06/1 April - July 2006
Our 28th Year of Publication.


Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83



- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Membran 222427 444
Duke Ellington — The C-Jam Blues
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
DEMS 06/1-27

CD 1
 1. Slippery Horn                      18May32
 2. Sophisticated Lady -2              15Feb33
 3. Harlem Speaks                      15Aug33
 4. Live and Love Tonight              12Apr34
 5. Merry Go Round                     30Apr35
 6. In a Sentimental Mood              30Apr35
 7. Echoes of Harlem                   27Feb36
 8. Clarinet Lament                    27Feb36
 9. Caravan                            14May37
10. Diminuendo in Blue -1              20Sep37
11. Crescendo in Blue -2              20Sep37
12. I Let a Song Go Out of My Heart -2   3Mar38
13. Prelude to a Kiss  -2                 9Aug38
14. Country Gal                        16oct39
15. Solitude                           14Feb40
16. Conga Brava                        15Mar40
17. Concerto for Cootie                15Mar40
18. Don't Get Around Much Anymore       4May40
19. Cotton Tail                         4May40
20. A Portrait of Bert Williams        28May40
21. Warm Valley        -3              17oct40
22. I Got It Bad       -1              26Jun41
23. Take the 'A' Train                 15Feb41

CD 1 is copied from the CD Giants of Jazz 53046. This time almost every track in the correct chronological order. One wonders why this good principle is not maintained through the complete set of 4 CDs.
There are some errors in the personnel listings. More so in the early years. Later years are better documented.
Track 4: Joe Nanton is out, not Juan Tizol.
Tracks 5 and 6: Charlie Allen was not in the band. It was Arthur Whetsel. The bass player was Billy Taylor throughout the whole session and the drummer was Sonny Greer. Fred Avendorf came in mid June and left early in August. (See Stratemann p130).
Track 9: Wallace Jones was not in the band. It was Arthur Whetsel. See DEMS 04/2-55.
Tracks 10 and 11: Trumpets Arthur Whetsel, Cootie Williams, Freddie Jenkins and Rex Stewart. Trombones: Joe Nanton, Lawrence Brown and Juan Tizol.
Track 12: No Harold Baker! Trumpets Wallace Jones, Cootie Williams, Freddie Jenkins and Rex Stewart. In the trombone section it is possible that Juan Tizol was replaced by Herb Flemming (according to the New DESOR). Herb Flemming is not acknowledged as an Ellingtonian in Kurt Dietrich's "Duke's 'Bones" and also in the biography of Flemming in "Jazz 'Bones" (p17), Dietrich doesn't credit him for having played with Ellington. (See DEMS 06/1-3).
Track 13: Not Harold Baker was out (he wasn't in the picture anyhow), but Freddie Jenkins was out.
Track 14: Jimmy [sic] Blanton was not yet in the band. Billy Taylor was on bass. Fred Guy was present.
Tracks 16 and 17: Why mentioning that Ivie Anderson was out if this was not mentioned for track 3?
Track 20: Same as 18 and 19.
Track 22: Why is Otto Hardwick added. He was still in the band. Duke was at the piano, not Billy Strayhorn.
Track 23: Same remark as for track 22.

CD 2
 1. Jump for Joy       -2               2Jul41
 2. Chelsea Bridge                      2Dec41
 3. Perdido            -1              21Jan42
 4. C-Jam Blues                        21Jan42
 5. What Am I Here For?                26Feb42
 6. Main Stem                          26Jun42
 7. Johnny Come Lately                 26Jun42
 8. I'm Beginning To See the Light -2   1Dec44
 9. Black and Tan Fantasy              11May45
10. Caravan                            11May45
11. It Don't Mean a Thing              14May45
12. In a Sentimental Mood              14May45
13. Things Ain't What They Used To Be  30Jul45
14. Magenta Haze                       23oct46
15. Sultry Sunset                      25Nov46
16. Blue Skies                         25Nov46
17. Park at 106th                      10Jun47
18. On a Turquoise Cloud               22Dec47
19. Do Nothin' Till You Hear from Me   18Nov47

