelled as Jimmy Jones?
Lance Travis

Volume 1 (Corrections April 2004)

2 - Session 2603. Delete "-A" from matrix numbers. Session 2604. Delete "-A" from matrix X323-A. (03/3-9)

5 - Session 2806. Add 2806d  Tishomingo Blues  Br 3987. Correction-sheet 1058. (00/3-13/4)

47 - Session 4007. St. Louis Blues, 4007f: vcCW instead of vcIA. (02/3-7/2)

49 - Session 4015. The actual date is July 31 instead of July 30. (03/2-9/2)

50 - Session 4021. The actual date is September 8 instead of September 10. (03/2-9/2)

51 - Session 4028. Add as first title 4028xa  Maybe  vcIA unissued. Correction-sheet 1018. (00/2-21)

59 - Session 4123. Delete: JB(b.)out. Flamingo, 4123b, delete: unissued; add: JHP CD-48736. Take the "A" Train, 4123a, add: JHP CD-48736. Correction-sheet 3018, CD 0869. (03/3-8/2)

105 - Session 4546. I'm Beginning To See the Light, 4546j, add: DETS 14. (03/3-25)

134 - Session 4622. Add three unissued takes of 9:20 Special. Correction-sheet 1057. (03/3-8/1)

212 - Add session 9037, Leonard Feather Interview, 1955. Correction-sheet 1058.

295 - Session 6034. The correct name of the location is: William and Mary College. (03/3-25)

297 - Session 6103 (also on Correction-sheet 1023), Tulip or Turnip, 6103c, has take number: -6. (00/3-25 and 03/3-26)

299 - Session 6109. Personnel: BWo instead of LBk. (03/3-26)

306 - Session 6128. Delete from the personnel: EMu. (04/1-31)

313 - Session 6220. The correct date should be May 28 instead of May 20. (03/3-26)

320 - Session 6241. DUKE ELLINGTON WITH HENDERSON ORCHESTRA instead of DUKE ELLINGTON AND HIS ORCHESTRA.
DE(p.) acc. by Skitch Henderson Orchestra instead of Same as 6229, but BBe(t.)out; and: CW(t.)added. In the NOTE delete: ", on the air on September 20". (03/3-26)

322 - Add session 9036, Paul Smith Interview, 5oct62. Correction-sheet 1058. (03/3-26)

328 - Add session 9038, Timme Rosenkrantz Interview, Jan63. Correction-sheet 1058.

331 - Session 6313. The correct spelling of the interviewer's name is Allroth. (03/3-26)

335 - Session 6327. The location is Berlin, not Hamburg. (03/3-26)

338 - Session 6333. Add three complete takes of Solitude, all played by Ellington at the piano and sung by Sathima Bea Benjamin. Correction-sheet 1058. (04/1-31)

340 - Session 6338. See Correction-sheets 1019 and 1020 for an update. (00/2-4/1)

350 - Session 6362. The saxes personnel should be read as follows: RP,RPo(a.s.,cl.);HA(t.s.),BFr(t.s.,cl.);PC(b.s.). (04/1-31)

351 - Session 6362. Light, 6362bf (track 71): delete "unissued"; add "(Ct CM-1)". (03/3-27)

352 - Session 6363. Add between 6363t and u: 6363xa What Color Is Virtue? (Ct CM-1) Correction-sheet 1059. (03/3-27)

352 - Session 6364. The location is "Arie Crown Theatre", not "Aerie Crown Theatre". (03/3-27)

354 - Session 6366. BS was present, delete: BS(p.,cs.). (04/1-31)

363 - Session 6409. NOTE: "Jazz 625" instead of "Jazz on Campus". (03/3-27)

374 - Session 6433. Add between 6433e and f: 6433xa Happy Reunion unissued. Correction-sheet 1057. (03/3-27)

380 - Session 6449 should be deleted. (03/3-27)

