medjuck

If I counted right and kept track of all unissued takes there will be 251 tracks. Overview of the complete as possible of Duke Ellington's 1924-1946 studio recordings. Earliest Ellington 1924-1926 The Blu Disc, Up-to-date, Paramount and Gennett recordings are on Masters Of Jazz vol. 1 Brunswick/Vocalion 1926-1931 Early Ellington The Complete Brunswick and Vocalion Recordings of Duke Ellington 1926-1931 3 CD set Discovered later and therefore not included: 27772-B Tishomingo Blues on Jazz Oracle 8047 A Gift From The President E31372 “Office Take ” Oklahoma Stomp unissued Pathé, Banner, Cameo Perfect, Romeo, Okeh and Columbia 1925-1931 There has never been a complete reissue of this Sony owned material. There are 97 tracks in total. 94 of them are included on Masters of Jazz vol. 1-12. 50 are included in "The OKeH Ellington" Not included: 150586-1 Double check stomp (never reissued take) 10357-3 Rockin’ Chair (never reissued take) 10359-3 I’m so in love with you (this would have been track 1 of vol. 13 that never appeared) It is on classics 605 Duke Ellington 1930-1931 Classics 539, 542, 550, 559, 569, 577, 586, 596, 605 and Neatwork RP 2009 and RP 2018 cover the same period and also have 94 tracks out of 97. But 108079-1 East St. Louis Toodle-oo is missing. It is on Masters Of Jazz Volume 3. Masters Of Jazz also includes movie soundtracks that explains why MoJ has one CD more. RCA Victor 1927-1934, 1940-1942, 1944-1946 The Complete RCA Victor recordings 1927-1973 (24 CD set) 1927-1934 disc 1-7 1940-1942 disc 8-13 1944-1946 disc 14-17 Missing: 053623-2 A Lull At Dawn on Neatwork RP 2051 Duke Ellington volume 8 track 14 053624-2 breakdown Ready Eddy Neatwork RP 2051 Duke Ellington volume 8 track 17 CD 10 track 22 = CD 10 track 23 CD 10 track 24 = CD 11 track 3 Hit Of The Week 1930 Sing You Sinners and St. James Infirmary Masters Of Jazz Volume 9 Brunswick, Vocalion, Columbia, Okeh, Master and Variety 1932-1940 Mosaic 11-24? The Complete 1932-1940 Duke Ellington and His Famous Orchestra Mosaic 7-235 The Complete 1936-1940 Small Group Sessions Decca London 1933 Classics 637 Duke Ellington and his orchestra 1933 Neatwork RP 2033 Duke Ellington volume 4 (1933-1936) These CD’s Also include both takes of “A souvenir of Duke Ellington” The Decca Session is also included on "The British Connexion 1933-40" On Jazz Unlimited Musicraft 1946 CD “Happy-Go-Lucky-Local” Musicraft MVCD-52 My Old Flame with Mae West was not a commercial recording it is on Classics 646 Duke Ellington and his orchestra 1933-1935 track 15. The Duke Ellington solo version of “I’ve got to be a rug cutter” is not a commercial recording either. It is included on Le Chant Du Monde’s L’histoire du jazz vocal 1911-1940 CD 7 track 4. Based on The New Duke Ellington Story On Records (New Desor) by Luciano Massagli and Giovanni M. Volonté, The New Desor Correction sheets (www.depanorama.net/desor/index.htm), articles in The Duke Ellington Music Society Bulletin edited by Sjef Hoefsmit (www.depanorama.net/dems/) and my own collection. Thanks. That's very helpful. I was considering going through the new Desor to find this out. One of the great advantages of the internet is the sharing of research. I think when I get the Mosaic I will have everything except the 47 numbers left off the Okeh Ellington.

