07/3 December 2007 - March 2008


Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83

DEMS domesticities

DEMS 07/3-0

DEMS has a new e-mail address: We have tried everything in our power to keep the same address, but our provider, Skynet/Belgacom discontinued the old connection through a standard telephone line. We had to switch to ADSL but they were not able to connect our old Mac computer to ADSL. Their service was so abominable that we had to give up and went to (a much better) provider. This meant that we could not keep our old address. In our new address we had to accept "dems1" because "dems" alone was already taken. We understand that you may have to change our address in your address book (if we had the honour to be included) and we apologize for the trouble.


Max Roach

DEMS 07/3-1

Max Roach died in Manhattan at age 83 on 16Aug07. The first session that comes to mind in which he played with Ellington was for the famous but flawed album "Money Jungle", recorded 17Sep62. This album had to be released four times before we had it all (however there still seems to be something hidden somewhere). The first time Max's name appeared in the Ellington discography is in the Mercer session of 21Sep50. He also appeared with Hodges, Carney, Pettiford and Ellington in a NBC telecast "Tonight! America after Dark" from the Hickory House on 23Apr57. He participated also in the rehearsal sessions for "Paris Blues" on 2 and maybe 3May61 at the Reeves Sound Studios in New York. Although we more or less know what was played there, we have no specifics about the role each musician played for each of the selections. Other drummers mentioned are Jimmy Johnson, Sonny Greer, Dave Jackson and Philly Joe Jones.
Steve Voce wrote a very impressive obituary for "The Independent" of 18Aug07. If you have missed it (on the Duke Lym list for instance) we can send you a copy.

It may be worth mentioning here that Max appears to have subbed briefly for Sonny Greer at some point in 1941 or 1942. I had a brief email exchange with Brian Priestley about this recently, which I will try to find when I have the time. No known recorded evidence of course
Roger Boyes

Teresa Brewer

DEMS 07/3-2

Teresa Brewer, the singer who made with Ellington in September 1973 one of his last albums, died on 17oct07 at the age of 76. Her obituary by the Associated Press was mailed by Arne Neegaard to the Duke-LYM list. In case you missed it and want a copy, we can send you one. It was made clear that she was mainly a famous pop-singer. After she married jazz producer Bob Thiele she began recording jazz standards with jazz greats.



DEMS 07/3-3

Among nominees/nominations for the Jazz Journalists Association's annual awards:

Jazz Album of the Year: Barrie Lee Hall, Jr.: The Duke Ellington Small Band (M&N Records MN 0039)

Jazz Reissue of the Year: Duke Ellington: The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions (Mosaic MD 7-235)

Jazz Events Producer of the Year: Ronnie Wells, The East Coast Jazz Festival

Small Ensemble Group of the Year: The Duke Ellington Small Band

Trumpeter of the Year: Barrie Lee Hall, Jr.

Alto Saxophonist of the Year: Davey Yarborough

Percussionist of the Year: Dr. Anthony Brown

Drummer of the Year: Dr. Anthony Brown

Best Periodicals Covering Jazz: DEMS Bulletin [Edited by Sjef Hoefsmit and available on Peter MacHare's Duke Ellington Panorama web site < > ]

Winners will be announced later this year.

Ted Hudson, JJA Member


DEMS 07/3-4

Ever heard of Buryat (Buriatia)? Nor had I. This Russian independent state has issued two stamps commemorating the Duke.
Michael Palmer

London 2008

DEMS 07/3-5

Very good news is the fact that we will have another Ellington Conference in 2008. It seems unlikely that this is really "news" for readers of this Bulletin. The good news has been published not only on the Duke-LYM list but also in all the Bulletins and Newsletters of the Ellington community. If you are hearing about it now for the first time, you cannot take advantage of the special registration fee for early birds (until the end of October), but the "standard" fee is only slightly more expensive. If you want to know the details, go to I hope to meet you in London at the end of May next year.
Sjef Hoefsmit

Good news for historians

DEMS 07/3-6

Thanks to Bjørn Andresen, our online collection of DEMS Bulletins is now complete. Bjørn has scanned all the DEMS Bulletins from the beginning in 1979 until 2000 into PDF format. The Bulletins from 2001 to the present are available in HTML format. You can find this wonderful collection at You cannot copy and paste from the PDF files in order to transfer text to your own computer in a word-processed document, but that was something you have never been able to do in the past with the hard-copy Bulletins either. You can do that though with all the Bulletins since 2001. You can skip what you do not want to keep, change the lay-out if you don't like it, even correct the texts if you do not agree. Enjoy!
Peter MacHare

