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▐█▄▄█▄██▓█▀▄▄▄▄▄▓ █▌▓▄▄▄▀█▄▄▄▄▌ PRESENTS ▐▄▄▄▄▄▀▓█▄▄▄▄▄▄▄ ▌▄▄▄▄▄▀██▄▓█▄▄▀▓▄▌
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░ ▓█ ▒ Duke Ellington - Love You Madly: (Original Recordings Vol 14 ▒ ░▓█▄
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█░▌ Genre Jazz ▄█▓▒██
█▒▒ Source CDDA ▀▐▓█
█▓▓ Type Album ▒▒█▌
▌█▓▌ Label Naxos Jazz Legends ▐▓█
██▒▌ Catalog 8.120814 ▐▓█▀▌
▐██▓ Year 2007 ▐▒█▓▀
▐▓█▐ Tracks 18 ▐█▓▐
█▒▒ Time 61:30 min █▒▒
█▓▓ Size 49,8 MB █▓▓
░█▐ Encoder Lame 3.97 ██░
░█▐ RlsDate 23-12-2007 ░█▐
▒█▒ Quality VBR kbps / 44.1kHz / Joint-Stereo █▓
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█▓▌ 01. Sultry Serenade [03:07] ▐▓█
█▓▌ 02. Hy'a Sue [02:56] ▐▓█
█▓▌ 03. Golden Cress [03:02] ▐▓█
█▓▌ 04. Don't Get Around Much Anymore [03:05] ▐▓█
█▓▌ 05. Progressive Gavotte [02:59] ▐▓█
█▓▌ 06. Love You Madly [03:00] ▐▓█
█▓▌ 07. Build That Railroad (Sing That Song) [02:44] ▐▓█
█▓▌ 08. Fancy Dan [03:03] ▐▓█
█▓▌ 09. VIP's Boogie [03:00] ▐▓█
█▓▌ 10. Monologue (Pretty And The Wolf) [02:17] ▐▓█
█▓▌ 11. Jam With Sam [03:13] ▐▓█
█▓▌ 12. Deep Night [02:45] ▐▓█
█▓▌ 13. Please Be Kind [03:15] ▐▓█
█▓▌ 14. Smada [02:49] ▐▓█
█▓▌ 15. Take The 'A' Train [07:58] ▐▓█
█▓▌ 16. Rock - Skippin' At The Blue Note [02:31] ▐▓█
█▓▌ 17. Satin Doll [02:59] ▐▓█
█▓▌ 18. Skin Deep [06:47] ▐▓█
▓█ ------- ██▓
█▒░ 61:30 min ██
▌▓▌ 49,8 MB █▓▀
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█░ ▐ ███░
█░ In 1946, the swing era collapsed and quite a few big bands, █░█
█░ including those of Benny Goodman, Tommy Dorsey, Harry James █░█
█░ and Jack Teagarden, broke up. Pop music had changed and was █░█
█░ now focusing on ballad singers. Running a large swing █░█
█░ orchestra had become economically unfeasible, dancers were █░█
█░ shifting towards smaller rhythm & blues groups, and the jazz █░█
█░ world was split between bebop and the revival of New Orleans █░█
█░ jazz. █░█
█░ █░█
█░ Duke Ellington survived the collapse, but there were more █░█
█░ problems to come. Many of the remaining big bands broke up █░█
█░ during 1949û50 due to the rise of television. Woody Herman, █░█
█░ Charlie Barnet, Count Basie and even Dizzy Gillespie had to █░█
█░ throw in the towel at least temporarily. Ellington persevered █░█
█░ due to the royalties of his hit songs which allowed him to █░█
█░ keep his orchestra going, but the pressure was on to come up █░█
█░ with new hits. It would not be until his triumph at the █░█
█░ Newport Jazz Festival in 1956 that the survival of the Duke █░█
█░ Ellington Orchestra would finally seem permanent. █░█
█░ █░█
█░ If Duke Ellington had decided to break up his band in 1947 and █░█
█░ freelance as an arranger-composer, he could have already █░█
█░ looked back on a very full lifetime of accomplishments. Born █░█
█░ 29 April 1899 in Washington D.C., Edward Kennedy Ellington █░█
█░ flirted with the idea of becoming an artist. However he was █░█
█░ drawn towards music after watching local stride and ragtime █░█
█░ pianists perform in local pool halls and bars. Successful as a █░█
█░ bandleader by the early 1920s, Ellington first visited New █░█
█░ York in 1922. His second trip to the Big Apple in 1923, █░█
█░ working with banjoist Elmer Snowden's Washingtonians, soon █░█
█░ found him heading the group. The Duke Ellington Orchestra █░█
█░ gained experience playing at the Kentucky Club for three years █░█
█░ and in 1927 hit it big by landing the job of house orchestra █░█
█░ at the Cotton Club. Due to the band's unique sound, █░█
