![]() | THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY 04/2 August-November 2004 FOUNDER: BENNY AASLAND |
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Email: dems@skynet.be
The New DESOR explanations
DE4201a - A Practical Example
DEMS 04/2-49
See DEMS 04/1-30
While reading Luciano's and Giovanni's clear and thorough notes
explaining how the New DESOR works (see Bulletin 04/1 DEMS 30), it
occurred to me that some DEMS members may still find the system
difficult to follow. Take an example from towards the end of their
explanation: cod8OP(ce.) translates into 'an 8-bar coda played on
'cello by Oscar Pettiford, whose usual instrument while he was with
Ellington was the double bass'. This little cluster of letters,
punctuation marks and the figure 8, eleven symbols in all, thus
contains a remarkable amount of information to the reader who has
'cracked the code' of this astonishing book. It would be hard to
over-value the rewards of cracking this code.
In the example which follows I have tried to apply Luciano's and
Giovanni's explanation to a single Ellington recording, the original
Victor version of Perdido, from 21 January 1942. I've chosen
this particular piece because it is both straightforward to follow
and very familiar.
The date points us without difficulty to the bottom of page 60 in
Section One of the New DESOR, the chronological listing of Sessions.
The entry starts with the date and location, plus the recording
company and the name under which original issues from the session
appeared. Below this general information the three titles recorded on
21 January appear, in a column. On the right is a column of matrix
numbers and to the left of this are listed the original release
numbers of the titles, plus later key releases. We see at once that
two takes of Perdido were recorded on 21 January 1942, and we
may infer that BS070682-1 was the one chosen for issue, since three
releases are listed for this take and only one for BS070682-2. A
closer look confirms this. The first release given for BS070682-1,
Vi27880, clearly refers to a 78 rpm issue. The only release number
given for take 2, RCA 07863-66790-2, is of a CD issue listed in
Section Three, on page 1404. So we know that BS070862-2 remained
unissued until the CD era. In the list of tracks on RCA 07863-66790-2
on page 1404 the title is underlined thus, Perdido,
confirming that this 1997 CD was a first-time release of this
take.
You may wonder what (2nd) means in this column, on the line below the
three release listings. It certainly puzzled me for a time. It refers
to the release on RCA FXM1-7274, an LP which appeared in two
successive editions, and on which Perdido will be found only
on the second. This is confirmed on page 1403, in Section Three,
Discs. It is unfortunate that (2nd) appears in isolation on the line
below the release to which it refers, and at the far end of the
column too; but the absence of a comma between the two bits of
information tells us that they belong together.
Much information of this sort can be found in the other comprehensive
Ellington discographies, Nielsen and Timner. What sets the New DESOR
apart from these fine works is the material contained in Section Two,
Titles; and the key to unlocking this material is Perdido's
unique recording number, DE4201a, given in the left-hand column of
the entry on page 60. DE4201a contains four items of information. DE
means simply that this is a Duke Ellington recording within Luciano's
and Giovanni's definition of that term; 42 means it's a 1942
recording; 01 indicates that this was the first Ellington recording
session of that year; 'a' tells us that Perdido was the
first piece recorded at the session.
There is one further point to note, before we let DE4201a lead us
into the fascinating world of Part Two of the New DESOR. There
appears to be no mention on page 60 of a personnel listing for the 21
January 1942 session. In fact this is not so. 4124 is another unique
recording number, like DE4201a but with the initial DE taken as read;
and with no final letter, since it refers back to the general
information for the session, and not to a particular recording from
it. 41 indicates a 1941 Ellington session, while 24 points us to the
24th such session of that year. It is now a simple matter to locate
that session, at the bottom of page 59. Here we find a full personnel
listing by initials, arranged in the usual way, trumpets, then
trombones, then reeds in the order clarinet, alto, tenor and baritone
saxes, followed by piano and rhythm section. Two vocalists are also
listed but we know they aren't relevant to Perdido, since
vocalists are always listed individually in the New DESOR for the
recordings on which they perform. Singers apart, session 4201 has the
same personnel as session 4124.