I am convinced that Benny Aasland would be delighted to know that his work is now saved in a way in which enables many young DEMS readers to follow the history of Ellingtonian research which he started so brilliantly 29 years ago.
Sjef Hoefsmit


DEMS 07/3-7

Amazing how almost constantly "New Finds" pop up. DEMS Bulletin's main aim is to outline the additions to Duke Ellington's discography for the benefit of collectors. In this Bulletin we can report five "New Finds": the missing selections in the second concert of Stockholm of 24Jan67, thanks to DEMS member Jan Bruér; the missing selections of the concert in Köln of 10Nov69, thanks to "new" member Len Pogost and the most amazing "New Find", the release of the Zürich concert of 2May50, thanks to an unknown recordist, who more than half a century ago made an impeccable recording of a great part of the concert.
Thanks to Jerry Valburn, we can also publish the contents of the Manchester concerts in the 60ties.
Arne Neegaard discovered two interviews, see 07/3-19 last paragraph.

Stockholm, 24Jan67

DEMS 07/3-8

See DEMS 02/2-8; 02/3-10/1 and correction-sheet 1044

Jan Bruér who attended both concerts in Stockholm on 24Jan67, was sensible enough to make notes of the titles (which Hoefsmit also should have done in Amsterdam on 2Nov58). He gave us these titles in DEMS Bulletin 02/2-8. Some of the titles from the second concert were "fresh" for us and not mentioned in the New DESOR's correction-sheet 1044. Jan Bruér was so kind to send us a copy of the second concert in a remarkable high quality. We have made a copy for Giovanni Volonté and Luciano Massagli, to have the titles with the descriptions included in the New DESOR. These "fresh" selections are: Rockin' in Rhythm; Chromatic Love Affair; Take the "A" Train; Rue Bleue; Mara Gold; Jeep Is Jumpin'; Things Ain't What They Used To Be and Cotton Tail.

Köln, 10Nov69

DEMS 07/3-9

One of the most pleasantly surprising advantages of publishing DEMS Bulletin on the Internet is the fact that I have been able to welcome quite a number of "new members". Since membership is free, I have to put the term between quotation-marks. One of the "new members", Len Pogost from the USA, has sent me a recording of the concert in Köln on 10Nov69. The whole recording covers two CDs with a total time of almost two and a half hours. I believe that this was not from two different concerts as Nielsen and the New DESOR claim, but that it was a single concert in two parts. I agree however with Nielsen and the New DESOR (and I disagree with Len) that the first set started with C-Jam Blues and the second set with Take the "A" Train. From the first set10 selections plus the Medley (of four titles) were previously released on the CD West Wind WW 2406 detected 14 years ago by François Moulé and mentioned in DEMS 93/1-5. Len Pogost wrote me that his recording was made from a recent broadcast (in 2007) on a German radio station, probably the Bayrischer Rundfunk. It contains now the complete first set with the surprising exception of Things Ain't What They Used To Be but with the opening C-Jam Blues and the unissued Black Butterfly. El Gato and Diminuendo in Blue and Wailing Interval are now complete. On the West Wind CD the very last note of El Gato was deleted and Wailing Interval was faded at the end. The great surprise comes from the recording of the second set from which until now only Passion Flower and Drag were released (on the same West Wind CD). The surprise is the end of the concert containing seven selections not previously known to tape collectors. The seven titles are Laying on Mellow; The Blues; It Don't Mean a Thing; Be Cool and Groovy for Me; Birth of the Blues; R.T.M. and Satin Doll. Also, something happened which caused Duke to interrupt and even stop his final speech. Did he receive a bouquet of flowers and was he overwhelmed by the beauty of the presenter?
This recording is one of the many nice recordings made during Johnny Hodges' last appearances in Europe. Only half a year later he died.
Sjef Hoefsmit