█░ Ellington's constant writing and the regular radio broadcasts, █░█
█░ Duke Ellington quickly became a household name. Many of his █░█
█░ compositions became standards, his arranging was both █░█
█░ influential and innovative, and his band featured many highly █░█
█░ individual soloists who benefited from being part of █░█
█░ Ellington's musical world. █░█
█░ █░█
█░ Two decades later, Duke Ellington was still at it. He turned █░█
█░ 48 in 1947 and gave the impression that he looked at both the █░█
█░ rise of the pop singer and bebop with amusement. Ellington was █░█
█░ willing to acknowledge the competition and draw some aspects █░█
█░ of it into his own music, but he mostly avoided following █░█
█░ trends and fads except in an occasional tongue-in-cheek █░█
█░ manner. After all, his music stood apart from everyone else's. █░█
█░ █░█
█░ The personnel of the Duke Ellington Orchestra during the █░█
█░ second half of 1947 had changed a great deal since 1942 and █░█
█░ the turnover would continue for the next few years after █░█
█░ fifteen years of remarkable stability. At the time of Sultry █░█
█░ Serenade, he had just one trumpet soloist (Ray Nance) but █░█
█░ there were two contrasting trombonists (Lawrence Brown and █░█
█░ Tyree Glenn) and a very strong reed section with altoist █░█
█░ Johnny Hodges and baritonist Harry Carney being holdovers from █░█
█░ the 1920s. Clarinettist Jimmy Hamilton and tenor-saxophonist █░█
█░ Al Sears gave the band a more modern solo even if Russell █░█
█░ Procope, skilled on both clarinet and alto, tended to be █░█
█░ underutilized. Ellington and drummer Sonny Greer (who was with █░█
█░ him from the start) are joined in the rhythm section by the █░█
█░ great bop bassist Oscar Pettiford. Veteran acoustic guitarist █░█
█░ Fred Guy soon departed after being largely inaudible for a █░█
█░ decade. █░█
█░ █░█
█░ Volume 14 of Naxos' Duke Ellington series begins with the █░█
█░ likeable Sultry Serenade, a number that features trombonist █░█
█░ Tyree Glenn. When it was outfitted with lyrics years later, it █░█
█░ also became known as "How Could You Do A Thing Like That To █░█
█░ Me". While Glenn, who was also an excellent vibraphonist, was █░█
█░ only with Ellington for a relatively brief period, he fit in █░█
█░ perfectly. Johnny Hodges and Oscar Pettiford also make their █░█
█░ presence felt. █░█
█░ █░█
█░ The R&Bish blues Hy'a Sue features another side of Glenn as he █░█
█░ displays his mastery of the plunger mute, a very important █░█
█░ attribute for Ellington at the time since Tricky Sam Nanton's █░█
█░ death had left a huge gap in the band's sound. Jimmy █░█
█░ Hamilton's tenor engages in some counterpoint with Glenn, and █░█
█░ Hodges gets to preach the blues a bit. Golden Cress, a █░█
█░ memorable but somewhat forgotten Ellington ballad that becomes █░█
█░ a romp in its second half, features the warm tone and █░█
█░ virtuosity of the other key trombonist, Lawrence Brown. █░█
█░ █░█
█░ Don't Get Around Much Anymore was, along with "Do Nothin' Till █░█
█░ You Hear From Me," the most popular original recorded by Duke █░█
█░ Ellington in 1947. Al Hibbler's enthusiastic vocal, assisted █░█
█░ by Hodges, Carney and Nance, makes this version a classic. █░█
█░ Much more obscure is Billy Strayhorn's Progressive Gavotte, a █░█
█░ number featuring Jimmy Hamilton's clarinet, Carney, trumpeter █░█
█░ Harold 'Shorty' Baker and Hodges that shows the influence of █░█
█░ bebop.s █░█
█░ █░█
█░ Not every selection recorded by Ellington during 1947û50 was █░█
█░ on this level including such forgotten items as "Women █░█