Section Two takes up most of the second volume of the New DESOR. It
is another listing of Ellington recordings, this time alphabetically
by title and chronologically of each title by unique recording
number. It is therefore easy to find the entry for
Perdido starting on page 1068. As with Section One, the
entry begins with some general facts about the piece. It is a Juan
Tizol composition, with a lesser known title, Tizol's Stomp,
which reflects its origin. AABA32 tells us that Perdido
is a 32-bar piece cast in AABA song form. This information is
important for the chorus-by-chorus description that follows, and it's
worth spelling out that AABA32 means that the 32 bars of the tune
divide into an A section which occurs twice up to bar 16, and which
reappears at bar 25 for the final 8 bars. From bar 17 to bar 24
there's a different section, B, which musicians call the bridge, the
middle 8, or, less usually, the release or channel. (An AABA 32-bar
song doesn't have to divide into 4x8-bar sections in this way of
course, but the chances are it will, and Perdido
certainly does). Thus prepared, we can now apply the New DESOR
'code' to our recording.
At the start of this article I called DE4201a 'the original Victor
version'. So it is, but a glance at page 1068 shows it to be the
second recording of Perdido which survives. Alongside its
unique recording number we read in the New DESOR code its sequence of
events, which looks like this:-
int4DE;1°16HC,8RN,8HC;2°16RS,16BW;3°16BAND,8RN,8BAND&RN.
The semi-colons are the key to this sequence, since they show where
one event ends and the next one starts. Usually they separate one
chorus from another, and where they do they appear next to a number
in the series 1°, 2°, 3°, etc., indicating the first,
second and third choruses, and continuing for as long as further
choruses follow. 4201a has three choruses. Once this bit of the code
is understood, along with the chorus description AABA32, the rest is
easy. Commas separate different musical events within a
chorus, in the same way as semi-colons separate one choruses from
another. Initials refer to musicians; numbers (other than chorus
numbers) refer to bars within the chorus.
Thus Perdido starts with a 4-bar piano introduction
from Duke, leading into the first
chorus:- int4DE;1°.....
The first chorus features Harry Carney's solo voice for 16 bars (by
which we understand the first two eight-bar A sections), followed by
Ray Nance for the 8-bar bridge, B, and with Harry returning for the
closing A, before we move on to the second
chorus:- 1°16HC,8RN,8HC; 2°.....
The second chorus is shared equally by Rex Stewart and Ben Webster,
who have 16 bars each. By this we understand that Rex takes the first
two A sections, Ben takes the bridge and the closing A, then we move
on to the third chorus:- 2°16RS,16BW;3°.....
This final chorus spotlights the full band for the first half, after
which Ray Nance has the bridge, as he had in Chorus 1°, and
continues to solo above the rest of the orchestra in the closing A
section:- 3°16BAND,8RN,8BAND&RN.
And so Perdido ends, in this classic version. A great 1942
recording is condensed into less than a line of print on which anyone
who cares to can follow the succession of events with ease and also
identify the soloists who take part. Note also that the soloists'
contributions are described within the structure, unlike
simple lists of soloists such as the one offered in the Record Guide
in Peter Gammond's 1958 book. (Not that I'm knocking that Guide; I
found it invaluable when finding my way into Duke's music 40 or so
years ago).
The New DESOR's coded descriptions become even greater marvels of
condensation in the case of more complex scores than
Perdido. But before leaving page 1068, there are a few
further points to note, even at a casual inspection. Firstly,
DE4201b. The message 'same as 4201a' tells us that, whatever
differences there are between the two takes cut on 21 January 1942,
they are structurally identical. Secondly, 4126j. A glance at its
coded description shows that, at two choruses only, but with the
second structurally the same as the third on the Victor of 21
January, this first of all known recordings of Perdido
appears to be a work in progress; the closing chorus is in place
on 3 December 1941, but the rest still needs sorting out. You don't
even need to have access to the December recording to realise that
Duke knew how his score of Tizol's Stomp would finish
before he knew how it would start.
Next, look down the listing of 1940s performances of
Perdido following DE4201a. Never again does
Harry Carney appear as a solo voice in the first chorus. I have
heard very few of these recordings, but on the ones I do know, the
theme statement is scored for saxes (with Harry's sheet-anchor voice
a powerful presence, as it so often was). Maybe these voicings
weren't quite settled even when Duke came into Studio 'A' in Chicago
on 21 January to record 4201a, and so the line that would eventually
be scored for the reeds was entrusted on that occasion to the ever
dependable Harry. Who knows? Finally, note that after 4612q in 1946,
there are no more surviving performances of Perdido until
5009a in 1950. Why the four-year gap? Especially as after 1950
there's not a single year without at least one recording, right up to
1974, the year of Duke's death. Fascinating questions! No other
discography points the inquiring listener towards such
speculations.