381 - Session 6451. Add: NOTE - 26 bars of Nagoya were used for the CBS telecast "Duke Ellington Swings Through Japan", on the air on December 20. (03/3-27)

383 - Session 6456. The correct spelling of the interviewer's name is Whitteker. (04/1-31)

384 - Session 6457. Come Sunday, 6457j: vcJS instead of vcEK. (04/1-31)

384 - Session 6458. Add: NOTE - Possibly Eddie Johnson (t.s.) replaces PG in a, b and c. (04/1-31)

384 - Session 6459. The correct location is Cullen Performance Hall. (04/1-31)

388 - Session 6505. The location is: Maison de la Radio. The correct title of the broadcast is: "Paris sur Scène". (04/1-31)

402 - Session 6536. The name of the interviewer is John Grams.

406 - Session 6550. El Viti, 6550k&l, delete: unissued; add: (Sa 91232-2). Trombone Buster, 6550v, delete: unissued; add: (MM5041-2C). (04/1-31)

408 - Session 6554. The vocalist is EM instead of JHe.

692 - Session 7341. 7341w: change Over the Waves into Anniversary Song.

Volume 2 (Corrections April 2004)

XXXVI - Dusk in the Desert should be read Dusk on the Desert. (03/3-7/19)

XL - Add: Valurile Dunarii ……….Anniversary Song

713 - 99% Won't Do, 6363k. The description should be read: Same as 6362i, but: cod4IBS. (03/3-27)

724 - AGRA, 6420g. Add: Same as 6404d.

726 - All Heart, 5733. Add four alternate takes. Correction-sheet 2001. (99/4-22/3)

730 - AMAD, 6420f. Add: Same as 6415f, but: int30DE.

732 - Add the title Anniversary Song, see page 1063 under the corrected title Over the Waves.

743 - Banquet, 6420r. Add: Same as 6407s. Banquet, 6421s. Add: Same as 6407s.

753 - Black and Tan Fantasy, 6420b. Add: Same as 6405b. Black and Tan Fantasy, 6421b. Add: Same as 6405b.

760 - Blue Bird of Delhi, 6420h. Add: Same as 6404e, but: int4JW,4BAND. Blue Bird of Delhi, 6421h. Delete: and: 7°I6JHa,%.

779 - C-Jam Blues, 6421x. Add: 1°DE;2°BAND&DE;pas4JW;3°/4°JW;pas4PG;5°/6°PG;pas4BC;7°/8°BC;pas4JHa;9°JHa;10/11°BAND&JHa; cod2BAND&JHa.

806 - Come Sunday, 6457j: JS instead of EK. (04/1-31)

811 - COPS, 6114c, add: 7°(nc)8BAND instead of cod4BAND. (03/3-26)

816 - Creole Love Call, 6420c. Add: Same as 6405c. Creole Love Call, 6421c. Add: Same as 6405c.

829 - DEPK, 6420i. Add: Same as 6405i. DEPK, 6421i. Add: Same as 6405i.

860 - El Viti, 6618f. Delete: %;2°%,30CA;cod2BAND,2CA; add: Same as 6550h.

870 - Flamingo, 4123b should be read as follows: int4BAND;1°(nc)16DE,8BAND,10DE; pas4BAND,2DE;2°(nc)16BAND&JB;cod4DE,2BAND. (03/3-8/20)

887 - Happy Reunion, 6420k. Add: Same as 6405k. Happy Reunion, 6421k. Add: Same as 6405k.

889 - Harlem, 6420m. Add: Same as 6407m. Harlem, 6421m. Delete the whole description; add: Same as 6407m.

950 - Isfahan, 6420p. Add: Same as 6409f.

970 - Jones, 6420w. Add: Same as 6112k. Jones, 6421y. Add: Same as 6112k.

980 - Kinda Dukish, 6420t. Add: int4DE;1°DE;2°/3°(nc)16DE.