█░ (They'll Get You)", "I Fell And Broke My Heart", "It's Mad, █░█
█░ Mad, Mad", "He Makes Me Believe He's Mine" and "Joog Joog". █░█
█░ However the Duke Ellington Orchestra remained a mighty band. █░█
█░ The 1950 version, in addition to Baker, Nance, Brown, █░█
█░ Hamilton, Hodges, Carney, the pianist and a new bassist in █░█
█░ Wendell Marshall, had strong soloists in trombonist Quentin █░█
█░ Jackson (who took over the plunger mute role) and tenor- █░█
█░ saxophonist Paul Gonsalves, who would be with Duke for the █░█
█░ next 24 years. █░█
█░ █░█
█░ Love You Madly over time became an Ellington standard. The █░█
█░ debut version features the obscure but effective Yvonne █░█
█░ Lanauze on vocals. Paul Gonsalves has a brief solo as he does █░█
█░ on Build That Railroad, a feature for Al Hibbler. █░█
█░ █░█
█░ In early 1951, Duke Ellington faced a crisis. Johnny Hodges, █░█
█░ Lawrence Brown and Sonny Greer, three of his stars, all left █░█
█░ the band at the same time to join Hodges' new combo. In what █░█
█░ became known as 'The Great James Robbery', Ellington filled █░█
█░ their spots with three of Harry James' sidemen: altoist Willie █░█
█░ Smith, trombonist Juan Tizol (who had joined James after █░█
█░ leaving Duke a few years earlier) and the spectacular drummer █░█
█░ Louie Bellson. James, whose band was only part-time during the █░█
█░ period, was good-natured about the events and even said that, █░█
█░ if there were an opening in Ellington's orchestra, he would █░█
█░ like to join himself! █░█
█░ █░█
█░ The next seven selections feature the new lineup plus the █░█
█░ brilliant and witty trombonist Britt Woodman. Fancy Dan has █░█
█░ contrasting statements by Woodman and Quentin Jackson, a bit █░█
█░ of Gonsalves and some fancy playing from Bellson while VIP's █░█
█░ Boogie puts the spotlight on Carney and Hamilton. Monologue █░█
█░ (Pretty And The Wolf) is a whimsical tale narrated by █░█
█░ Ellington that is still contemporary. Jam With Sam gives Duke █░█
█░ an opportunity to feature many of his sidemen on a medium- █░█
█░ tempo blues: Baker, Gonsalves, Woodman, Procope on alto, the █░█
█░ remarkable high-note trumpeter Cat Anderson, Jackson, █░█
█░ trumpeter Nelson Williams and Cat at its conclusion. Deep █░█
█░ Night has spots for all three trombonists (with Tizol going █░█
█░ first) along with Nance and Hamilton. Please Be Kind is a █░█
█░ feature for the melodic Willie Smith and Gonsalves while the █░█
█░ joyous Smada has Hamilton's clarinet being showcased. █░█
█░ █░█
█░ The 1952 Duke Ellington Orchestra was even stronger than the █░█
█░ previous year's edition because the trumpet section was back █░█
█░ to four major soloists with the addition of Clark Terry and █░█
█░ Willie Cook. The band's rendition of Take The 'A' Train was █░█
█░ the greatest one since the original 1941 recording due to an █░█
█░ inspired vocal by Betty Roche (the highpoint of her recording █░█
█░ career) and some heated tenor from Paul Gonsalves. Rock- █░█
█░ Skippin' At The Blue Note gives Ray Nance a chance to shine. █░█
█░ The original version of Satin Doll has no real solos but █░█
█░ became the last of Ellington's pop hits. Concluding this █░█
█░ collection is Skin Deep, a showcase for the remarkable █░█
█░ drumming of Louie Bellson who wrote the piece. █░█
█░ █░█
█░ Even after all of this, Duke Ellington had two more decades of █░█
█░ accomplishments ahead of him. █░█▄▄
▐█░ █▒█▓
█░ http://www.naxos.com/catalogue/item.asp?item_code=8.120814# █▒█▓
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