I hope that some DEMS members will find this explanation of how the
New DESOR works, in the case of one very straightforward and
well-known recording, a useful one. I'd welcome any feedback about
it. Also, let me know if you think it would be worthwhile repeating
this exercise with a different recording, to show how the system
Luciano and Giovanni outlined so fully in general terms, applies to
another piece. Best of all, select a recording and do the exercise
for yourself. There could be no better compliment to the
extraordinary achievement which is the New DESOR than that it
stimulates such enjoyable investigations.
Roger Boyes
It has happened many times that I have had to identify a recording of
a concert for which I have no specific date, or even worse, a wrong
date and location. Some concerts on tape consist of compilations put
together from different concerts in order to construct a "fresh"
concert with a date and location that seem to fit: we know that Duke
was there that evening, no recording of the event was previously
known to exist, so this must be genuine. The intention is to make us
believe that a "fresh" recording has now popped up. We call these
fabricated concerts on tape "fakes". In the old Desor there were not
more than two or three "fakes" which were not detected by the
authors. In the New DESOR the first "fake" has still to be
discovered. No other discography which includes unissued recordings
is as "fake-proof" as the New DESOR is.
When I am trying to identify an apparently unknown concert, I take
one piece. I make my own description and then I look for an identical
description in the New DESOR. Sometimes the % sign helps, indicating
that the recording Giovanni and Luciano are describing is incomplete.
If mine is also interrupted at the same spot, this suggests that we
are likely to be dealing with the same recording. Sometimes I have
had to go into my own collection and make several aural comparisons,
but usually one of the selections has something special that makes it
stand out in the list of descriptions in the New DESOR, and this
identifies the description in the New DESOR with the piece I have
taken. Once the first piece is identified, the remaining portion of
the concert is mostly (though not always) easy to identify. There are
even "fakes" in circulation in which Duke's comments in Paris (trying
to speak French) have been interwoven with selections played in
Germany, to try to fool you into believing that you have a "fresh"
French concert at hand. I can assure you that using the descriptions
in DESOR has saved me a lot of time unwinding tapes and finding
specific selections, especially when looking for Satin Doll
or Take the "A" Train. Another great advantage of the New
DESOR compared with the old set of 16 small DESOR
discographies is the fact that now for the first time we have a
complete list of all the recorded performances of each piece,
whereas we had to jump from one concert to the next in the old set,
which took much more time. The New DESOR is indeed a blessing for
fanatic collectors. I am very happy that Roger Boyes has given it
such a favourable review.
Sjef Hoefsmit
The New DESOR corrections
We remind you that these corrections are merely suggestions. They
are not (yet) accepted by the authors of the New DESOR. Unsigned
suggestions were brought in by Hoefsmit.
DEMS**
DEMS 04/2-50
Pages XXXIII and 1057. And Then Some has been
copyrighted in 1962 and the title appears on a list of ASCAP as
composed by Ellington and Hodges and belonging to Tempo Music.
This list is the origin of the listing in MIMM (p513).
It has been recorded by Hodges and Wild Bill Davis (plus
Les Spann, Sam Jones and Louis Hayes) on 24Aug61 and
released on Verve 10273, MGV(6)8406 and
English HMV CLP 1579. I recently heard it for the
first time. It is the same as
One More Once and I suggest to add it to the
sub-titles on both pages.**
Pages XXXIV and 812. If the authors mean what they say on page
812, the sub-title Cotton Head should have the # sign
according to the explanation in DEMS Bulletin 04/1-30.
Jørgen Mathiasen
One could also suggest that Cotton Tail is a sub-title of
Cotton Head. On the tape-box in the Danish Arkiv and on
the release (Private Collection Volume 8), Cotton Head
has been falsely called Cotton Tail (DEMS Bulletin
86/3-2). A third solution would be to say that
Cotton Head is the same as Cotton Tail, since
it is merely a head arrangement based on Cotton Tail. I
would wonder if there is any written score of
Cotton Head.
Sjef Hoefsmit
Pages XXXV, 118 and 1255. See discussion in DEMS 03/1-28.
If you want to maintain
How Blue Can You Get as another title for
Ultra Blue, you should put the # sign after the
title on pages XXXV and 1255. You should mention the subtitle
between parentheses after Ultra Blue, 4581b on page
118.**
Page 45. Session 3922, 1Nov39. The one surviving air check
from the Club Caprice [in the Coronado Hotel] is dated 2Nov39 from
WJR, a CBS station in Detroit.
Ken Steiner
See also Jerry Valburn in DEMS 91/1-3 and Klaus Stratemann p160.