CD 2 plus tracks 1, 2 and 3 from CD 3 could have been copied from the CD Going for a Song GFS 242 "The Legendary Duke Ellington". The GFS CD has 23 tracks. Only Moon Mist has been omitted from this one.
Tracks 3 and 4 are from 21Jan42 not 1944. What a strange instrument is in the hands of Juan Tizol: "frh"?
Track 5: There is no vocal, not by Ivie and not by Herb. The only difference in the remaining listing is the order and the instruments. I have not given it any attention.
Tracks 6 and 7. Billy Strayhorn was on piano in the whole session.
Track 8: Al Sears was on tenor. Ben Webster was out. Sonny Greer was on drums, not Hilliard [sic] Brown.
Tracks 11 and 12: Bob Haggart was in the band on 12May45 not 14May.
Track 17: Al Sears and Harry Carney hadn't left the band. Duke Ellington was on piano in this selection.
Track 18: Add Kay Davis.

CD 3
 1. I Ain't Got Nothin' but the Blues   1Dec44
 2. I Didn't Know About You             1Dec44
 3. Don't You Know I Care? -2           1Dec44
 4. Work Song                       11/12Dec44
 5. Come Sunday                     11/12Dec44
 6. The Blues                       11/12Dec44
 7. Three Dances                    11/12Dec44
 8. Carnegie Blues                      4Jan45
 9. Blue Cellophane                     4Jan45
10. Mood To Be Wooed                    4Jan45
11. My Heart Sings                      4Jan45
12. Mood Indigo                        24Feb45*
13. Bug in a Rug                       24Feb45*
14. The Mooche                         24Feb45*
15. Candy Lamb                         24Feb45*
16. Under the Balcony                   7Jul45
    Strange Feeling                     7Jul45
17. Dancers in Love                     7Jul45
    Coloratura                          7Jul45
18. C-Jam Blues                        16Jan46

It seems that CD 3 (including tracks 1, 2 and 3) has been directly or indirectly copied from Classics 881. Track 7 on this CD 3 and track 8 on Classics 881 have both the same 2 seconds missing starting at 0:19. Also the "Perfume Suite" (on tracks 16 and 17 of CD 3) is copied from Classics 881. It is missing the 2° chorus (by Albert Hibbler) and the coda from Strange Feeling, which could be expected since the source was V Discs 516. It has the same error in the liner-notes, claiming that this was recorded on 7Apr45. The correct date is 7Jul45. See DEMS 03/1-16/3. Track 2 on Classics 881 (I'm Beginning To See the Light) has been replaced by track 18 of this CD 3, C-Jam Blues, copied from Classics 985, source V Disc 648.
Tracks 1, 2 and 3: What can be the reason to name the musicians with other (nick) names? Sonny Greer was on drums.
Tracks 4, 5, 6 and 7. The actual single dates of the recordings are unknown. The selections were recorded on two days without specification. Same is correct after the correction that Sonny Greer was on drums.
Tracks 8, 9, 10 and 11: Sonny Greer on drums. Joya Sherrill did the vocal on track 11.
Tracks 12, 13, 14 and 15. Where is Barney's surname?
Track 18: I have some differences in Woody Herman's band. I have Neal Hefti, Irv Lewis and Pete Candoli on trumpet instead of Irv Makrowitz [sic] and Conrad Gozzo.

CD 4
 1. Snibor -master take                         1Sep49
 2. Great Times                        20Nov50
 3. Mood Indigo                        18Dec50
 4. Sophisticated Lady                 18Dec50
 5. The Tattooed Bride                 18Dec50
 6. Solitude                           18Dec50
 7. Brown Betty                        24May51
 8. Stompin' at the Savoy              28Dec53
 9. Black and Tan Fantasy              29Dec53

I suspect that CD 4 has been copied from the CD Past Perfect 220327-203 "Duke Ellington and his Orchestra — Great Times". Only Park at 106th has been left out. It appears above as track 17 on CD 2.