Zürich, Kongresshaus, 2May50

DEMS 07/3-10

A gigantic new find is the CD "Duke Ellington and His Orchestra Live in Zürich, Switzerland 2.5.1950", recently released by TCB Music S.A., Cité Centre, Grand'Rue 92, CH-1820 Montreux and distributed by Jazztime-Versand AG, Täfernstrasse 37, CH-5405 Baden, E-mail:
Until recently there was only the poorly recorded Hamburg concert of 29May50 (see DEMS 92/2-5; 97/3-18; 01/1-11; 01/2-21/1;01/3-10/1; 02/1-5/2; 04/1-21; 04/2-28 and 05/1-20) on tape, circulating among collectors. Nothing else of the 1950 tour was recorded which had survived. I saw the band for the first time in my life in The Hague on 28Apr. This Zürich concert was only a few days later. I remember that the band started with Suddenly It Jumped behind closed curtains. It also started like that in Zürich. The sound quality of this CD is remarkable. How was this recorded? In these days tape was not yet used. Amateurs used steel wire. It worked fine but it was a disaster when something went wrong, the whole room could be filled up with wire in a few seconds. How has this brilliant recording survived all these years, more than half a century? There are not many releases which I recommend more highly than this one. It fills a tremendous gap in Duke's recorded work and it shows clearly that the decline in his career, which was supposed to have started around 1947, had still to come (if indeed it ever did). Alright, Johnny Hodges was still around, and the Columbia "Masterpieces" LP had still to be recorded at the end of 1950 but many black label releases and several collectors' tapes show that the band was still great during the so called "weak" years until Newport in 1956. This latest "New FIND" from Zürich fills a noticeable gap in our Ellington collections of this period. Speaking of the Columbia "Masterpieces" LP, it is remarkable that Duke mentioned in the concert that The Tattooed Bride was recently recorded.
The only remark I can make is the mention of Ted Kelly as the third trombone player. I strongly doubt his presence. If anybody can hear three trombones, please let me know (see also DEMS 06/1-33p166). On the other hand I believe that Butch Ballard played in Zürich, a bit too ferocious probably.
The selections on the CD are: Suddenly It Jumped; Ring them [sic] Bells; Creole Love Call; Paradise; Air Conditioned Jungle; How High the Moon; The Tattooed Bride; Take the "A" Train; Frankie and Johnny; Rockin' in Rhythm; Violet Blue; St. Louis Blues; 'S Wonderful; Jeep Is Jumpin'.
Please do not copy this CD for your friends. We must buy and pay for these releases if we wish these happy "New FINDS" to be continued.
Sjef Hoefsmit

Manchester in the 60ties

DEMS 07/3-11

Manchester is the city where Ellington played many times in the Free Trade Hall. It is close to Oldham and we are sure that many of our friends from the centre of the United Kingdom attended the Duke Ellington concerts.
Jerry Valburn discovered a set of recordings of all the complete concerts from 1963 up to and including 1966. He gave us permission to publish his finds. It is amazing, the quality and the quality are unbelievable.

In the year 1963, Duke played the Free Trade Hall on 19Jan. There are several tapes circulating from this occasion. One came from Eno Vittori and indicated truthfully that it came from Manchester 19Jan63. This tape or a similar copy of the original has been the source for our Italian friends for including the session 859 in the old Desor and 6305 in the New DESOR. Parts of the same recordings which were found in the André Mahus collection were circulating as being from Bristol, Halleston on 18Jan63 and from Liverpool on 20Jan63. Both sessions were included in Timner's third edition and found to be fakes.
Now we know that there were two concerts on the same evening of 19Jan, both concerts containing exactly the same selections in the same order. There is no doubt that both concerts are different but to know which one is the first and which one is the second concert, one should listen to the opening Take the "A" Train. If it is short (actually not even two complete choruses) it is the start of the first concert. If it is long (actually a bit more than three complete choruses) it is the start of the second concert. Also the difference between both versions of Kinda Dukish is very obvious. The long version is from the first concert and the short version (only one chorus) is from the second. The descriptions in Volume two of the New DESOR indicate that session 6305 is the second concert and that the first concert is missing. Only one title is missing in session 6305: One More Once. It was between Do Nothin' Till You Hear from Me and Monologue. In case you do not have a copy of the New DESOR (why is that?) here are the titles of both concerts: Take the "A" Train (theme); Afro-Bossa; Kinda Dukish & Rockin' in Rhythm; Silk Lace; Eighth Veil; Pyramid; Cops; Guitar Amour; Cop-Out; Jam with Sam; Main Stem; Do Nothin' Till You Hear from Me; Tootie for Cootie; Star-Crossed Lovers; Things Ain't What They Used To Be; All of Me; Perdido; The Blues; Do Nothin' Till You Hear from Me; One More Once; Monologue; Take the "A" Train (theme); God Save the Queen.

On 29Feb64 Duke was back in the Free Trade Hall in Manchester. He played again two concerts that evening, but we have only the recording of one of these concerts and it does even not seem to be complete. It is not included in the New DESOR for the obvious reason that Luciano and Giovanni didn't have the possibility of listening to it before they wrote the book (but it will now be confirmed on a Correction-sheet).
There was a 29Feb64 concert mentioned in Timner 's third edition, but that was proven to be a fake, made from recordings from 2, 20 and from 21Mar64. In his fourth edition he dropped that recording and replaced it with the one we are going to describe here.
Take the "A" Train (theme); Black and Tan Fantasy; Creole Love Call; The Mooch; Perdido; Amad; Agra; Blue Bird of Delhi; Depk; The Opener; Happy Reunion; Wailing Interval; Harlem.
In his opening words Duke dedicated Black and Tan Fantasy; Creole Love Call and The Mooch to several of his young friends in the audience, whom he called "group seven". Maybe some of our friends from Manchester and the surrounding area can remember who these people were. Maybe they were members of the gropup themselves. Please let us know this historical fact.