DEMS**
Page 46. Session 4001, 8Jan40. The correct date is 12Jan40.
Session 4002, 9Jan40. Ben Webster is not heard. He stayed with Teddy
Wilson until the end of their Golden Gate Ballroom run (in NYC).
Teddy left there for the road on 11Jan40. (New York Amsterdam News
13Jan40 and 20Jan40 p24)
Ken Steiner
Pages 177 and 1337. Hans Christian Dörrscheidt reported
on 17Mar04 in a message to the Duke-LYM group that he had found a
slight difference in the joint of the coda of Harlem on the
latest re-release of "Ellington Uptown" compared to the earlier
release on CD: Columbia CK 40836. The fact that an insert had
replaced the coda of Harlem has been mentioned on page 1337 in
the New DESOR and has been commented on by Hoefsmit in 00/2-19/p177
and again in 03/3-25/p177. However, this difference in the joint was
not detected earlier. This is quoted from Hans Christian's
message:
"The trumpet section squeeze before the big drum roll in the coda
ends quite abruptly on the new issue, so it's obvious there's a cut
at about 13:12 in the track. This wasn't as obvious on the old CD, so
first I wondered if the producers of the new one had maybe chosen to
paste another take of the coda. After comparing the two codas via PC
and headphones I'm quite sure they are the same, but on the old CD
issue there was some 'doctoring' done to disguise the cut, making the
trumpet squeeze more smooth by means of echo or some other
gimmick."
I agree. I have compared all the recordings I have of Harlem
of 7Dec51. I could not compare it with the Philips release 07008L,
because that LP is no longer in my collection. It was given to Jerry
Valburn and is probably in the Library of Congress. Nevertheless, I
compared the new Columbia release CK 87066 with the LPs CBS 62686 and
Encore (CBS) P 14359 and with the CD Columbia CK 40836. These
releases are all identical and they show the smooth connection of the
coda as described by Hans Christian with the exception of the recent
re-release CK 87066.
I also compared the connection with the acetates I received from
Steven Lasker (described in DEMS Bulletin 03/3-25/p177). Here the
connection is the same as on CK 87066!
Going over my comments in 03/3-25, I found that I was not clear.
Describing the comparison of Harlem on Steven's acetates, I
stated: "Comparison revealed that there is a slight difference in the
C section of chorus 20°. I found no other differences between
Steven's acetates and take -1 (5127e) until I reached chorus
24°. On the Columbia releases chorus 20° is different from
both take -1 and take -3."
This seems all rather cryptic. Before re-stating my point I compared
everything once again and I have found that my earlier conclusions
were correct: I found no difference between take -1 on the studio
tapes and Steven's acetates until I reached chorus 24°. That
means that chorus 20° is the same on Steven's acetates as it is
in take -1 from the recording session. Chorus 20° has a slight
difference in the C-section when take -1 is compared with all the
Columbia releases including the most recent one. This difference in
chorus 20° must have motivated the statement in the New DESOR on
page 1337 ("Ellington Uptown", Columbia ML-4639) that starting from
chorus 20° take -3 was used. This is not correct. I have not
found back in the studio recordings the same chorus 20° as on
any of the Columbia releases. It is different from take -1 and
different from take -3. (Take -2 did not reach chorus 20°).
The choruses 21°, 22° and 23° on all Columbia
releases (and on Steven's acetates) are very much different from take
-3 and identical with take -1. Starting wiith chorus 24° on the
Columbia releases, take -3 has been used until the joint with the
insert coda.
Sjef Hoefsmit
You are right about the choruses 21°/23°: all the Columbia
releases are identical with take -1 and not with take -3 as
written in DESOR. About the chorus 20° we suspect that it could
be from take -3 with the part of BWo, who mis-played his solo,
replaced with a more accurate one. We don't know if this technical
process at the and of 1951 was possible, but that could explain why
the chorus 20° sounds different from take -1 and
take -3.
Luciano Massagli
If what you suggest is true it must have been a switch over from
take -1 onto take -3 and back in such a fashion that only
the second part of chorus 20° was replaced, because take -1
has something wrong at the end and take -3 has something wrong
at the beginning. Both "errors" have been eliminated from the
Columbia releases.
Sjef Hoefsmit
I found the time to take another listen to the coda on the various
issues of Harlem. I could compare these issues:
Columbia ML 4636 [LP] (should read i.m.h.o. ML 4639)
Columbia CK 40836 [CD]
Columbia COL 512917 [CD] (= the same as CK 87066)
Classics 1282 [CD]
and Up-to-Date UTD 2005, the alternate.
