hopkins

All good guesses, and I assume there's little information out there. Coleman Hawkins only listened to classical at home. I read somewhere that Ben Webster in Europe had tapes of early jazz piano (Fats, etc). I was just curious if there were any info out there about Ellington. Also, he spend a lot of time on the road...

Just read Lewis Porter’s latest newsletter mentioning record purchases of some artists at the Colony record shop: https://lewisporter.substack.com/?utm_campaign=pub&utm_medium=web Delius is mentioned as an Ellington favorite (this is also documented elswhere) I have always wondered what Ellington listened to at home. Do we have an idea of what his record collection contained?

Perhaps you were filmed! https://www.facebook.com/ATJDonKaart/videos/duke-ellington-montreal-1964/374318239796529/ Were there any particular band members whose sound stood out, that you remember most vividly ? Stephane

Not totally relevant to the discussion, but I happened to listen this week to Blanche Calloway (Chronological Classics). Great music, and an interesting life. Too bad she did not record more. I did not find any videos of her, which is a shame as I understand she was quite a performer. Carry on!

I am curious to know which newsletters, or even YouTube channels you subscribe to and can recommend. I subscribe only to a few newsletters (Jan Evensmo,Lewis Porter, Mosaic...). I'm looking to expand my horizon. Thanks!

There are probably many but "Mr. Swing" (and the accompanying "The Swinger", same session, September 1958) comes to mind, even though it is not exactly a "jam session", but the first two tracks (9 minutes each) have that feel - "Love Is Here To Stay" and "Short Coast". Jimmy Forrest and Jimmy Jones gently swing in extended solos. Other similar sessions, with Webster, are "Gee Baby Ain't I Good To You" (March 1957) and "Sweets" (September 1956). The Edison/Webster 1962 session available on the Mosaic "Columbia Small Group Swing Sessions 1953-62" is good as well. It has been reissued separately on CD as well. "Reelin and Rockin" on Johnny Hodges' "Blues a Plenty" also comes to mind. Not exactly a jam session either, but some fine extended solos by all participants (including Webster) and a nice laid back atmosphere. The album is fabulous from start to finish. Note Johnny Hodges on "Satin Doll"! Concerning Hawkins, the "Live at the Village Gate" 1962 album with Eldridge and Hodges has some fine relaxed playing, especially the 16 minute long "Rabbit in Jazz"! EDIT: reading over this message, I am not sure all these references qualify as "jam sessions", so my answer is probably off topic... I'll be curious to learn of other similar tracks.

It was nice to meet medjuck and miles65! Safe travels back home.

I stopped drinking 15 years ago, so I cannot tell you about the current production, but have fond memories of a few Bordeaux. Call me a snob, but I believe wine is best enjoyed locally, with the "cuisine" (and that probably applies to all countries). So I hope some of you visitors this week will get a chance to treat yourselves to a good meal.

Anyway, it's great to witness first hand the enthusiasm of hardcore Ellingtonians! Last year, for example, they showed a long video of Marc Tucker discussing "New World a-Coming" and then performing the piece. It was fascinating (both the content, and then being able to listen to his performance of that composition). The presentations are all available on the Swedish society's website. I wonder if they filmed the presentations this week.

The eternal question was raised again as to how "preserve" the legacy of Ellington, and attract more "younger" people to his music. These questions apply to jazz in general. The only thing that is perhaps specific about Ellington is the well known idea that he really is "beyond category". As a result there is perhaps some form of neglect by some "jazz critics" today? He's not really considered to be a "jazz musician" like Coltrane or Miles, to name two that the general public is aware of. So Ellington stays out of the radar, in a sense ? To prepare myself, I listened to a lot of Ellington these past weeks. I have come to the conclusion that what I love most about Ellington is his piano playing, whatever the context (accompanying his band, in small groups, trios, duos, or solos...). But Ellington is mostly subtle, and I am not sure a casual listener would not simply miss out on this. But it's a lost cause. Kids don't read anymore

Last year's conference (I attended via Zoom) was all in English. Our Nordic friends are all excellent English speakers. Whereas here in France, we've been preoccupied with "preserving" French...

