Rooster_Ties

"must have" Ellington dates, mid to late 60's, 70's

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What are arguably Ellington's best and/or most interesting or significant recordings from the mid 60's and after??

I'm looking for suggestions for a handful of "must have" titles, particularly material that is mostly original to that era (so I'm probably quite a bit less interested in late 60's live recordings that are of his earlier "hits").

Also, there was a single-CD collection of studio recordings from a couple year time-span (maybe '66-'68), that WASN'T one of the "Private Recordings" releases (at least I'm pretty sure it wasn't). I got it for my uncle many years ago for his birthday (probably around 1995, at the very latest), and have since forgotten which specific release that was. I remember that it had a reddish cover with one or maybe two B&@ photos on it (maybe of Duke conducting the band in a studio setting). Somewhere I have a cassette tape dub of that CD, and have always intended to pick up a copy of the same disc for myself. The disc had a sort of "sub title" to it too, FWIW, something like "[TITLE OF CD] - unreleased studio recordings, 1966-68". Does that ring any bells??

1) Which disc is it, and...

2) How significant is the material (meaning significant within the context of the scope of this thread -- among Duke's mid-60's recordings and beyond.)

Thanks!! :)

Edited by Rooster_Ties

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The duo album in tribute to Jimmy Blanton (Duke + Ray Brown) I remember as being very good.

There's a lengthy piece on Ellington's private stash of recordings, with a discography, in a recent issue of Coda -- July/August I believe.

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& of course you should have And His Mother Called Him Bill, the Strayhorn farewell, if you haven't already got it.

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d79967v0310.jpg

This might well have been the disc I was talking about above (that I gave to my uncle for his Birthday, sometime in the mid-90's). I think the "Ellington conducting the band" photo I have in my head about it is actually from inside the liners.

No formal AMG review -- how is this collection?? track listing

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I can't believe the Far East Suite hasn't been mentioned yet!!!

Guy

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Before I even started this thread, Afro-Eurasian Eclipse and Far East Suite were the two 60's/70's Ellington dates that I knew I probably needed to get.

It's been years since I've heard Eclipse (another disc I gave my uncle for another of his birthdays, many years ago - mid 90's probably) -- and I'm not sure I've ever heard the Far East Suite (sorry).

Edited by Rooster_Ties

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Geez!

What Am I here For?

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d79967v0310.jpg

This might well have been the disc I was talking about above (that I gave to my uncle for his Birthday, sometime in the mid-90's). I think the "Ellington conducting the band" photo I have in my head about it is actually from inside the liners.

No formal AMG review -- how is this collection?? track listing

Just dandy. Some real gems on there, and a few less-than-essential-but-nevertheless-interesting curios. Buy with confidence.

Besides that which has already been (justly) recommended:

I/m a big fan of New Orleans Suite, especially what comprised the first LP side. Damn good stuff, and all sorts of levels of personal poignancy in the mix.

The Pablo "workshop" albums are a mixed bag (mixed relative to Ellington's overall output, that is) but I'd not be without them. Some fascinating things to be found therein.

Of the three Sacred Concerts, the First is probably the most celebrated, but I prefer the Second, which is pretty mind-bending in spots. Find it on LP if you can, because the CD is slighty truncated.

Live at the Whitney is one of the great piano recordings in the history of the world, even the world that existed before recording.

Haven't heard the Fantasy trio side yet, but I've got no reason to believe that it's less than superb. Duke's piano playing is a world unto itself, and like his writing, it continued to evolve and deepen over the years (am I a heretic to say that the Capitol Piano Reflections side is less than fully satisfying for me?).

Out of that "Private Sessions" series, the one that's indispensible in terms of the topic at hand is the one that has "The River". Just sketches, but my god...

Re: Afro-Eurasian Eclipse, there's a Laserlight(?) "workshop" type thing that's far from essential save for an alternate take of "Chinoiserie" that has Harold Ashby playing a significantly different (and much more exploratory) solo than the one first released. Ask for it by name!

Bottome line - just buy the shit. It's Duke & ain't none of it ignorable.

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Live at the Whitney is one of the great piano recordings in the history of the world, even the world that existed before recording.

Bottome line - just buy the shit. It's Duke & ain't none of it ignorable.

Oh, hell yeah. :tup

Somethin' about that Live at the Whitney I can never get enough of.

202023.jpg

An older Duke being very much being an older Duke. I would have loved to have been there.

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Good to see you back! I was just thinking about starting a "Where's Catesta?" thread. Hope all is well.

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Grazie, JS.