The trumpet fall has the exact same cut sound on ML 4636 and the
recent COL 512917 CD reissue. Due to more reverb used in the
re-mastering, the cut is not perceived quite as harshly on CK40836
and Classics 1282, but it is still there.
The only proper natural fall is audible on UTD 2005. Here the drum
roll is about 2 seconds longer. Also, the sound of the drum roll is
different! While on UTD2005 it sounds like a low-tom roll, possibly
supported by a double-bass-drum roll, on all other issues it sounds
very much like a timpani roll. Could also be just one of Bellson's
smaller toms, tuned higher, but certainly not the same drum as on UTD
2005!
I guess one of the reasons for the coda insert was to replace the
"pedestrian" regular drum roll with the more "dramatic" timpani
(possibly high tom) roll. I'm sure that there would have been timpani
readily available in the studio.
Hans Christian Dörrscheidt
Page 153. Session 4735, 24Dec47. Add an alternate take of
Dance No 5. (See DEMS 03/3-20/4)
Page 184. Session 5220, 8Nov52. Delete Skin Deep. This
was recorded in Fresno on 29Feb52.
(See liner notes of recently released CD "Ellington Uptown" and DEMS
03/3-20/4)
Pages 266, and 268. Sessions 5856, 5861 and 5901; 20Nov and
31Dec58 and 4Jan59. Add after Violet Blue between parentheses
Multicolored Blue. This title was explicitly mentioned by
Ellington in each of these programmes.
Page 338. Session 6333. Thank you very much, Luciano, for your
CD with the four takes of Solitude of 24Feb63. I am very sorry
that I have to report to you that your take -1 is the same as your
take -3 and that your take -2 is the same as your take -4.
You should make corrections (upon corrections). I found this error
only after the correction-sheets were ready and mailed. There are no
more than two different takes. The first one has one and a half
chorus, the second has only one chorus. The issued one is the one
with only one chorus. What is mentioned on correction-sheet 1058 is
wrong. 6333xa, xb and xc are not all the same as the issued version.
6333xa should stay there and it should have one and a half chorus. xb
and xc should be deleted.
Also the correction on page 338 should be edited!
Sjef Hoefsmit**
You are absolutely right and my disappointment is really great: we
didn't listen to the takes of Solitude with our best
attention, so now we must remake the session 6333 that we have recently
corrected! Let us off this time for this big mistake not worthy of
careful discographers!
Luciano Massagli**
Pages 473, 474, 665, 666, 686, 688, 689, 690, 693, 1439 and
1476. Amalbert, Juan. Born 20Feb34. His real name is
Emmanuel Abdul-Rahim. Juan Amalbert is the name of his
father, which he used early in his career. For some obscured reason
he can even be found in some discographies under the name
Aziz Latif (in the New DESOR spelled Lateef). He not only
played on the "My People" recordings, but also in the recordings
for "The Jaywalker" on 23Mar67 and in the session of 4Apr67
(liner-notes of "The Jaywalker", see DEMS 04/2-39).
Source: interview of Emmanuel Abdul-Rahim by Bjarne Busk on
19oct2001 in Copenhagen in an e-mail from Bjarne to the Duke-LYM list
of 9Mar04.**
DESOR small corrections
These corrections are authorised by Luciano Massagli and Giovanni
Volonté.