24Feb45* on CD 3 is by Sonny Greer and the Duke’s Men (Taft Jordan, Barney Bigard, Otto Hardwick, Dudley Brooks, Fred Guy, Red Callender, Sonny Greer)

Track 1: Charlie Rouse was out.
Track 2: Not Mercer was in the band but Cat Anderson.
Tracks 3 and 4: Vocal by Yvonne Duke (a.k.a. Yvonne Lanauze), not by Kay Davis. Yvonne is now singing professionally under the name Eve Smith.
Tracks 8 and 9: George Jean was in the band, not Alfred Cobbs.

Lance Travis reported about this 4 CD set. He wrote: "A selection of familiar favourites, in reasonable sound and a more than reasonable price for a 4 box set - Euro 4.99". I found the same release in the Netherlands for Euro 5.36. I felt a bit sorry for myself, thinking of the time and money it took me to collect these recordings in the past. It is however a good thing that Duke's music is still available and for prices lower than ever before. The sound quality of these 207 minutes of music is surprisingly good.
Sjef Hoefsmit**

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
BMG/Legacy 82876711672
TOMMY DORSEY - Centennial collection
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -<<
DEMS 06/1-28

Have you noted that this new Tommy Dorsey 3 CD set has 3 Duke Ellington tracks: two Victor studio titles from 1945 and one NBC aircheck title from 1946 ?
Take the "A" Train, Hollywood, 25Aug46
Tonight I Shall Sleep &
The Minor Goes Muggin', NY, 14May45.
Carl Hällström

David Palmquist wrote on 19Nov05 some observations about the whole 1946 show. He said about the first selection on the list above: "Then Duke starts the band off on Take the "A" Train at 19:32. There's a God-awful segue to a dead slow chorus, with Duke improvising over a horridly schmaltzy orchestral background - this is actually kind of interesting. I would describe this rendition as a unique version, and perhaps something of a treasure for the contrast between what we expect and what we hear. It ends at the 22:59 mark, followed by a commercial break."

Take the "A" Train is played by the Tommy Dorsey Orchestra. It was arranged by Bill Finegan. The complete show has been released on the LP "Tommy Dorsey's Tenderleaf Tea Show", JRC INC. 1212.
Tonight I Shall Sleep is played by the Ellington band with Tommy Dorsey. It has been released on many RCA LPs and CDs.
The Minor Goes Muggin' is played by the Dorsey band with Ellington. It has also appeared on a great number of LPs and CDs.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Vintage Music Productions VMP 0161 (2005)
Bubber Miley, Rare Recordings 1924-1931
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -<<
DEMS 06/1-29