I've been around some, but not had much time to say anything of much value beyond a few occasional birthday wishes.

Hopefully the business related things slow down a bit and I can resume the normal flood of knowledge I bring with me. :P

I thought couw was covering for me while in hibernation, but he seems to have pulled an even greater disappearing act. ;)

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Live at the Whitney is one of the great piano recordings in the history of the world, even the world that existed before recording.

Haven't heard the Fantasy trio side yet, but I've got no reason to believe that it's less than superb. Duke's piano playing is a world unto itself, and like his writing, it continued to evolve and deepen over the years

I've already got the Whitney date, and love it!! (Actually, all -- and I mean ALL (100% :ph34r: ) -- of the Ellington I own currently are his solo/duo/trio things (about 4 or 5 discs worth). You all know I'm weird, and this just proves it even a little more!! :g

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Geez!

What Am I here For?

You tell me!! ^_^

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Geez!

What Am I here For?

You tell me!! ^_^

What you willing to pay? :cool:

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Geez!

What Am I here For?

You tell me!! ^_^

What you willing to pay? :cool:

What's the going rate??

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Out of that "Private Sessions" series, the one that's indispensible in terms of the topic at hand is the one that has "The River". Just sketches, but my god...

I had "The River" at one time, but lard only knows where it got to. I remember it being pretty interesting, though. Wish I still had it.

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......lard only knows where it got to.

You lent it to Spontooneous?

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Geez!

What Am I here For?

You tell me!! ^_^

What you willing to pay? :cool:

What's the going rate??

I have a HUGE problem with your question.

From my observations, you a FIXATED on '60s/'70s music that doesn't move "beyond your personal sensibilities". If you only want to deal with Ellington within your narrow scope, you deny Ellington his greatness and deny yourself the real shit.

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Guilty as charged.

Then again, Chuck, you're more or less largely dismissive of most of Miles' output in the 70's. :rolleyes:

Some of Cellar Door and some of Agartha. A few other spots too. My problem is how thin the music became, meaning I have to listen to a bunch of shit to get to stuff I care for. This was not a problem with Miles earlier.

Don't have to do with style but with content.

and (much to my amazement, seriously) you think practically ALL of Woody Shaw's leader dates are substandard. :huh:

Most of my favorite Shaw performances are as sideman. His "leader" dates always disappointed with the one exception of "Stepping Stones".

IMHO, I think it's fair to say that we each have our issues. :mellow:

Edited by Rooster_Ties

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HAHAHAHA!

For me the case is closed.

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Now that my case has been diagnosed (and Chuck's too, perhaps -- or at least some symptoms identified :P ), anybody else have any thoughts about Ellington in the 60's and 70's??

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I bow down to Rooster. He understands the '60s and '70s beyond my capabilities.

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I bow down to Rooster. He understands the '60s and '70s beyond my capabilities.

Either contribute to the thread in some constructive way (even if that's pointing to some earlier specific recordings that I might ought to consider, or at least not dismiss out of hand), or please keep it to yourself, Chuck.

I'm tired of you pissing on my threads.

Please note, I didn't go off on you about your Woody Shaw comment post_snapback.gif (even if I really wanted to, and thought about it - but thought the better of it before I hit the "add reply" button).

And my response to your Miles Davis comment was far more civil that what I initially typed (and thought the better of posting).

Some of Cellar Door and some of Agartha. A few other spots too. My problem is how thin the music became, meaning I have to listen to a bunch of shit to get to stuff I care for. This was not a problem with Miles earlier.

Don't have to do with style but with content.

Fair enough. I have that trouble with some 70's Miles myself too.

Let's just agree that you like what you like, and I like what I like, and leave it at that. I don't go pointing out every bias I think you seem to have -- and I'd appreciate if you didn't point out my (admitted) biases either.

(And you know this isn't the first thread of mine you've pissed on.)

Edit: for spelling only.

Edited by Rooster_Ties

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And the irony in all this, Chuck, is that the two people I was most hoping would contribute (constructively) towards this thread -- were you and Sangry.

Your love of Ellington is well known (and entirely justified -- not that you need my or anyone else's justification), and I was genuinely looking forward to your thoughts on this period in Ellington's career.

I value your opinion, probably more than your realize, Chuck. I don't always agree with it (as is obvious), but it's usually very valuable, or at the very least interesting.

Why you persist in occasionally but periodically needling me about my (admitted) limited tastes is beyond me.

I may be juvenile in some of my (limited) tastes, but the degree to which you let that get under your skin is surprising (and why what I like (occasionally) matters that much to you -- is beyond me).

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