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THE INTERNATIONAL DEMS BULLETIN DUKE ELLINGTON MUSIC SOCIETY 10/3 December 2010 - March 2011 Our 32nd Year of Publication FOUNDER: BENNY AASLAND |
Voort 18b, 2328 Meerle, Belgium
Telephone: +32 3 315 75 83
Email: dems1@telenet.be
DISCUSSIONS - ADDITIONS - CORRECTIONS
I Don't Mind and All Too Soon
DEMS 10/3-8
In DEMS 10/2-12 you wrote:
"About the titles I Don't Mind and All Too Soon. What you
hear is All Too Soon, but according to The New DESOR, this selection was
erroneously titled I Don't Mind in the broadcast. Since that title was
already "occupied" by a totally different composition, it is included
in the list of alternates, indicated with the mark: # to indicate that this is
not a "proper" alternate, but that there is another, genuine
composition with this title. (See also DEMS 04/1-30.)"
Firstly, I don't understand when you say, "Since that title was already
occupied by a totally different composition". Using the word
"was" is confusing, because surely we don't have any knowledge of I
Don't Mind (as we know it) until two years later, 1942? In 1940, Ellington
was perfectly entitled to call the piece I Don't Mind.
My reason for writing is to point out that the confusion over the titles of
these two pieces actually stems from the manuscripts, never mind what was said
in any broadcast!
I Don't Mind was an original Ellington composition that was reworked by
Strayhorn. There are some easily recognizable pages of a score by Ellington as
well as those by Strayhorn, but only the Strayhorn pages made it into the
recordings we are familiar with.
Some of the original parts for I Don't Mind and All Too Soon (of
which I have copies) have either or both titles on them. They are all
thoroughly inconsistent and confusing.
For example, there are parts for I Don't Mind in both pencil and ink.
The penciled parts are earlier (1942, I assume), the ink parts having the look
of 1945, and this tallies with the dates of the recordings. Presumably the
parts were copied again to make a fresh set - there is not a complete set of
the pencil parts in the Smithsonian.
One part (1945, in ink) for Hardwick has "All Too Soon" and "I
Don't Mind" hand-written at the top (two lines) whereas an identical
part for Hodges only says "I Don't Mind".
There are some parts in pencil, in Strayhorn's hand, which are entitled "All
Too Soon" imprinted by ink-stamp. I think those are the earlier 1942
parts.
Then, moving on to All Too Soon, for which I have an incomplete set of
parts and no score. The parts are in pencil, in Tizol's hand (as was normal in
1940). Some of the parts have "I Don't Mind" written in pencil
whilst others have "All Too Soon" ink-stamped on them. One
part with the ink-stamp "All Too Soon" also has "I
Don't Mind" in pencil above that! Another part for Joe Nanton has the
ink-stamp "All Too Soon" and above that both "All Too
Soon" and "I Don't Mind" in pencil.
What an absolute mess!
Of course, it's also interesting to note that the rhythmic patterns of the
melodies to All Too Soon and I Don't Mind are identical in the
first two bars, and that although different in rhythm, the third and fourth
bars of each have the same number of notes in the melody.
So, to summarize: was it really an *error* for what we know as All Too Soon
to be called I Don't Mind in that 1940 broadcast?
Michael Kilpatrick
Thank you very much for reading DEMS Bulletin with so much attention and even
more for supplying us with so many facts concerning these two titles.
To start where you ended: Sure, it was not an *error* that what we now know as All
Too Soon was called I Don't Mind in 1940. There is no question about
the fact that these two titles belong together as a title with its subtitle.
The problem started in 1942 when Duke recorded a slightly different tune under
the title I Don't Mind. Not only is this version different because it
has the vocal by Ivie Anderson; the tune itself in my opinion differs too much
for it to make sense to say that it should have the same title as the earlier
(1940) recordings. The New DESOR solved this matter (as they usually did when
an error was made during a broadcast) by mentioning the broadcast title between
parentheses behind the title that was chosen to be the main title for that
particular tune. In order to make a proper index in a discography each
different tune should carry its own individual title. When a genuine subtitle
reads the same as the title of another tune, that subtitle has a mark # in The
New DESOR, leaving the other tune free to occupy the title as its own main
title in the index of the discography.
You are undoubtedly right that no error was made. What I tried to explain was
the solution The New DESOR has chosen to solve this (rather frequent) problem.
Thanks for your comments. They are very much appreciated.
Sjef Hoefsmit
Who is the trumpet soloist?
DEMS 10/3-9
See DEMS 10/2-7
How High the Moon, 5221c, 14Nov52, Carnegie Hall.