Here's an attempt to catalogue EKE tracks on cd. You do need to know the name of the cd the track is from and it's neither complete nor user friendly but it is a start: http://www.ellingtonweb.ca/Hostedpages/CDCatalogue/CD-Lists.htm

I was at that premiere of Bonnie and Clyde that they mention in the obit. The reception was tumultuous. The next day I got to interview Penn for the cover story of a magazine I was helping to edit. He was very articulate and spoke in complete sentences (most of us don't) so much so that we took out my questions and ran it (with his permission, I think) as if it were an article he'd written. I also interviewed him on the set of Alice's' Restaurant but don't remember much about it except that he told me his next film would be Little Big Man.

I watched part of the film "The Cotton Club" the other day and noticed the top rather sexy program illustration used as wall painting in that film. It is now on the Storyville web site (www.storyvillerecords.com/Default.aspx) No track listing so far but it includes a 1933 newsreel item on Lenox Avenue and has a glimpse of Duke. Remco Is there anyway to order it besides phoning them? Also it doesn't give a price. Or did I miss it?

You'd still need the Reprise Mosaic box and the 1947-52 Columbia material, for starters. But yeah, this is going to fill in a huge gap in the Ducal-on-disc realm. Yes I should have added "Through 1946." Maybe Mosaic can start work now on the later Columbia material. Will we ever see 'The Asphalt Jungle Twist" on cd?

How soon will they list the contents on-line? I'm thinking that if you have "The Okeh Ellington", the Decca Collection, the RCA box set and this, you may have nearly all of his studio recordings.

I just discovered that "The Unknown Session" was available on cd from Amazon. It's one of those CBS France issues too. (Though the notes are in English only.) I'm thrilled that the Mosaic will be available shortly!

I just saw him with Charles Lloyd and was really impressed.

Don't think your opinion would be shared by many! The Bogart/Bacall version is one of the greatest movies ever made. The Mitchum version is not bad but not a patch on the original (including the acting). Agree the Bogart/Bacall version is better but its script does not make much sense. A priceless movie in any case! No script of the "The Big Sleep" could make that much sense plot-wise because Chandler's novel famously does not. The particular anomaly is, Who killed the chauffeur of Bacall's nymphomanic sister and why? Chandler was asked that question during the making of the film (I think by director Howard Hawks and Bogart), and he had no answer, saying "Damned if I know." I would assume that Hawks wisely realized that it hardly mattered. BTW the original problem perhaps arose for reasons similar to those that were in play with "Farewell, My Lovely," which Chandler assembled out of several separate and previously published novellas. As it happens, the places where the separate plots are welded together in FML are among the most effective and "poetic" passages in that book IMO. As far as I know, "The Big Sleep" did not have that novella-first history (at least not anything that Chandler completed and previously published), but such rhythms of plotting and joining plots together may have been habitual for him, and sometimes, as in "The Big Sleep," there were loose ends. In any case, with Chandler mood is 98 percent of it. My memory of the Mitchum FML was that it was pretty bad. By then Mitchum's face had essentially collapsed, as had (so it seemed) his spirit. Sarah Miles did have a nice broad turn as Jessie Florian, but even if one leaves Mitchum's performance aside, the whole film lacked conviction, perhaps because it was conceived and played as a period piece. The Big Sleep is based on two unrelated short stories. (Don't have the names with me right now.) The film, even more than the book, seems to be in two parts: Marlowe solves one crime then they vamp a bit before he gets going again. However the vamping is great! It's one of the scenes shot later Bacall comes to see him and they discuss horse racing. Ooops: just discovered that it's based on 3 stories. Found this on-line. "He uses the plot and details from three of these stories, "Killer in the Rain," "The Curtain," and "Finger Man" in The Big Sleep.

Is it '64 or 65?

You've already seen two of his best performances. I'd go with Out of the Past next and since you've already heard him sing the title song: "Thunder Road".