984 - King Fit the Battle of Alabam', 6363x. 4°/5°PC instead of BFr; 10°/11°BFr instead of PC. (04/1-31p350)

986 - La Plus Belle Africaine, 6618h. The first chorus should be read: 1°DE; and, from 27°: 27°/36°IJHa;37°IJL-DE;cod2JL. (03/3-27)

1025 - Montage Tonight:. B.Strayhorn instead of D.Ellington.

1039 - My Greatest Mistake, 4013a. 1°(nc)8HC,6BAND&HC,2BAND, instead of 1°(nc)8HC,8BAND, (03/3-27)

1063 - Over the Waves. Change this title into Anniversary Song. Change J.Rosas into I.Ivanovici/S.Chaplin, A.Jolson. Add: Other title - Valurile Dunarii.

1071 - Perdido, 6420e. Add: Same as 6375d. Perdido, 6421e. Add: Same as 6375d.

1076 - Portrait of a Lion, 3907g. 4°4BAND&RS,4BAND,4BAND&RS,4BAND instead of 4°BAND. Portrait of a Lion, 3907h. Same as 3907g, but 4°BAND; and 6°BAND.
(03/3-27)

1082 - Purple People. BFr(cl.) instead of RPo(cl.) in all the versions. (03/3-27)

1093 - Rockin' in Rhythm, 6420u. Add: Same as 6376k.

1106 - Satin Doll, 6420v. Add: Same as 5815d.
Satin Doll, 6421w. Add: Same as 5815d.

1125 - Skillipoop, 6420s. Add: Same as 6409k,
but: cod2BAND,62SW,2BAND.
Skillipoop, 6421t. Add: int4BAND,18JHa;
1°8JHa,24BAND;cod2BAND,56SW,2BAND.

1129 - So, I'll Come Back for More, 3906b. 2°LBa(vc.)&BB&RS instead of 2°LBa(vc.)&RS. (03/3-27)

1132 - Solitude, 6333b.
cod3BBj,1BAND instead of cod3BBj,1DE. (04/1-31)

1136 - Some Saturday, 4117a.
int3BAND,1JB instead of 4BAND. (03/3-27)

1157 - St. Louis Blues, 4007f.
8°/11°CW(vc.) instead of 8°/11°IA. (02/3-7/2)

1160 - Stompy Jones, 6420n. Add: Same as 6310p,
but CA instead of RN; and: cod2BAND.
Stompy Jones, 6421n. Add: Same as 6413a,
but: 7°CA&BAND;8°/9°BAND&JHa;cod4BAND.

1173 - Take the "A" Train, 4123a.
Delete: 1°%,24DE; add: int4DE;1°DE. (03/3-8/2)

1190 - Take the "A" Train (theme), 6420a.
Add: 1°/2°BAND;cod2BAND.
Take the "A" Train (theme), 6421a.
Delete: 1°%,9BAND,%;
add: 1°BAND;2°(nc)8BAND;cod4BAND.

1206 - The Girl in My Dreams, 4120e. Add: and: 2°HJ&RS.
(03/3-27)

1214 - The Mooche, 6420d. Add: Same as 6405d,
but: pas4LB,4BAND instead of pas12LB,4BAND.
The Mooche, 6421d. Add: Same as 6405d,
but: pas4LB,4BAND instead of pas12LB,4BAND.

1216 - The Mooche, 7185d. 2°/3°IIBWd instead of 2°/3°BWd.

DESOR small corrections 5008

Volume 2 (Corrections April 2004 continued)

1218 - The Opener, 6420j. Add: Same as 6405j. The Opener, 6421j. Add: Same as 6405j.

1221 - The Prowling Cat, 6420o. Add: Same as 6407u. The Prowling Cat, 6421o. Add: Same as 6407u.

1225 - The Sleeping Lady. Add: 6973a int2DE;1°(nc)28DE.