Almost exactly one year later, Duke was back in Manchester on 27Feb65 with two concerts, differing enough from each other to enable us to see that what we have on a tape from the Joe Igo collection came from the second concert. It is included in the New DESOR (6524). In the third edition of Timner, these concerts are missing. Before he wrote his fourth edition Timner had apparently access to recordings of both concerts. We can now confirm the first concert as follows:
Midriff; Afro-Bossa; AD LIB ON NIPPON (Fugi; Igoo; Nagoya; Tokyo); The Opener; Chelsea Bridge; Wailing Interval; BLACK, BROWN AND BEIGE {Worksong; Come Sunday; Light (Montage)}; Take the "A" Train; Satin Doll; Sophisticated Lady; Tootie for Cootie; Prelude to a Kiss; Harmony in Harlem; Jungle Kitty (Meow); Kinda Dukish & Rockin' in Rhythm; Black and Tan Fantasy; Take the "A" Train; God Save the Queen.
The second concert is as mentioned in the New DESOR as follows:
Midriff; Afro-Bossa; AD LIB ON NIPPON (Fugi; Igoo; Nagoya; Tokyo); The Opener; Chelsea Bridge; Wailing Interval; BLACK, BROWN AND BEIGE {Worksong; Come Sunday; Light (Montage)}; Take the "A" Train; Satin Doll; Sophisticated Lady; Tootie for Cootie; Passion Flower; Harmony in Harlem; Pass Out Blues; Jungle Kitty (Meow); Jungle Kitty (Meow) (encore); Kinda Dukish & Rockin' in Rhythm; Tell Me It's the Truth; Take the "A" Train; Jam with Sam; God Save the Queen

The last couple of Manchester recordings in this marvellous set are those of 19Feb66. Duke toured through Europe with Ella Fitzgerald that year and they mostly played two concerts.
One of the very few items in which I do not agree with the authors of the New DESOR is the exclusion of those selection where Ella performed, backed by the band. There are enough recorded examples of occasions where Duke left the stage (see Amsterdam 1958 during My Funny Valentine) which were not omitted from the discography. I can accept that the selections on which the band does not play are not included, but why would we leave them out? Sometimes the band is still noticeable like at the end of Mack the Knife.
Both concerts have been included in the New DESOR and are updated with the corrections in DEMS Bulletin 00/3-26 and 04/3-51, both for page 423 in the New DESOR. See also Correction-sheet 1065. For those who have no access to all these vital sources of information, here are the titles of the selections of the first concert:
Take the "A" Train; Main Stem; Soul Call; West Indian Pancake; El Viti; Veldt-Amor; The Opener; La Plus Belle Africaine; Carolina Shout ; Magenta Haze; Things Ain't What They Used To Be; Wings and Things
Ella's portion: Satin Doll; Wives and Lovers; Something To Live For; Let's Do It; Sweet Georgia Brown; Midnight Sun; How High the Moon; Every Time We Say Goodbye; So Danco Samba; Mack the Knife
Duke is back: Cotton Tail; God Save the Queen
And these are the selections in the second concert:
Main Stem; Soul Call; West Indian Pancake; El Viti; Veldt-Amor; The Opener; La Plus Belle Africaine; Piano Tinkle & Rockin' in Rhythm; Magenta Haze; Things Ain't What They Used To Be; Wings and Things; Jam with Sam
Ella's portion: Satin Doll; Wives and Lovers; Something To Live For; Let's Do It; Midnight Sun; Oh! Lady Be Good; I'm Just a Lucky So and So; Every Time We Say Goodbye; Mack the Knife
Duke is back: Cotton Tail; Imagine My Frustration; God Save the Queen
Duke called to Herbie (Jones) after Rockin' in Rhythm that the intro was named Stride Tinkle.


"Duke Ellington's America"

DEMS 07/3-12

We found in the Newsletter of September from the Toronto Chapter of the Duke Ellington Society the news that the University of Chicago Press has scheduled a 2008 publication date for Dr. Harvey Cohen's book, "Duke Ellington's America".