I recently bought the CD "Bubber Miley, Rare Recordings 1924-1931" released last year by Vintage Music Productions (Hollis, New Hampshire, USA) on the CD VMP 0161. The audio restoration was done by Bill Hebden and I must say he did a splendid job. The only critical remark I want to make about this CD is the fact that the selections are not in chronological order. The liner notes are by Jeff Hopkins. Jeff stated that Bubber made with the Washingtonians a couple of Victor tests under the name of Snowden's Novelty Orchestra (Oct 1923), as well as the band's first recordings under Ellington's leadership (Nov 1924). We know of two sessions in 1923. The first on 26Jul23 was with Whetsel and without Miley. The second (claimed to be on 18oct23) never took place. (See DEMS 96/2-7 and Comments on Timner 4th edition page1.) The 1924 Ellington session is represented on track 7 of the CD.
The liner-notes are exciting. Jeff Hopkins tells us about Bubber acting as an usher, helping seating the audience to circumvent objections against "race mixing". Sometime during the performance, Bubber would begin playing his trumpet at the rear of the theatre, apparently caught up in a moment of musical spontaneity when he would work up his way to the bandstand, while playing St. Louis Blues.
I do agree with Jeff Hopkins that Bubber had an enormous impact on the development of Ellington's orchestra. I think however that his statement "without Bubber Miley's trumpet and the compositions he wrote, it is arguable whether the jazz world would have ever regarded Duke Ellington's name with any significance, at all" is a bit far-fetched. Bubber's style was not completely unique. Experts Bo Sherman, Göran Eriksson, Nils-Gunnar Anderby and Göran Wallén made this note in Bubber Miley's discography, part 8 (Bulletin #2, July 2001 from the Duke Ellington Society of Sweden) concerning the recording session of 28Aug28 by Martha Copeland: "Bubber Miley has been listed on trumpet without reservations in all previous discographies we have seen. In comparison with Bubber's playing in Ellington's orchestra during this period, the trumpet man on this session sounds rather anonymous and substandard. We can hear a few of Miley's trademarks, but other trumpet players had adopted them, and there is not enough aural evidence to establish his presence definitely."
The Bubber Miley Discography was published in 12 consecutive editions of the Swedish Bulletin from Oct99 until Jun02. It is written in English, which is a blessing for those who subscribed to these publications without any knowledge of Swedish. It contains a wealth of information and although it concentrates on non-Ellington sessions, some of the Ellington sessions have been covered too, where there are interesting remarks to be made. I have used this discography extensively in commenting on this new Bubber Miley CD after first giving the discographical details from the liner-notes.
1. Texas Blue Destroyers, NY, 5oct24. BM and Arthur Ray (reed organ). Down in the Mouth Blues.
Bubber Miley had made a lot of recordings prior to this, the first one on the CD. It is not documented until part 3 of the DESS discography! The date is confirmed as c. 5oct24. Arthur Ray's instrument is mentioned a harmonium organ. Some discographies claim wrongly that it is an accordion.
2. Six Black Diamonds, NY, 2Dec24. BM, Louis Metcalf, Jake Frazier (tb), Bob Fuller (cl, a.s), Louis Hooper (p), Elmer Snowden (bj). Those Panama Mamas (Are Ruining Me) (take -2).
All three takes of this title have been issued on many different releases. It is not known which takes appear on which issues, except that Banner 1456 has take -3. Rust erroneously listed two trumpets, BM and ?Louis Metcalf. There is only one trumpet, BM on aural evidence, who switches between open and muted playing.
3. Kansas City Five, NY, Oct24. Same personnel as track 2, but now without Metcalf. Get Yourself a Monkey Man (and Make Him Strut His Stuff).
