© -Steven
Cerra , copyright protected; all rights reserved.
It’s always a
great occasion when more of Duke Ellington’s music is made available through
recordings, especially when these are made “in performance” [I hate the word “live;”
what’s the alternative – “dead?”].
To my ears,
nothing beats the sound of Jazz recorded as it is happening [recording studios
can be such sterile places].
I have always
enjoyed the simple lyricism and vivid gracefulness of the music composed by Duke
and his close associate, Billy Strayhorn.
Duke and Billy
wrote some of the most instantly recognizable melodies in the history of Jazz.
You hear it, you hum it.
Needles to say,
then, that the editorial staff at JazzProfiles was thrilled when JAZZHAUS
released Big Band Live: Duke Ellington Orchestra [They didn’t ask our
opinion on their choice of titles.]
“JAZZHAUS is the
new music label featuring audio (and video) jazz programs taken from live radio
and television recordings from the archives of Sudwestrundfunk. Jazz broadcasts
by Sudwestrundfunk (SWR) started in the summer of 1947. Today, 65 years later,
the archives contain about 1,600 audio and more than 350 television recordings
of all major modern jazz artists - probably the biggest collection of
unpublished live jazz recordings in the world: 3,000 hours - and almost all of
it has never been released before. More than 400 ensembles and soloists are
listed - many of them recorded three, four, five or more times over the
decades.
For the last three
years, the JAZZHAUS team has been thoroughly researching the vaults, carefully
making the final selections. The old tapes are currently being re-mastered to
high-end technology standards and will be released on CD, DVD , vinyl and as audio /video-on-demand
downloads.”
Recorded at the
Liederhalle in Stuttgart on March 6, 1967 Big Band Live: Duke Ellington Orchestra [#101703]
contains thirteen [13] previously unreleased performance fFrom the
Sudwestrundfunk Archives with an Ellington band that features Cat Anderson,
Cootie Williams, Paul Gonsalves, Johnny Hodges, Harry Carney,Russell Procope,
Jimmy Hamilton, et al.
Michael Bloom’s
firm is once again handling the media relations for Naxos of America, the north
American distributors of the JAZZHAUS series and he sent along a press release that
contains the following review by Jonathan Woolf which appeared on MusicWeb
International.
“The Ellington
road show hit Stuttgart in March 1967. Cootie Williams was back in the serried
ranks but Billy Strayhorn was nearing the end; he died a few weeks after the
concert. The tunes played reflect a diverse range of Strayhorn and Ellington
and beyond - beyond being represented by Raymond Fol's tune Salome. According to W.E. Timmer's
massive Ellingtonia, a number of other songs were performed but aren't
presented in this 73-minute disc, including long time favourites such as Blood Count and Things Ain't, as well as, Mount
Harissa and Drag.
We must be
grateful for the material that has been preserved and presented in such good
sound here. Procope and Hamilton form a formidable clarinet choir, echoing
the late 20s days in Swamp Goo with
the former taking an extensive cadential passage. Knob Hill is a sinuous Latin American swinger with hints of Horace
Silver. Gonsalves rips through it. One can hear Ellington's very ducal piano
prompts in that genial finger snapper, Eggo,
whilst Cat Anderson's trumpet, like a dazzling Bird of Paradise, is peculiarly
iridescent in La Plus Belle Africaine.
We also hear Harry Carney's evocative lowing, Jimmy Hamilton's famously
'straight' clarinet and the fine bass playing of John Lamb, often overlooked in
discussions on the subject of Ellingtonian rhythm sections.
Lawrence Brown has
his feature on Rue Bleue whilst
Carney's is on A Chromatic Love Affair where
he displays his incredible tonal variety - at points, you'd swear he was
playing tenor and not baritone. Anderson finally goes stratospheric on Fol's Salome, whilst his desk partner Williams
arrives for a preaching outing on the Gospel-drenched The Shepherd and stays to turn up the heat on his well-loved
Tuttifor Cootie. At long last Johnny Hodges casts his hypnotic spell on Freakish Lights before drummer Rufus
Jones has an animated, though occasionally tawdry, bash during Kixx.
Ellington kept up
a mighty schedule, of which this single concert (or part of it) forms a useful
element. The band seldom slipped lower than great. What a privilege it would
have been to have seen them in the flesh.”
In his insert
notes to the disc, the recording’s producer, Ulli Pfau, offered these
observations about the music on Big Band Live: Duke Ellington Orchestra [JAZZHAUS
101703].
“NEVER NO LAMENT
Ellington
considered two topics to be off-limits: illness and death. It was for this
reason he refused to make a will to the last, fearful of tempting fate and
provoking his own demise. He was able to maintain his orchestra ("the
most important thing in my life") with the millions he earned from Tempo,
his music publishing company - always conscious of the need to surround himself
with individualists; some players stayed with him for decades. Almost
constantly on the road following his comeback in Newport in 1956, his career staging posts were
largely marked by the studio recordings. He released around 35 albums between 1960
and 1967 alone, including adaptations of classical works, the "Far East
Suite" and the "Sacred Concerts".
1967 was a year of
triumphs: the outstanding trumpeter Cootie Williams, unbelievable in "The
Shepherd" and "Tutti for Cootie", was back on board; but then
tragedy struck again a few weeks after the Stuttgart concert with the death of Duke's alter ego
Billy Strayhorn.
Throwing caution
to the wind and refusing to rely solely on time-served hits, Duke and his 14
musicians launch themselves into the new adventure. "Johnny Come
Lately" breaks the ice, "Swamp Goo" featuring clarinettist
Russell Procope has the magical "Jungle Sound", Paul Gonsalves' tenor
sax dances though "Knob Hill", Cat Anderson's trumpet hit the stratosphere
and Harry Carney's baritone horn gives a close-up account of "A Chromatic
Love Affair".”
Here’s a sample
track from Big Band Live: Duke Ellington Orchestra [JAZZHAUS 101703].