As for the conferences, I was left wondering how many French attendees do not speak english ? The constant translation from English to French was tedious - was it really necessary ? It seems to me that if you are hosting an international event, especially on Duke Ellington, then all presentations and discussions should only be in English.

Attended the conference this afternoon, which finished with a an exciting performance by Leila Olivesi's band. Looking forward to tomorrow night's concert, which will be held in a nicer venue ! https://www.balblomet.fr/

I found one on Discogs, for 35€ (so a little expensive) available locally (France).

If you listen to the 30sec samples on the Internet Archive you will probably come to the conclusion that it is not a 1940s recording... Two of the samples have violin, and one has vocals. I purchased the CD...

Has anyone heard these Earl Hines / Ray Nance duets issued on this CD (tracks 7-12) ? https://www.discogs.com/fr/release/14394475-Earl-Hines-Ray-Nance-Mostly-Fats-Unissued-Sessions Liner notes state that these recording were made "somewhere in the United States probably in the early 1970s." https://archive.org/details/cd_mostly-fats_earl-hines-ray-nance

Pre-ordered as well, thanks for the links!

Here is a very nice picture of a young Ahmad Jamal (taken in the early fifties?), included in the Jazz Piano Moods Mosaic booklet: RIP.

Among his later sessions, I enjoy "Blue Delight": https://archive.org/details/cd_blue-delight_sun-ra Another, from 1982, is Ceslestial Love: https://sunramusic.bandcamp.com/album/celestial-love Edit: Blue Delight was already mentioned, had missed that.

This is what Jan Evensmo has to say about that one: "These trio performances may be considered the zenith of Lucky Thompson’s recorded performances!!! Strong words considering the numerous magnificent contributions made through the preceding 12 years, and of course it is a matter of taste; these chamber music items represent someting new for LT, for jazz, for us. With only guitar and bass swinging merrily behind, Lucky Thompson creates the most wonderful music. His sound was always unique, now it has a glow making it the most beautiful tenorsax sound in jazz history (together with that of Zoot Sims in slow tempo decades later). His version of a slightly camouflaged ”Body And Soul” is just perfect and incredibly beautiful! There are a lot of tricky compositions here, even the blues on ”… My Boy”, ”… Simple Truth” and particularly ”Mister …” are something different. This session is your tenorsax must!!!!"

In "Superstride" Derek Coller explains that Guarnieri had also developed a stretching exercises for his left hand, putting his thumb and pinkie on the side of a table and pushing his palm toward the table until "he developed a perfectly straight line running down his thumb from the right, lining up with his outstretched pinkie on the left. This enabled him to reach most wide intervals, despite his small hands."

Rosemary Clooney.

Hipsters beware, the next big thing is the wax cylinder: https://londonjazzcollector.wordpress.com/2023/03/31/ultimate-audio-revolution/ (Happy April fool's day!)

I have always wondered how Tom Lord build his discography, and who contributes nowadays (additions, corrections...).

An interesting bit of trivia, about that Guarnieri session (quoted from Tom Lord): "The performances on this album were captured on a Stahnke Reproducing Piano, a normal piano fitted with a computerized recording/playback system. When a pianist plays on this piano, the movements of all the parts of the piano action -- keys, hammers, pedals, etc.-- are measured and stored digitally on tape. When this tape is played back, the piano itself plays a performance identical to the original. Johnny Guarnieri was not present when the performances were recorded onto the audio tapes which were used for the mastering of both LP and CD. This technology was used here for the first time under the supervision of its inventor, Wayne Stahnke." More information in this NYT article: Technology; Ivories That Tickle Themselves https://nyti.ms/29jiabo Pretty cool...