4-6. Same group as track 3, Nov24. Louisville Blues; Believe Me, Hot Mama; Temper'mental Papa.
7. The Washingtonians, NY, Nov24. BM, Charlie Irvis, Otto Hardwick, DE, Fred Guy, Sonny Greer. Rainy Nights.
The liner-notes indicate take-2, but as far as we know there was only one take, take-1. There is uncertainty about the identity of the banjo-player. The old Desor gives as banjo-player Fred Guy instead of George Francis. Waxworks confirms the presence of Fred Guy as probable. Mark Tucker confirms the presence of George Francis. The New DESOR gives George Francis. Frank Dutton in his letter of 21Jun99 also supports Francis. Steven Lasker wrote in Feb99: George Francis: this name would not be associated with Ellington or the Washingtonians were it not for a single print reference in the 22Feb24 New York Clipper. It came in a 23Nov23 Clipper review of the Washingtonians as heard at the Hollywood Café, New York. Reviewer Abal Green names all the Washingtonians: "…Duke Ellington leads from the piano and also arranges the selections….George Francis, banjo and singer…." This is the earliest reference in print to Duke Ellington as bandleader in New York. Snowden has apparently JUST left, and Francis was his first replacement as banjoist. Steven Lasker also wrote in Feb99: Guy told interviewer John McDonough (Downbeat, 17Apr69 p16) that he joined the band in Feb24; Guy told Brooks Kerr the exact date was 10Feb24. Kerr visited Guy in Chicago in 1969 and played a tape for Guy of the Blu-Disc recordings. Guy confirmed he is the banjoist.
8. Clarence Williams' Blue Five, NY, 22Jan26. BM, Charlie Irvis, Otto Hardwick, Clarence Williams (p), Leroy Harris (bj), Cyrus St. Clair (tu). Vocal Eva Taylor. I've Found a New Baby. (take -B).
The Swedish discographers are convinced that the tuba was played by Bass Edwards.
9. Memphis Bell Hops, NY, 21Jun26. BM, Charlie Johnson, Joe Nanton or Charlie Irvis, Otto Hardwick, Prince Robinson, DE, Fred Guy, Bass Edwards, Sonny Greer. Memphis Bell Hops was a pseudonym for the Ellington band on the Challenge label. Li'l Farina.
The liner-notes show matrix X-191-A. Steven Lasker: "files show that the plain-suffixed takes were in each case issued while the A-suffixed takes were rejected".
The old Desor : Only two reeds: Don Redman out. Bass Edwards on tuba.
Bakker: Only two reeds: Don Redman out. Bass probably Mack Shaw.
Waxworks: Third reed unknown. Charlie Irvis instead of Joe Nanton.
Aasland: Bass Edwards had left to join the "Savoy Bearcats", thus Mack Shaw ought to be the tuba-player.
Tucker: Redman did not play on this date. (page 165 of "The Early Years")
Steven Lasker: I hear Prince Robinson and Otto Hardwick plus an unknown alto sax.
The New DESOR: The unknown reed-player is Harvey Boone. Mack Shaw is on tuba.
10. DE and his Kentucky Club Orchestra, NY, 29Dec26. BM, Louis Metcalf, Joe Nanton, Otto Hardwick, Prince Robinson, DE, Fred Guy, Bass Edwards, Sonny Greer. Immigration Blues.
The New DESOR: Three reeds: Edgar Sampson, Otto Hardwick and one unknown. Mack Shaw is on tuba.
Steven Lasker: I agree, three reeds: Otto Hardwick, Prince Robinson and one unknown.
11. Same as track 10, 3Feb27. Song of the Cotton Field.
Steven Lasker: reeds: Otto Hardwick, probably Prince Robinson and one unknown. Copyright application shows title as Song from a Cotton Field.
Tom Lord: on Ace of Hearts New Orleans Lowdown is mislabelled as Song of the Cotton Field.
Frank Dutton in a letter of 21Jun99: The clarinet in Song of the Cotton Field is definitely Prince Robinson. I will lay money on it. It is not Rudy Jackson!
Steven Lasker in his letter of Feb99: The clarinet soloist on Song of the Cotton Field is, I believe, probably Prince Robinson. The best discussion of this point is to be found in back issues of Jazz Journal: Nov77p14, Mar78pp28&55, Apr78p32, May78p12, Sep78p47.
Also Eddie Lambert page 10 voted for Prince Robinson.
12. DE and his Orchestra, NY, 26Mar28. BM, Arthur Whetsel, Joe Nanton, Otto Hardwick, Harry Carney, Barney Bigard, DE, Fred Guy, Wellman Braud, Sonny Greer. Got Everything but You (take -2).