"Duke's 'Bones: Ellington's Great Trombonists"
by Kurt Dietrich

DEMS 07/3-13

See DEMS 06/1-3

As I explained in DEMS 06/1-3, I was unable to publish a review of Kurt Dietrich's book in spite of the efforts I made to have it reviewed by an expert. So I was very happy to see a very nice review from Peter MacHare in "Ellingtonia" from May 2007 and I asked Peter for permission to "reprint" his article in DEMS Bulletin. Here it is:

Duke's 'Bones: Ellington's Great Trombonists by Kurt Dietrich
Rottenburg, Germany: Advance Music
A book review and audio presentation by Peter MacHare

[Peters review of this book is in conjunction with his presentation at our 7 April 2007 meeting.]

Kurt Dietrich has given us a very fine book about the wonderful musicians who, over the years, have sat in Duke Ellington's trombone section. In addition to this review, our April program was based of Dietrich's book to give you all a chance to hear a lot of fantastic trombone along with Dietrich's illuminating comments.
Dietrich is Professor of Music and Barbara Baldwin De Frees Chair in the Performing Arts at Ripon College in Wisconsin. Pay Prof. Dietrich a visit at http//
Kurt Dietrich is also an accomplished musician. You can visit him in his capacity as jazz trombonist at So all this is to say that his opinion on matters trombone is more valuable than that of your humble reviewer. Several members and friends of The Duke Ellington Society are mentioned in the book: Patricia Willard, Jack Towers, Sjef Hoefsmit, Annie Kuebler, and Andrew Homzy.
The greatest strength of the book, of course, is telling the story of Duke's wonderful trombone section. Our readers will probably enjoy a brief summary before a brief evaluation of the strengths (many) and weaknesses (few) of the book.
Charlie Irvis, who joined the Washingtonians early in 1924, became the group's first "distinctive voice" on trombone. While most of us will recall Bubber Miley and Joe Nanton as the best representatives of the growl plunger style of playing, Ellington recalled that "Charlie Irvis was first." But there is a very good reason that Irvis is not the name that first comes to mind when discussing the growl plungers players in the Ellington band - maddeningly enough there are no surviving recordings of Irvis playing in this style. Miley and Irvis, who were boyhood friends, roamed Harlem nightspots looking to make a little extra money playing as a brass duo. The best guess seems to be that they developed their growling plunger styles together.
Joe Nanton replaced his friend Charlie Irvis in the band in the middle of 1926. Nanton and Miley worked together in further developing the growling jungle sound for which Ellington was noted. Nanton stayed with the band for two decades and, unlike Irvis, was recorded extensively. Some of Nanton's best known works with Ellington are the famous trio from the original "Mood Indigo," "It Don't Mean a Thing (If It Ain't Got That Swing)," and the 1943 Carnegie Hall Concert. Nanton, born in 1904, suffered a stroke in 1945 and died in 1946.
Juan Tizol joined Ellington in 1929. Tizol, of course, is best known as a composer of several well known pieces such as "Caravan," "Pyramid," and "Perdido." He was also an excellent copyist and could transpose in his head so as to be able to play any part in the orchestra.
When Lawrence Brown joined in 1932, Ellington finally had a trombone section with the trio of Joe Nanton, Juan Tizol, and Lawrence Brown. The study of these three make up a good portion of the book. They were so good that they acquired the appellation "God's Trombones." Brown made his mark early in his tenure with the band with his solos in "The Sheik of Araby" and "Ducky Wucky." Brown is also credited with first playing the melody that became "Sophisticated Lady."
Alas, God was not to allow his trombones to stay in Ellington's band forever. Juan Tizol left Ellington in 1944. Joe Nanton died in 1946. Lawrence Brown left Ellington (along with Johnny Hodges and Sonny Greer) in 1951. Although Tizol and Brown would eventually return, the trombone section was in a state of flux during the late 1940s, which time saw the emergence of Tyree Glenn, one of the best musicians ever to play in Duke Ellington's orchestra. Glenn's solo on the long version of "Mood Indigo" from the Masterpieces album is one of the finest solos in all Ellingtonia.
The trombone section of the 1950s was another notable group - Britt Woodman, Quentin Jackson on plunger, and John Sanders on the valve trombone. The three men also became great friends who enjoyed playing together, making for an exceptionally cohesive section.
In the 1960s, the great events in the trombone section were the return of Lawrence Brown and the arrival of Buster Cooper and of Chuck Connors on bass trombone. Dietrich states that the addition of the bass trombone was the most significant development in the section since it became a trio in 1932. Indeed, the trombone section with Connors had a rumble and a roar of its own. Buster Cooper was a unique voice in the history of ducal trombone, being a blues specialist who did not use plunger.
Kurt Dietrich's descriptors of Ellington's pieces that feature trombones certainly had me listening with new ears. There are many transcriptions of trombones solos and of section playing that someone with a basic knowledge of music will appreciate. There are many fine photographs of our heroes and more than a few good stories. [Want to hear the stories? Buy the book!] I have only one criticism, and that is that the transcriptions should have been labeled with the title of the book instead of just "Example 7-I." A fine book that you will consult often if you decide to add it to your Ellington library.