DEMS**
DEMS 04/2-51
DESOR small corrections 5008
Volume 1 (Corrections August 2004)
VII - Add: JC … Jazz Club U.S.A. (04/2-13)
XVII - Add: JRi … Jerome Richardson … b.s. (04/1-3 p426)
XXIII - Add: BFR … Bear Family Records (04/1-22)
XXV - Add: QL … Quantum Leap (03/2-4)
14 - Session 3010. Delete 3010e. On 3010g delete vcTRB, unissued; and add: Roan AED-2027. Add in the note: Three Little Words was recorded for this film, but used for the movie "The Lady Refuses", produced by R.K.O.; the version heard in "Check and Double Check" is sung by The Rhythm Boys and played by a studio orchestra. (04/1-4 and 04/1-31)
32 - Session 3716. Add: 3716xb Dusk on the
Desert unissued M651-1
Correction-sheet 1060. (03/1-3/1)
32 - Session 3716. There is a new Correction-sheet 1060, replacing Correction-sheet 1051, the only difference with Correction-sheet 1051 is: NOTE - 3716xa Same as 3716g. 3716xb Same as 3716i. (03/2-14/1)
34 - Session 3806. 3806c, d, e, delete: unissued; add: BFR BCD-16340. Correction-sheet 3019. (04/1-22)
35 - Session 3812. This session has now four selections. Correction-sheet 1060. (04/1-6)
35 - Session 3813. 3813c, delete: unissued; add: BFR BCD-16340. Correction-sheet 3019. (04/1-22)
36 - Session 3816. Make a note that the correct sequence is: f, g, d, b, c, a, e. (04/1-22)
38 - Session 3829. This session has now seven selections. Correction-sheet 1060. (04/1-6)
40 - Session 3905. Add 3905xa Hold Tight unissued after 3905f. Correction-sheet 1061. (04/1-6)
47 - Session 4007. Delete: March 1940, New Lake Theatre, Salt Lake City, UT; add: February 1940, State Lake Theatre, Chicago, IL. (03/1-6/1)
118 - Session 4581. 4581b. Add, in parentheses: How Blue Can You Get #. (03/1-28 p1255)
125 - Session 4596. Make a note that the correct sequence is: e, f, g, h, i, a, b, c, d. (04/1-23)
165 - Add session 9040, Interview, 7Apr50. Correction-sheet 1062. (04/1-5)
170 - Session 5102. Add to the personnel listing: AM(t.)out;FW(t.)added.
Add after 5102j the "fresh" selection:
5102xa Violet
Blue VoA JC-13.
Add before 5102p the "fresh" selection
5102xb St. Louis
Blues VoA JC-13.
Correction-sheet 1062. (04/2-13)
237 - Add session 9041, Harry Rasky Interview, 29Apr57. Correction-sheet 1063. (04/2-15)
278 - Session 5928. The whole session (including V.I.P. Boogie and Jam with Sam) has been released on Columbia CK-87044. Correction-sheet 3019. (03/3-20/4)
309 - Session 6210. Delete: Civic Auditorium; add: The Armory. (04/1-20)
315 - Session 6228. 6228a, Taffy Twist: the take number is -01 instead of -10.
338 - Session 6333. A new Correction-sheet (1059) takes the place of the old Correction-sheet (1058). (04/2-51)
387 - Session 6502. 6502i, delete: Things Ain't What They Used To Be; add: Take the "A" Train theme. (04/1-31)
390 - Add session 9039, Per Møller Hansen Interview, 31Jan65. Correction-sheet 1063. (04/1-31)
426 - Session 6636. Add, after Same as 6610: , but: HC(b.s.,cl.,bs.cl.) out; JRi(b.s.) added. Add, after 6636e: JRi(b.s.) out; HC(b.s.,cl.,bs.cl.) added. (04/1-31)
433 - Session 6650. Add, in the note: After the Medley 6650a the orchestra played another Medley, featuring Dean Martin and The Andrew Sisters; the titles were It Don't Mean a Thing, Hold Tight, Hubba Hubba Hubba, The Music Goes 'Round and 'Round, Swingin' Down the Lane: between the fourth and the fifth selection DE played 8 bars on the piano. (04/1-31)
447 - Session 6681. Add: NOTE - In Jam with Sam: Joe Bushkin, Skitch Henderson(p.) added. (04/1-31)
448 - Session 6683. 6683c, Interview by Carson. DE, Johnny Carson(tk.) instead of DE,UM(tk.). (04/1-31)
563 - Session 7015 should be deleted. It has been replaced by two sessions, 9042 and 9043 on Correction-sheets 1063 and 1064 respectively. (04/2-37)
671 - Session 7251. Add 7251xa Into Each Life Some Jazz Must Fall Ti TX-11295 after 7251a. Correction-sheet 1061. (04/1-31)
Volume 2 (Corrections August 2004)
745 - Be Cool and Groovy for Me. Replace *7015f with *9042c, and replace the description as follows: int4DE,6BAND,2NT(t.s.);1°TW;2°16BAND,16TW;cod4TW,2BAND. (04/2-37)
750 - Birth of the Blues. Replace 7015i with 9043e. (04/2-37)
765 - Blue Skies, 5102p. FW instead of AM. (04/2-13)