1233 - Things Ain't What They Used To Be, 6420q. Add: Same as 6124x. Things Ain't What They Used To Be, 6421r. Add: Same as 6124x.

1250 - Trombone Buster, 6550q. After the 3°chorus, the description should be read: 4°6BAND&BC,2BC, 6BAND&BC,10BC,8BAND&BC;5°(nc)4BAND. Trombone Buster, 6550w. Delete: Same as 6550v; add: Same as 6621k, but: LBe instead of SW; and: cod28BC,2BAND&BC. (03/3-27)

1251 - T.T. on Toast, 3830b. 2°6HC,10BAND instead of 2°16BAND. (03/3-28)

1264 - Wailing Interval, 6420l. Add: Same as 6368s, but: cod13PG,1BAND. Wailing Interval, 6421l. Add: Same as 6226j, but: cod13PG,1BAND.

1267 - Wanderlust, 3831d. 2° and 5°: 8BAND,4JH(s.s.) instead of BAND. (03/3-28)

1310 - 0143 LP. Atlantic SD-1688. Add: NOTE - Track B04: chorus 13°/17° are omitted. (03/3-28)

1329 - 0211 CD. Columbia CK-44051. 001 - Blues in Orbit (5804b) instead of (5808c). Correction-sheet 1007. (99/4-18/1)

1338 - 0283 LP. Contact CM-1. Add in the NOTE: track A01, 6363k: 8 bars from the 1° chorus and 8 bars from the 2° are omitted; track A04: intro is from 6362bf instead of 6362ao; track B04: coda is from 6363xa instead of 6363n. (03/3-27)

1349 - Add: 0865 CD. D.E.T.S. 9039007. Correction-sheet 3017. (02/2-30 and 03/2-23/1)

1349 - Add: 0867 CD. D.E.T.S. 9039008. Correction-sheet 3017. (03/3-29)

1371 - Add: 0869 CD. Jerry Haendiges Productions CD-48736. Correction-sheet 3018. (03/3-8/20)

1375 - Add: 0863 CD. Laserlight 17411, between 0480 and 0481. Correction-sheet 3017. (02/2-25/4)

1375 - 0484 CD. Lefrak-Fuhrman-Moelis Records CD-83003, make this correction in the NOTE: track 009: ends at the 3rd bar of the 14° chorus instead of 8° chorus. (03/3-27)

1385 - 0530 CD. Music Masters 5041-2C. Add in the NOTE: track 003: intro is from 6550v (04/1-31)

1387 - Add: 0866 CD. Musica Jazz MJCD-1153, between 0544 and 0545. Correction-sheet 3018. (03/2-27/2)

1396 - Add: 0871 DVD. Quantum Leap QLDUK-0253. Correction-sheet 3018. (03/2-4)

1409 - 0658-0659-0660 LPs. Reader's Digest boxes: RD4-106, RD4-112 and RD4A-017 have been issued in 1970, 1970 and 1979 respectively. (02/3-9/2)

1419 - Add: 0864 CD. Storyville 101-8359, between 0721 and 0722. Correction-sheet 3017. (02/3-20/2)

1419 - Add: 0879 CD. Storyville 101-8346, between 0721 and 0722. Correction-sheet 3018. (03/3-21/2)

1440 - Harold Ashby on tenor. Delete: Woods and add : Soso. (99/3-14)

1443 - Bell, Aaron Samuel. Add: Apr 24, 1922 - Jul 28, 2003. (03/3-1)

1446 - Brookshire, Nell. Add: 1939 - Dec 27, 2003. (04/1-1)

1449 - Carney, Harry. Stay in the band: June 26 instead of June 16. (04/1-31)

1452 - Clark, Pete. Delete: tenor sax; add: baritone sax. (04/1-31p350)

1458 - Duke Ellington on piano. Delete: Woods and add : Soso. (99/3-14)

1461 - Freedman, "Bob". Delete: baritone sax; add: tenor sax, clarinet. (04/1-31p350)

1463 - Paul Gonsalves. Delete: Woods and add : Soso. (99/3-14)

1468 - Henderson, Luther. Add: Mar 14, 1909 - Jul 29, 2003. (03/3-1)

1468 - Hendricks, "Jon". Stay in the band: delete September 20th.