Giovanni Volonté and Luciano Massagli confirm RN-CT-WC to be definitively the
correct sequence. We however firmly believe that this is NOT correct. In our
opinion Mr Colombé is right claiming that the sequence is RN-WC-CT.
Jean Portier - Claude Carrière - Klaus Götting
Special Editions
DEMS 10/3-10
I recently acquired a splendid copy of Special Editions 5007-S by Duke
Ellington: Jubilesta/Moonlight Fiesta.
The following thoughts at once went through my mind and perhaps DEMS could be
of some assistance.
1. As far as I can tell no other Special Editions issues were issued by ARC.
2. Were there any other issues at all by any group, bearing in mind that this
78rpm carries the number 5007-S?
3.Why did ARC decide that this particular label, with all the associated
design/print issues, warrant this release?
4. Was it issued for some "Special" reason known only to the American
Record Corporation, as the titles were never re-issued like many other
Duke tracks cut for that Company?
Ken Harrison
Your Ellington disc was released in 1948, along with discs by Wingy Mannone (a
previously unreleased coupling with Jelly Roll Morton from 1934), and, just off
the top of my head, Art Tatum, Artie Shaw, Russ Columbo, Bunny Berigan and I'm
no doubt forgetting some others. These discs were aimed at the collector's
market, and were sold at a premium price. The series was produced by George
Avakian, and somewhere I have the original press release that tells all about
the series. If you like, I can make you a photocopy but don't hold your breath
because I'm really busy with writing the notes for the Mosaic box.
"American Record Corporation," which is printed on the labels, is a
bit of an anachronism, as the name had more or less been phased out by
"Columbia Recording Corporation" (from 1939) and then "Columbia
Records" (from 1946).
Steven Lasker
DEMS found the following article in "The Billboard" of 8 May 1948.
Col'bia Aims For Collectors' Market
Biz
Revives American Catalog
New York, May 1. Columbia Records is gunning for the collectors' market by
exhuming the old American Record Corporation catalog, the original purchase of
which in the mid-'30s launched the Columbia firm in the disk biz.
Pressings from American masters will be made for a new series to be tabbed Special
Editions, consisting mainly of hot jazz and name personality items made in
the '20s and early '30s. Waxing will retail at $1.- each, and will include
samplings by Russ Columbo, Al Jolson, Helen Morgan, Johnny Mercer, Hoagy
Carmichael, Louis Prima, the Mills Brothers, Teddy Wilson, Bunny Berigan, Louis
Armstrong, Duke Ellington, Chick Webb and a number of others.
Orders of 4 a Month
Special Editions will be released at the rate of four platters a month.
A special ordering system will be used. Retailers will be restricted to one
order a month, and disks will be shipped fully insured, c.o.d. Minimum orders
of 10 per record will be required, at a cost to the dealer of 60 cents each.
Under this modus operandi the diskery will press only the number of records
ordered, and will not foot the usual breakage and returns allowance of 5 per
cent.
George Avakian, Columbia's collector specialist, is heading the Special
Editions operation. Columbia has essayed similar ventures in the past,
marketing collectors' disks under the heading of an archive series, and many of
the American catalog's jazz items in its hot jazz classics album series.
First releases of the new series will be made in May, and will include a
previously unissued Columbo record, Too Beautiful for Words and I See
Two Lovers.
Blu-Disc T 1004
DEMS 10/3-11
I'm an avid (early) Duke Ellington fan,
and am trying to assemble for myself, a complete collection of MP3's of all his
recordings from 1924 up through 1941. I've purchased many CDs & box sets
over the last 20 years, and I am looking to fill in holes of missing tracks.
My question is regarding this article [DEMS 04/3-57]: In it, Mr. Lasker
asserted that Blu-Disc T1004, billed as by "Duke Ellington", is not
by Ellington. He cited that this disc is actually by some other band. I wanted
to know, what is his source on that, and how sure is he? Does he, or do you,
know anywhere I can HEAR Blu-disc T1004 to determine myself if it Sounds like
Ellington's very early band? (I saw that there is a copy held by the Library of
Congress... maybe someday I'll get up to D.C. but right now I can't take vacation
time for that...).
Or has anyone already listened to it, and VERIFIED that Blu-Disc T1004 Definitely
Does Not sound like Ellington?
Bob Cousin
Jerry Valburn had a copy of Blu-Disc T1004 (now at the Library of Congress),
which I inspected. The exact same masters (and takes) also appear coupled on
Triangle 11423 of which a copy is in my collection. In fact I'm looking at it.