780 - C-Jam Blues. Replace 7015a with 9043a. (04/2-37)
789 - Caravan. Replace *7015f with *9042c. (04/2-37)
803 - Come Off the Veldt. Replace 7015e with 9042b. (04/2-37)
838 - Do Nothin' Till You Hear from Me. Replace *7015f with *9042c. (04/2-37)
846 - Don't Get Around Much Anymore. Replace *7015f with *9042c. (04/2-37)
850 - Don't You Know I Care? Replace *7015f with *9042c. (04/2-37)
853 - Duael Fuel Part III, 5928c. The description should read as follows:1°/8°SW;pas6SW;9°/21°JJ;pas2JJ;cod48SW&JJ,16BAND&SW&JJ. (03/3-20/4)
890 - "Harlem". Replace 7015c with 9043f. (04/2-37)
900 - Make a note for Hold Tight on Correction-sheet 2004. (04/1-6)
915 - I Got It Bad. Replace *7015f with *9042c. (04/2-37)
932 - I'm Beginning To See the Light. Replace *7015f with *9042c. (04/2-37)
941 - In a Sentimental Mood. Replace *7015f with *9042c. (04/2-37)
944 - In Triplicate. Replace 7015j with 9042d. (04/2-37)
948 - Interview, 6313a. The correct spelling is Allroth (03/3-26 p331)
948 - Interview, 6683c. Add: By Carson. (04/1-31 p448)
950 - (Or on 947, 948, 949) Interview. Add 9029a DE(tk.) … Time: 19'35". Correction-sheet 1037. (99/5-1/1)
950 - (Or on 947, 948, 949) Interview. Add 9031a … Time: 24'50". Correction-sheet 1046. (02/3-16/3)
950 - (Or on 947, 948, 949) Interview. Add 9036a By Smith … Time: 27'00". Correction-sheet 1058. (03/3-26 p322)
950 - (Or on 947, 948, 949) Interview. Add 9037a By Feather … Time: 29'30". Correction-sheet 1058. (04/2-16)
950 - (Or on 947, 948, 949) Interview. Add 9038a By Rosenkrantz … Time: 6'40". Correction-sheet 1058. (04/2-17)
950 - (Or on 947, 948, 949) Interview. Add 9039a By Hansen … Time: 5'13". Correction-sheet 1063. (04/1-31 p390)
950 - (Or on 947, 948, 949) Interview. Add 9040a …Time: 4'45". Correction-sheet 1062. (04/1-5)
950 - (Or on 947, 948, 949) Interview. Add 9041a By Rasky … Time: 5'35". Correction-sheet 1063. (04/2-15)
955 - It Don't Mean a Thing. Replace *7015f with *9042c. (04/2-37)
962 - Jam with Sam, 5928k.
Add:int2HB,2BAND,2HB,2BAND;1°/2°IHB;pas4BAND;3°IIPG;pas4BAND;4°IIBWo;pas4BAND;5°IIRP;pas4BAND;6°IICA;pas4BAND&CA;7°IIQJ;8°/9°IBAND&CT(fl.);10°IBAND&CA;cod5CA,1BAND.
(03/3-20/4)
DESOR small corrections 5009
Volume 2 (Corrections August 2004 continued)
988 - La Plus Belle Africaine. Replace 7015d with 9042a. (04/2-37)
999 - Long, Strong and Consecutive, 4596b: int6DE instead of int4DE. (04/1-23)
1003 - Love You Madly. Replace *7015f with *9042c. (04/2-37)
1012 - Meditation. Replace 7015l with 9043l. (04/2-37)
1017 - Medley. Replace 7015f with 9042c. (04/2-37)
1032 - Mood Indigo. Replace *7015f with *9042c. (04/2-37)
1067 - Passion Flower. Replace 7015g with 9043c. (04/2-37)
1080 - Prelude to a Kiss. Replace *7015f with *9042c. (04/2-37)
1110 - Satin Doll. Replace 7015k with 9043k. (04/2-37)
1134 - Solitude. Replace *7015f with *9042c. (04/2-37)
1147 - Sophisticated Lady. Replace *7015f with *9042c. (04/2-37)
1180 - Take the "A" Train. Replace 7015b with 9043b. (04/2-37)
1191 - Take the "A" Train (theme), add: 6502i Same as 5939h. (04/1-31)
1233 - Things Ain't What They Used To Be, delete 6502i. (04/1-31)
1237 - Things Ain't What They Used To Be. Replace 7015h with 9043d. (04/2-37)
1241 - Three Little Words. Delete 3010e. On 3010g delete the whole description and add: %;1°%,8BAND;2°BAND&BB;3°30BAND&FJ,2DE;4°BAND. (04/1-4 and 04/1-31 p14)
1255 - Ultra Blue. Add: # to the subtitle How Blue Can You Get. (03/1-28)
1262 - V.I.P. Boogie, 5928j. Add: Same as 5106c. (03/3-20/4)
1270 - West Indian Pancake, 6636e. Add, after Same as 6611f: , but JRi instead of HC. (04/1-31 p426)
1311 - Add: 0872 CD. Bear Family Records BCD-16340. Correction-sheet 3019. (04/1-22)
1329 - Add: 0876 CD. Columbia CK-87044. Correction-sheet 3019. (03/3-20/4)
1331 - 0223 LP. Columbia CL-1400. Add, in the note: Track A05: 19°/21°JJ;pas2JJ omitted. (03/3-20/4)
1349 - Add: 0875 CD. D.E.T.S. 9039009. Correction-sheet 3019. (04/1-23)
1396 - Add: 0874 DVD. Quantum Leap QLDVD-0252. Correction-sheet 3019. (03/2-4)
1432 - Add: 0873 LP. Voice of America JC-13. Correction-sheet 3020. (04/2-13)
1444 - Bernhart, Milt. May 25, 1926 - Jan 22, 2004.