1475 - Delete Kemp, Emma. (04/1-31p384)

1478 - Percy Marion. Delete: Woods and add : Soso. (99/3-14)

1478 - Marrow, Esther. Stay in the band: add September 20th.

1482 - Gerry Mulligan. Delete: Woods and add : Soso. (99/3-14)

1483 - Ray Nance on violin. Delete: Over the Waves and add : Anniversary Song.

1485 - Rheza Paley. Delete: Woods and add : Soso. (99/3-14)

1487 - Powell, "Rudy". Delete Purple People (04/1-31p1082)

1500 - Norris Turney on alto sax. Delete: Woods and add : Soso. (99/3-14) On flute: Delete Afrique and add: Toto (02/1-6/1)

1505 - Woodman, Britt. Add: occ. for the session of June 1, 1961. (03/3-26)

1509 - Albroth Gun: the correct name is Allroth. (03/3-26p331)

1511 - Henderson Skitch: add session 6241. (03/3-26)

1515 - Whitteker instead of Whittaker. (04/1-31p383)

Correction-sheet 1018 - Session 4028. Delete 4028m (02/2-11/2)

Correction-sheet 5006 (continued), Volume 1 (Corrections August 2003). Correct page number 1385 into 1358 and page number 1413 into 1412.

5001 - Two pages with small corrections, assembled December 1999, from page XXV until and including page 910 (see 99/5-23&24)

5002 - Two pages with small corrections, assembled December 1999, from page 936 until and including page 1490 (see 99/5-25); assembled March 2000, from page XXIV until and including page 1428 (see 00/1-26) and assembled June 2000, from page 90 until and including 1473 (see 00/2-19)

5003 - Two pages with small corrections, assembled September 2000, from page XXV until and including page 1425 (see 00/3-26) and assembled December 2000, from page IX until and including 1505 (see 00/4-24)

5004 - Two pages with small corrections, assembled April 2001, from page VII until and including page 1475 (see 01/1-28); assembled August 2001, from page 63 until and including page 1499 (see 01/2-30); assembled December 2001, from page 84 until and including page 1440 (see 01/3-22); assembled April 2002, from page 15 until and including page 1515 (see 02/1-25) and assembled August 2002, from page 18 until and including page 806 (see 02/2-27)

5005 - Two pages with small corrections, assembled Aug 2002, from page 819 until and including page 1486 (see 02/2-28) and assembled December 2002, from page XXI until and including page 1166 (see 02/3-26&27)

5006 - Two pages with small corrections, assembled December 2002, from page 1170 until and including page 1502 (see 02/3-27); assembled April 2003, from page 58 until and including page 1480 (see 03/1-29&30) and assembled August 2003, from page 32 until and including page 1493 (see 03/2-29)

5007 - Two pages with small corrections, assembled December 2003, from page 19 until and including page 1470 (see 03/3-28); assembled April 2004, from page 2 until and including page 1216 (see 04/1-32)

Silly Errors

04/1 DEMS 34
See DEMS 03/3-4 and 03/3-12

Again, pas de chance!! The Claude in the contributions to "What do these titles..." is me, Carrière, and not Bolling.  Funny isn't it?
Claude Carrière

Both your contributions about Tiger Rag and "What do these titles…" came with the same email and went at the same time into the file with articles in preparation.  When you corrected the first error (03/2-20/2), I did not realise that there was already another error (03/3-12) waiting for publication.  Both errors will be corrected in the web versions of these two Bulletins.  My sincere apologies.
Sjef Hoefsmit

Errors corrected online. Peter MacHare, 24mar04.