Ben Webster Sessionography

DEMS 07/3-14

See DEMS 06/2-33

My Ben Webster Sessionography, updated to version September 2007, is now also available printed as book, format DIN-A5, with 203 pages and 6 photographs, otherwise the same structure as formerly on my CD. The book will cost Euro 30,00 including packing and postage and can be ordered directly from me.
Heinz Baumeister
Gamla Mejerivägen 28
FIN-10210 Ingå, Finland
Fon+Fax +358 9 2212060



DVD "A Duke Named Ellington"

DEMS 07/3-15

See DEMS 07/2-5

The item indicated with 36:09 in Part 1 is missing on the DVD.
Joe Farrier

You are right. We should have written 'You hear a part of the interview'. You do not see it, indeed.
Another small error is at 51:31 of Part 2. It should read 'You see a part of Happy Reunion ' and not 'You see Happy Reunion'.
By the way, the recording of Solitude you hear at the start and at the end of the DVD is the same as mentioned at 52:50 in part 1.

DVDs Delta Music

DEMS 07/3-16

David Deacon reported and reviewed in "Blue Light" Vol. 14 No. 1 (from 2007) page 12 the release of two DVDs from Delta Music, 94427 and 94428. It is hard to say whether these DVDs are dubs from the Planet Song DVDs described in DEMS Bulletin 04/3-7. The titles of the DVDs and the contents are identical to Planet Song 8628 and 8627 respectively (mind you!). For those who have missed the Planet Song DVDs it is good to know that the Delta Music DVDs are available from The Woods

Amsterdam 2Nov58

DEMS 07/3-17

See DEMS 07/2-7

If anybody should be able to supply the correct sequence of the selections, shown on this splendid DVD, it's me. I was there. I could never have guessed that there would be one day, almost half a century later, when I would regret that I did not make notes during the concerts.
From these concerts we have the recordings of 2 radio broadcasts, made by ourselves at home. The speaker suggested in the first broadcast that this was from a live performance, but it must have been pre-recorded, since I could not be in the concert hall and at home in the same time.
There are also several video recordings in the hands of collectors. One on VIDJAZZ 31 (see DEMS 91/5-5) is from a 35 minutes telecast. Another one (never released) is 69 minutes long. It contains the same material plus four "fresh" selections. Comparison of these video tapes reveals that as far as the selections they have in common are concerned, they contain the same selections.
In the radio broadcasts there were three selections which were not on either of the two video tapes: Tenderly, Perdido and Sophisticated Lady. Moreover one title in the Medley (Just Squeeze Me) was missing from one radio broadcasts (as well as from both video recordings and also from the DVD) while another title (Solitude) was missing from the other radio broadcast.
It seemed that one of these missing selections, Sophisticated Lady, was appearing now for the first time, released on the DVD. But as I have I listened the past half century an enormous number of times to my first home-made audio tape from the radio broadcast, I immediately noticed some differences. And indeed my audio tape is different from the DVD! If we accept therefore that the DVD is from the second concert, we must conclude that this part of the broadcast came from the first concert. I am not sure about the two other missing selections, Tenderly and Perdido, but I believe that since these three selections can be fairly reliable linked with each other and seem not to have been tele-recorded, they also must belong to the first concert. Furthermore, in many of the concerts during this tour the band played these three selections one after another in the same sequence: Tenderly, Perdido and Sophisticated Lady.
The Medleys are not different however. Both Medleys are identical in as far as the titles are the same. The only strange difference between the two radio broadcasts was the identity of the missing selection Just Squeeze Me in one broadcast and the missing Solitude in the other. Only Just Squeeze Me could have been from the first concert because we do not see it on screen, but I do not believe this, because Duke thanked Ray Nance for both titles at the end of the Medley in the second concert.
Another sequence in which Duke was thanking Ray Nance made me suspicious. It is at the end of the opening Take the "A" Train. On the DVD Ray Nance was not credited after the opening Take the "A" Train, which actually was only represented on the recording by a very last blow on the drums (no cymbal) without an image from the concert at the beginning of the DVD. On my audio tape I have a full recording of the opening Take the "A" Train as described in the New DESOR under number 5844a, which means that the 4o chorus had only 8 bars (before the coda of 2 bars). This audio recording ends with a blow on a cymbal and a complete introduction by Duke, thanking the audience for the applause, crediting Ray Nance, thanking "very much again and all the kids in the band." and announcing the first number.
The 35 minutes telecast started with the band sitting on stage, followed by the sound of the cymbal and Duke entering in his tile designed jacket from the second set! (image taken from the start of the second set) thanking "very much and all the kids in the band." Ray Nance is not credited and the word "again" is clearly edited out.
An important find (a little bit late I must admit) is in the 69 minutes video tape. Without images and in a horrible sound-quality the tape starts with the end of Take the "A" Train, but this version is completely different from the one in my radio broadcast. Even the description is different: (nc)3o4BAND,4RN,4BAND,4RN,16BAND&RN;4o16BAND&RN,cod2BAND.
The 4o chorus has now 16 bars and the end is without a cymbal. That's why I believe that it belongs to the same concert as the video recording, i.e. the second concert. That makes me believe that the opening Take the "A" Train in the radio broadcast belongs to the first concert. This is confirmed by the Dutch speaker, who mentioned the time being half past eight and spoke of two concerts the same evening, while we hear the band playing the full opening Take the "A" Train.
I suggest that we make in the discography a separate session for the first concert, starting with Take the "A" Train as described in 5844a followed by the three selections: Tenderly; Perdido and Sophisticated Lady. There must have been a previous performance by Jimmy Hamilton and by Clark Terry, because Duke mentioned in both cases that they came back to the microphone.
I think that the sequence in the DVD is correct. I have not found any indication that it would be wrong. There is no doubt that all the video recordings are from the same concert. It is not the shots of people in the audience in the hall which convinced me, because these could be edited, but the people sitting behind the band. They are the same throughout the concert. In the discography one recording of Take the "A" Train should precede all the others in the second concert. I think that it should be the short one, starting with the 3o chorus and with a 16 bar 4o chorus.
P.S.1. To make sure, I have again (after hearing them how many times before) checked my recordings of the two radio broadcasts with the Medleys. I was not surprised to find that they were identical. What surprised me though was the very good quality of these audio recordings on tape, made 49 years ago. Amazing!
P.S.2. I contacted Patricia Willard about her statement on page 17 of the booklet that "Shorty Boo" was an Ellingtonian six times. (See the last article about this matter in DEMS 06/3-27.)
Patricia answered: "About my statement on Shorty Baker, I got the six times from Stratemann. I completely ignored all the lym discussion about Danny Baker et al because it impressed me as uninformed conjecture, of which I wanted no part."
I have not been able to locate the mention of six times in Klaus Stratemann's book. On the contrary. On page 711 he gave only five periods in which Harold Baker was a member of the orchestra, the first was the one from 14Sep42 through Sep43.
Sjef Hoefsmit