1446 - Brookshire, Nell was the stage name; Bobbie Gordon was the real name. (04/1-1)
1451 - Charles, Ray. Sep 23, 1930 - Jun 10, 2004. (04/1-4)
1489 - Add: Richardson, Jerome. Correction-sheet 4001. (04/1-31 p426)
1498 - The Rhythm Boys. Delete: "August 1930". (04/1-4 and 04/1-31 p14)
Correction-sheet 1058 - Session 6333. Delete 6333xb and 6333xc and
edit the NOTE: 6333xa
int4DE;1°BBj;2°(nc)16BBj;cod3BBj,1BAND.
You can also delete session 6333 on Correction-sheet 1058 and replace
it with the same session on Correction-sheet 1059. (04/2-51 p338)
Correction-sheet 1059 - Session 6333. Correct the initials of Bea Benjamin in the description from BBJ into BBj.
Correction-sheet 3018 - item 0871 DVD Quantum Leap. The correct number is QLDVD and not QLDUK. (03/2-4)
The New DESOR correction-sheets
DEMS 04/2-52
Sessions
1059 - 6333 Paris 24Feb63 03/3-26
6363 Chicago 21Aug63 03/3-27
1060 - 3716 NYC 20Sep37 03/2-14/1
3812 NYC 29Apr38 04/1-6
3829 NYC 6oct38 04/1-6
1061 - 3905 NYC 15Mar39 04/1-6
7251 NYC 23oct72 04/1-31
p671
1062 - 9040 Paris 7Apr50 04/1-5
5102 NYC 21Jan51 04/2-13
1063 - 9041 NYC 29Apr57 04/2-15
9039 Kobenhavn 31Jan65 04/1-31
p390
9042 Wellington 9Feb70 04/2-37
1064 9043 Wellington 9Feb70 04/2-37
Titles
2004 - 3403 Ebony Rhapsody 03/3-18/1
3502 Tough Truckin' 02/1-25
6338 Strange Visitor 00/2-4/1
7136 Toto 02/1-6/1
3905 Hold Tight 04/1-6
Discs
3019 - 2905-3816 Bear Family BCD-16340 04/1-22
5928 Columbia CK-87044 03/3-20/4
6946 Quantum Leap DVD 0252 03/2-4
4550/96/53 DETS Vol.9 04/1-23
3020 - 5102 Voice of America Jazz Club 13 04/2-13
Correction-sheet 3020 waits
for more corrections.
Musicians
4001 - Richardson, Jerome 6636 04/1-31
p426.
Correction-sheet 4001 waits
for more corrections.
Small corrections
5008 - Two pages with small corrections, assembled
April 2004, from page 1218 until and including 1515
(see 04/1-32) and assembled August 2004, from page VII until and
including page 962 (see 04/2-51)
See for older Correction-sheets: DEMS 04/1-33.
DEMS**
Errors
DEMS 04/2-53
Bear Family double CD BCD 16340 BL
Live from the Cotton Club
See DEMS 04/1-22
Hot Feet, disc one track 13. Is this a GREMLIN?
I cannot find a session for 27 March 1929. Should it have been 07 March?
Lance Travis
You are right. This was what I used to call a typo. Sorry!
Sjef Hoefsmit
The New DESOR corrections
See DEMS 04/1-31
First item is not Page 4. but Page 14.
DEMS**
These errors corrected online. pm 30jul2004