Dick Bakker states that according to the recording sheets there were three trumpets. He thinks that Louis Metcalf was present. Benny Aasland confirmed this. It is also confirmed by Steven Lasker but Eddie Lambert (page 27) has only Whetsel and Miley.
13. DE and his Orchestra, NY, 25Jun28. BM, Louis Metcalf, Joe Nanton, Johnny Hodges, Harry Carney, Barney Bigard, DE, Fred Guy, Wellman Braud, Sonny Greer. Yellow Dog Blues (take -C).
My files only show takes -A and -B from which only take -A has been released. Comparison revealed that it is indeed take -A.
The date shown for this session is different from that given by Brian Rust (5Jun28). Steven Lasker established the correct date by reference to the original Brunswick recording ledger. Adjacent matrices: E 27769 is by Solita Palmer with Arthur Johnson Orchestra, 25Jun28. E 27773/4 are by Al Bernard with Orchestra, 26Jun28.
14. DE and his Cotton Club Orchestra, NY, 16Jan29. BM, Arthur Whetsel, Freddie Jenkins, Joe Nanton, Johnny Hodges, Harry Carney, Barney Bigard, DE, Fred Guy, Wellman Braud, Sonny Greer. Flaming Youth (take -1).
Comparison revealed that this is take -2. The Swedish discographers say to find the presence of Bubber Miley very unlikely. They are sure that Arthur Whetsel played all trumpet solos on this title. In the next issue of the Swedish Bulletin (Oct01) is a comment by Steven Lasker: "Brooks Kerr and I both believe that Bubber Miley is magnificently present on Ellington's Victor session of 16Jan29. I also can hear Arthur Whetsel and Freddie Jenkins. This contradicts the RCA Victor files, which note that only two trumpets were present."
Comment by the Swedes: "BM left the DE Orchestra in Jan29. The question is when, exactly."
According to the New DESOR and Klaus Stratemann, Bubber left in February.
15. Lonnie Johnson's Harlem Footwarmers, NY, 1oct28. BM, Arthur Whetsel, Joe Nanton, Johnny Hodges, Harry Carney, Barney Bigard, DE, Fred Guy (bj), Lonnie Johnson (g), Wellman Braud, Sonny Greer. Move Over (take -B).
The original releases on OKeh and Creole showed this pseudonym for the band. The French Jazz Society used the normal DE and his Orchestra. Jazz Journal from Sep85, p30 said that there was a third trumpet, and that Otto Hardwick was present in the band.
16. DE and his Cotton Club Orchestra, NY, 22Nov28. BM, Arthur Whetsel, Freddie Jenkins, Joe Nanton, Johnny Hodges, Harry Carney, Barney Bigard, DE, Fred Guy, Wellman Braud, Sonny Greer. The Blues with a Feeling (take -D).
17. Warren Mills and his Blues Serenaders, NY, 20Dec28. BM, Arthur Whetsel, Freddie Jenkins, Joe Nanton, Johnny Hodges, Harry Carney, Barney Bigard, Matty Malneck (v), DE, Fred Guy, Wellman Braud, Sonny Greer. Unknown female vocalist. This was a white orchestra led by Matty Malneck (unknown personnel), augmented with Ellington's band. St. Louis Blues (take -2).
According to my files: DE's orchestra brought the total number of instrumentalists up to 25.
According to the New DESOR: the vocalists were Adelaide Hall and members of the Hall Johnson Choir. The white orchestra under the direction of Matty Malneck is identified as the Mills Hotsy Totsy Gang. I believe that the correct name of the group was Warren Mills and his Blues Serenaders. See also Stratemann p1. It is another phoney name, invented by Irving Mills. Warren was his son and in 1928 three years old. Take -3 of St. Louis Blues will be issued on a BMG CD, devoted to Bubber Miley.
Comparison of track 17 with the claimed source reveals that it is not the Ellington recording of 20Dec28. The title is indeed St. Louis Blues, but it is the recording of c.Nov24 by the Kansas City Five with the same personnel as on tracks 3-6. This recording has matrix number 31711 and has been released on Ajax 17078.