Randall's Island Stadium 29May38

DEMS 07/3-18

We repeatedly (03/2-9; 03/1-4; 02/2-20; 93/2-5) raised the question of whether some audio portions from this occasion survived.
Despite acetates said to still exist, probably from a WNEW-bc, nothing has appeared up to now.
We have some good quality photographs from this event showing Duke a.o. and I recently discovered a 2:05 sequence filmed at Randall's. Part of a Billie Holiday documentary it shows (again in surprisingly good quality) pleasant scenes with a dancing crowd and the Count Basie Orchestra in action... but no sound.
Much more video material must exist somewhere and even considering that in those days filming and sound recording were two clearly separated techniques, I am surprised that absolutely no audio testimony with Duke, Count or others (?) can been located. Any fresh info on this oft-discussed matter?
Klaus Götting

Oslo, 8Nov71 on DVD!

DEMS 07/3-19

This concert of 8Nov 1971 is still slumbering in the archives of NRK Oslo. The concert was broadcast on TV 2Dec 71 and never again.
Today I called NRK and asked for the possibility of purchasing the videotape for a DVD production. I will have the final answer by mid-August due to the summer vacation.
Can you give me any hints of further procedures?
Arne Neegaard, 16Jul07

I had no idea that there existed a video recording of this concert. A radio broadcast was indeed recorded. I have it. It is rather short. Klaus Stratemann claims that it is unlikely that Duke played in Norway.
I have no idea what you should do to get this released on DVD. NRK Oslo might be put in contact with the same people who are releasing the Amsterdam concert.
Sjef Hoefsmit, 17Jul07

I have bought the video tape and the license for releasing Duke's last concert in Oslo, Nov 9, 1971 on DVD.
If everything goes well, I am planning to have this DVD ready for the London Conference. Unfortunately, the complete concert was not taped, or some of the tapes have been lost. But the band sounds great; this evening was one of their best during that tour and the audio quality is incredibly good!
Paul Gonsalves was again at his best and Norris Turney's Fife is a special treat, too.
In addition to the concert I will include two rare radio interviews with Duke in Oslo from 1958 and 1967 and I am in price negotiation regarding a later TV interview.
And, if lucky, some exceptional bonus material will be included as well.
So, dear friends! For convincing my bank manager regarding this project, I would love to receive some feedback from you all!
Arne Neegaard, 13Sep07