For further information, see DEMS 04/3-57, Part Four, to which I can only add
that Triangle 11423 shows BD&M master number 11423, which may be a master
actually recorded, but never issued, by Chic Winters's Orch. (Master 11423 has
never been found pressed on any issue, and the version of Rose Marie
found on Blu-Disc and on Triangle (and I suppose also on Pennington 1423, an
issue of which I've never seen an actual copy) is actually Emerson mx. 42733-2
by the Bar Harbor Society Orchestra, a Ben Selvin unit. The performances are
pretty pedestrian, and are certainly not by Duke.
Steven Lasker
Ellington collection 200/250
records
DEMS 10/3-12
I have for sale (from my dad) a collection of 200 + Duke Ellington records on
vinyl (Bootlegs, Unofficial Box Sets, LP's etc). I want to sell the whole
collection in one time. For info please e-mail me at this address nilsjansen@home.nl
It's a rare and obscure collection which my dad collected through the years!
Nils Jansen (Holland)
Ellington Film Soundtrack
DEMS 10/3-13
I am thrilled to announce the
discovery of a previously unknown Duke Ellington film soundtrack from the
1950s, one that was not known when Klaus Stratemann put together his amazing
Ellington filmography. Here are the details as known at the present time.
Sometime in the mid-to-late 1950s --- I am guessing ca. 1956-59, although
further research is necessary here --- Duke Ellington composed a short piece to
be used as the musical background for a Prudential Insurance television
commercial. I have conferred with Steven Lasker and Claire Gordon, and they
confirm my belief that it is certainly Ellington on soundtrack, along with
(probably) a contingent from the band, with Jimmy Hamilton in a short solo
statement, as well as a female vocalist who sings a wordless accompaniment in
the style of Kay Davis. Steven is quite certain that the tune was neither
broadcast nor recorded commercially.
At some time in the future I will figure out how to post this on YouTube and I will
inform the Duke LYM list when I have completed the task!
Mark Cantor
The Duke Orchestra
DEMS 10/3-14
See DEMS 09/3-1 and 09/2-15.
We are about to transcribe Dukish tunes never released (issued from
"Collection Clavié"). They will be presented in concert and recorded.
The CD will be available in 2011.
We shall produce a Grand Concert in the Alhambra - Paris (26Mar11). Duke Ellington
himself will be invited (by video) and will interact with the orchestra, talk
to the audience, convey its values …
The Maison du Duke recently bought Dr Clavié’s collection (300 magnetic tapes
containing 650 hours of concerts and radio recordings, from 1945 to 1970), and
expect to create a record label to share Duke Ellington’s never released works.
The French translation of Duke Ellington’s autobiography (Da Capo Press).
Available in 2012.
Laurent Mignard
October/November 1950
Ellington-Strayhorn piano duets
DEMS 10/3-15
I have these (from the 3oct50 and
Nov50 sessions) from two different CDs. At the Piano Capu 2CD (covered by DEMS
2007/3-35) and Great Times! Riverside CD (LP predecessor covered by DEMS
1992-3/7).
The speed is different between the two sets of tracks (1-8 on the Riverside CD,
16-23 on CD2 of the Capu CP). In each case, the Capu CD version is about 2%
slower than the Great Times! CD version. I believe that the Capu CD has the
correct pitch, as well as the better sound quality.
Brian Koller
What are the correct dates of the
1950 European Tour?
DEMS 10/3-16
See DEMS 04/1-21
I think we can add to Duke's itinerary:
Wednesday 14 June 1950 in Heidelberg (Germany) at Stadthalle (6:30 + 9 pm)
The corresponding 'ad' is shown in the French release of a book by Richard
Havers and Richard Evans: "L'Age D'Or Du Jazz"; original publication
as "Jazz, The Golden Era", Compendium Publishing Ltd, 2009 with
high-quality photographs of Duke, Billie, Bird a.o. by William Gottlieb.
Can someone fill the missing dates June 9, 15, 17, 18, 19 ?
Klaus Götting**
Echo Jazz EJCD04
DEMS 10/3-17
I have this CD with 15 selections from 1953 (according to the very scanty
leaflet).
1-6 is DESOR DE 5323 and 7-12 DE 5319. 13-15: Caravan, Sophisticated Lady
and Stompin' at the Savoy I cannot find. Is Eidammer overtaking me now,
can't I see the wood for the trees - or is there a DEMSical explanation :-) ? Hope
you can enlighten me - as always before.
Frits Schjøtt
According to DEMS 90/1-2 and 8, there are 6 tracks from 27Jun53 (DE 5324)
and 6 tracks from 12Jun53 (DE 5319). Caravan, Sophisticated Lady and
Stompin' at the Savoy on this CD are not identified in DEMS. They
are from 14Apr56 (DE 5609). The CD has been documented in The New DESOR on page
1353.
DEMS