18. Leo Reisman and his Orchestra, NY, Mar29. Except for Leo Reisman (v) and Bubber Miley, the personnel is unknown but probably included: John Jacobson, Louis Shaffrin (t), Ernie Gibbs (tb), Burt Williams (a.s, b.s), Andrew Quenze (cl, cm.s), Bill Trontstein (cl, s.s, a.s, t..s), Lew Conrad (v), Raymond Pugh (p), Ned Cola (bj), Harry Atlas (tu), Harry Sigman (d, xy). This selection is from the audio disc of a Vitaphone short entitled "Leo Reisman and his Hotel Brunswick Orchestra in 'Rhythms' ". Medley: The Mooche; Milenberg Joys; Some of These Days.
The fact that this was not a regular gramophone record explains why it is not included in the Swedish Bubber Miley discography.
19-20. Leo Reisman and his Orchestra, NY, 20Jan30. BM, Louis Shaffrin, Unknown (t), Ernie Gibbs (tb), Jess Smith (cl, a.s, f), Louis Martin (a.s), Burt Williams (a.s, b.s), Bill Tronstein (cl, s.s, a.s, t..s), Adrian Rollini (bs.s), Leo Reisman, Lew Conrad (v), Unknown (cello), Eddie Duchin (p), Unknown (bj), Harry Atlas (tu), Harry Sigman (d). Vocals by Lew Conrad. What Is This Thing Called Love? (take -8); Puttin' on the Ritz (take -3).
The listing of the personnel in the Swedish discography is taken from Rust. It shows Jess Smith carrying a soprano sax instead of an alto. The sleeve note of New World NW 256 has a somewhat different personnel, with several unknowns and the trumpet players as Lew Sherwood, BM and unknown. BM can be heard as soloist on both titles.
21. Leo Reisman and his Orchestra, NY, 9Apr30. BM, Louis Shaffrin, Unknown (t), Ernie Gibbs (tb), Jess Smith (cl, a.s, f), Louis Martin (a.s), Burt Williams (a.s, b.s), Bill Tronstein (cl, s.s, a.s, t..s), Leo Reisman, Lew Conrad, Unknown (v), Unknown (cello), Eddie Duchin (p), Jack Shilkret (celeste), Unknown (b), Harry Atlas (tu), Harry Sigman (d). Vocal by Lew Conrad. Happy Feet (take -1).
The Swedish discography shows a question mark after Jack Shilkret's name and another unknown on guitar but Harry Atlas is missing.
22. Leo Reisman and his Orchestra, NY, 12May30. BM, Louis Shaffrin, Unknown (t), Ernie Gibbs, Chuck Campbell (tb), Jess Smith (cl, a.s, f), Louis Martin (a.s), Burt Williams (a.s, b.s), Bill Tronstein (cl, s.s, a.s, t..s), Leo Reisman, Lew Conrad, Unknown (v), Unknown (cello), Eddie Duchin (p), Jack Shilkret (celeste), Unknown (b), Harry Atlas (tu), Harry Sigman (d). Vocal by Daniel Haynes. Rollin' Down the River (take -2).
The Swedish discography shows Chuck Campbell with a question mark and another unknown on guitar but Harry Atlas is missing.
23. Leo Reisman and his Orchestra, NY, 30Jun31. BM, 2 Unknown (t), Ernie Gibbs, Chuck Campbell (tb), Jess Smith (cl, a.s, f), Unknown (cl, t.s), Burt Williams (a.s, b.s), Leo Reisman, Lew Conrad, 2 Unknown (v), Raymond Pugh (p), Jack Shilkret (celeste), Unknown (g), Unknown (b), Harry Sigman (d). Vocal by Leo Reisman. Without That Gal! (take -1).
The Swedish discography shows Chuck Campbell, Jack Skilkret and Harry Sigman with question marks.
24. Leo Reisman and his Orchestra, NY, 1931. Except for BM and Leo Reisman, the personnel is unknown, but it is probably the same as for track 23. St. Louis Blues.
This recording is not included in the Swedish discography. No matrix number is given in the liner-notes. The trumpet solo doesn't sound as if it is being played by Bubber Miley.
We contacted the producer of the CD about our concerns and we were pleasantly surprised to have a reaction. (Reactions from record producers are extremely rare!)
He writes:
Apparently the collector who supplied the recordings reversed the two versions of St. Louis Blues since I see that the Warren Mills version should have a female vocal and my track17 has none. Therefore, it is actually the Kansas City Five that is on track 17 and I did not include the Warren Mills version. Since this CD was issued we have discovered that track 24 St Louis Blues is "NOT" Bubber Miley. This recording in fact is from 10Dec37 after the death of Miley and the trumpet (Miley Sound Alike) solo is played by either Eddie Patrowics, Frank Hasselberg or Sam Silin. We like to assume that Reisman recorded it as a belated tribute to the great Miley legacy.
Sorry for the confusion.
Bill Hebden