Saw local boy Charles Lloyd last night. He plays a small theater here every couple of years. (Sangam was recorded there. I didn't go and I'm still kicking myself because I love that record.) A neighbor of his phoned and said she didn't know his work but felt obligated to see him and would we go with her. My wife and I said sure, and were we all glad we did. His new group is great. Last time I saw him here he seemed to me to be influenced by Wayne Shorter (not a bad thing). But this time he sounded more like he did the first time I ever saw him 40 years ago when Kieth Jarrett was still with him. (Though Paul Motian was the drummer not Jack DeJohnette.) The first number sounded like much of his ECM stuff but then he played "I Fall In Love Too Easily" (which I'd just been listening to by Miles that afternoon). I didn't recognize anything else (one number was reminiscent of Ginger Bread Boy) until the encore when he played Pannonica followed by what I later learned was Forest Flower! Maybe this is just an attempt to regain his former popularity, but I don't care it was a great evening of music.

Oooops I just heard the reporter who did the original NYT story on this boradcasat http://beta.wnyc.org/shows/soundcheck/2010/aug/20/secret-savory-collection/ saying that Savory was working for a transcription service. (He did say otherwise in the first story.) Doesn't that mean there should be other copies around?

This one posted by tranemonk http://beta.wnyc.org...ory-recordings/ seems to be the best yet. In the discussion someone says that Savory had a direct line to the stations and that he was doing this for professional reasons. But the original NYTimes piece says that he was doing it for his personal pleasure. Anyone read that these were done professionally? Also has our Berigan checked out the great Bunny stuff here or does he only read the political and film threads?

Thanks for posting this. I was impressed by the authenticity of the music and did recognize Tucker (I remember seeing her on The Ed Sullivan Show) and of course Jolson. Wasn't so sure of all the bands (or even if their chronologically correct.) I didn't guess that the guy in White face is meant to be Cantor because he didn't sing. Wish they would compile a list of their sources.

He used to come sometimes to meetings of the LA Duke Ellington Society. IIRC played at one of them. A great man and a nice guy.

No one else seems to have seen one either but Cohen makes a passing reference to it.

There were a couple of mis-statements about EKE alos but nothing serious. BTW does anyone else remember Duke wearing an earring near the end of his life? In my earlier post I forgot to mention that one of the revelations to me was the existence of a written narratives to Black, Brown and Beige that Ellington decided not to use though he obviously spent some time writing it.

The reviewers may have been responding to the way she looked.

I interviewed Zappa in a green room his band was sharing with BST. He had just heard CTA and was very excited that there were two other bands using horns. He was telling the BST guys about CTA and joked that the two other bands should do a gig with the Mothers and they'd all get on stage together to have a really big band with lots of horns.

BTW, if like me you have almost everything from this box, you can download the few things you don't have from the Amazon site for 99 cents each cut.

It's a the third or fourth EKE bio I've read. It does add a bit to the other ones and is well documented. A new idea (to me at last) was how important Duke's "image" was to him and his managers and how it differed from that of other black musicians of the time. I do wish his biographers would be less discrete about his relationship to his (apparently) many sexual partners. I'm not looking for salacious details but how about a list of who his girlfriends were at various times. And there was a rumour that Ruth Ellington was not his sister but his daughter from a youthful affair. Does any know anything about the veracity of that story? (And I wouldn't have mentioned that on the internet if Ruth were still alive.)

Me too please.

My two cents: I've heard Roy twice in the last three months, once with his own band last week and once in June with Chick Corea, Kenny Garrett and Christian McBride and I could not disagree more with that line of complaint. He sounded amazing both times, completely locked in, listening, having a conversation with the rest of the band. I suppose you could say he's a busy drummer -- he's always been busy -- but to me it's so musical and creative that the word intrusive is badly misplaced. I saw him about a year ago with his own group and didn't find him intrusive-- though you could tell he was the leader. BTW I also found his group's sound quite distinctive. Maybe I don't hear enough contemporary jazz but I thought they had created their own sound which I really liked.

I was going to ask about that-- also appropriated by rock and roll.