Great work, Arne!
Two for me! I'll pick them up in London, May 2008. I guess it would be helpful if I pay in advance. Have you decided the price yet?
Bjørn Andresen, 13Sep07

I have to do some realistic (not just optimistic) calculations regarding the total costs of this project.
So the final price for this Duke in Oslo DVD isn't set at the moment. What I would like to do is to have one special price for the London delegates and members of the different Ellington societies, and another, higher pricefor sales through etc.
Will I sell 150, 200, 300....? The bank manager keeps asking this.
And then there is the Ellington Estate represented by CMG Worldwide. Anyway, I will not be rich (-er), but hopefully I can afford a few English beers while in London......
Arne Neegaard, 14Sep07

According to my files, this concert took place on 8Nov71 (New DESOR 7173). The next day Duke played two concerts in Uppsala.
I am excited to hear that you are going to release a DVD from this concert. I will be happy to send you some money in advance. Will it be in colour? Are you happy for me to publish the good news in DEMS Bulletin and if you want me to do so, I can ask people to contact you (by e-mail).
May I print your answer to Bjørn Andresen's e-mail also?
Sjef Hoefsmit, 15Sep07

Yes, you're right, 8Nov71 is correct. The tape, in b&w, contains the first half of the concert plus Perdido. Harlem is missing, but I have heard rumours of a private tape of the concert. Fife is a 5 minute version and Paul has sobered up a bit, still struggling through Happy Reunion, but far better than in Copenhagen.
I have also two radio interviews with Duke, from 1958 and 1967. In the last one he is talking about Peer Gynt. Then Shakespeare. Did you read Shakespeare? "I never read him". About swing. Sees things in different colors. Painting. About categories. Inspiration. Church music is a personal statement. And so on.
Earl Okin has some tapes with conversations with Adelaide Hall and Terry Carter has two video taped interviews with Louie Bellson and Dexter Gordon that might be included. It is a matter of money, in the end! And I also sent an inquiry to D.A. Pennemaker and asked for a license to add his 1953 movie short "Daybreak Express." A 35 minutes concert alone is a bit short, I think.
So I really don't know the exact price at the moment. I will press these DVD's, not just burn copies. Please, publish this in DEMS with my email address, <>. And add my answer to Bjørn. This will not be a standard DVD concert, but more like a documentary titled "Duke In Norway". Lots of editing and further research ahead.
Arne Neegaard, 15Sep07

I have not heard anything from CMG Worldwide yet re copyrights and royalties.
As for the two radio interviews they were both broadcast in Norway. The first is a 5 minute one from Oslo Central Station; Duke was interviewed by journalist Karin Borg Mansåker. The second one, a 9 minute interview from 1967, is a conversation between Duke and author Gunnar Bull Gundersen. It was a while ago available online at
Arne Neegaard, 2Nov07

Duke was in Oslo on 5Nov58 and on 25Jan67, when he attended after the 2 concerts a dinner-party at the Down Town Key Club, where the 1967 interview took place.

Duke's Itinerary

Casa Mañana from Feb41

DEMS 07/3-20

See DEMS 07/2-26

Concerning the dating of the additional Casa Mañana broadcasts (DEMS 06/3-5): Ellington's engagement at Casa Mañana ran from 3Jan to 20Feb41. Although radio broadcasts over KHJ were not listed in the Los Angeles daily papers until February, the California Eagle reported the broadcasts possibly would began as early as 17Jan41: "Ellington crew gets a wire from Casa Mañana beginning Friday night (Bill Smallwood, "On the Beam," California Eagle, 16Jan 41) The dailies showed Ellington broadcasts almost nightly:
    Sunday,  9Feb at 10:00 p.m.
   Tuesday, 11Feb at 11:00 p.m.
  Thursday, 13Feb at 11:00 p.m.
    Friday, 14Feb at 11:00 p.m.
  Saturday, 15Feb at 11:30 p.m.
    Sunday, 16Feb at 10:00 p.m.
   Tuesday, 18Feb at 11:00 p.m.
 Wednesday, 19Feb at  9:30 p.m.
  Thursday, 20Feb at 11:00 p.m.
(radio listings, Los Angeles Daily News, Los Angeles Times, 3Jan - 20Feb41)
The Eagle (a weekly paper) indicated that Chico Hamilton's stint with the band ended sometime before 13Feb. "Sonny Greer, our favorite drummer, is still with Duke's band and too hot to handle." (Jay Gould, "Globe Gossip and News," California Eagle, 13Feb41)
Ken Steiner