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Mosaic Records MCD-1001 (Apr06)
Duke Ellington's Spacemen: The Cosmic Scene
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
DEMS 06/1-30

What makes this small group session unique is that it has a big sound to it. It features three soloists: Clark Terry on fluegelhorn, Paul Gonsalves on tenor sax and Jimmy Hamilton on clarinet. The rhythm section is Ellington, Jimmy Woode and Sam Woodyard. The larger ensemble feel is derived from adding Ellington's three trombonists in a strictly supportive, arranged role. For this long overdue reissue, we returned to the three-track masters, beautifully recorded at Columbia's legendary 30th Street Studio by Fred Plaut to construct a stereo master of the album.
The selections will be in the LP sequence with the two bonus tracks (*) at the end.
Michael Cuscuna

April 2, 1958
CO 60756-3    Midnight Sun
CO 60757-3    Avalon
CO 60758-5    Take the "A" Train
CO 60759-1  * Body And Soul   previously unissued
CO 60759-2    Body And Soul

April 3, 1958
CO 60760-2    St. Louis Blues
CO 60761-2    Perdido          on recording report take -3
CO 60762-1    Jones (LP take)      in the New DESOR take -3
CO 60762-3  * Jones (single take) in the New DESOR unknown take number
CO 60763-9    Early Autumn      on recording report take -4
CO 60764-5    Bassment (aka Discontented)
CO 60765-3    Spacemen          on recording report take -4

It is difficult to establish the take numbers of the two recordings of Jones. The type-written take number is -3. There is another number, hand-written, ZSP 43699. This number has not been found anywhere else (for instance not in Jerry Valburn's Directory). From hand-written text on the bottom of the report it is clear that this related to the single release (on which it was coupled with Duke's Place). According to the recording report therefore, one would say that the New DESOR entry is correct.


- - - - - - - - - - - - - - - -
CD WIG #12
"Kinda Dukish"
Ab Baars Quartet
- - - - - - - - - - - - - - - -
DEMS 06/1-31

Ab Baars (cl.,t.s.), Joost Buis (tb.), Wilbert de Joode (b.) and Martin van Duynhoven (d.) recorded on 13Jun05 at Bimhuis in Amsterdam 10 pieces, based on Ellington melodies: Kinda Solitude; Kinda Lafitte; Kinda Bear; Kinda Caravan; Kinda Gentle; Kinda Half; Kinda Harlem; Kinda Braud; Kinda Prelude and Kinda Perdido.
When Gunther Schuller and I walked to our hotel after an afternoon rehearsal of a the Radio Symphony Orchestra in Amsterdam, Gunther asked me if I liked the music. I admitted that I couldn't appreciate it very much. To my astonishment Gunther said that he didn't like it either. I asked him why he performed a piece that he didn't like and then Gunther said: "If anybody takes the time and effort to write it down, I as a professional should give it the best possible performance." Paraphrasing his wise words, I could say: If anybody makes a CD dedicated to Ellington's music, I should listen to it and report it in DEMS Bulletin. So I did with this CD. I doubt if I will listen to it again and I will be happy to send it (as a present) to the first person who tells me that he would like to add it to his collection of Ellingtonia, played by others than Ellington. I do not dig it, but that doesn't mean that it doesn't have its qualities.
This is a quote from the liner-notes by Kevin Whitehead: "One sympathizes with the hypothetical listener who, knowing nothing of Baars but digging Duke's melodies, cues up this CD and is greeted by the opening of Kinda Solitude. The experience would echo that of an unwary '60s record buyer who, wanting to hear a nice version of Bye Bye Blackbird, had stumbled on My Name Is Albert Ayler, the album where the outward-bound tenor saxophonist bends standard tunes to the breaking point."
If you are too late for my present you can order it from Toondist,
It is released by the Stichting WIG (Stichting means Foundation).
Sjef Hoefsmit

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
AB FABLE ABCD1-016 (2006)
In the series Violin Improvisation Studies
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
DEMS 06/1-32

In DEMS Bulletin 05/2-12 and 05/2-34, an earlier AB Fable CD was mentioned "Ray Nance non Ducal violin recordings". Anthony Barnett has just announced this new CD with a previously unreleased informal private 1963 session recorded by Roger St Onge in Los Angeles in which Stuff Smith and Rex Stewart talk about their early days in jazz and play the most sublimely beautiful improvised duets, solos and vocals; plus a solo performance from another occasion of Claire de Lune by Stuff Smith; and other occasions with Rex Stewart and Stuff Smith.
You can find Anthony's full address in DEMS Bulletin 05/2-34.