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THE INTERNATIONAL 22TH yearofpublicationM S BULLETINDUKE ELLINGTON MUSIC SOCIETYF O U N D E R : B E N N Y A A S L A N D HONORARY ME MB ER: FATHERJOHNGARCIA GENSELAsaDEMS membe r you'll get access fromtimetotimetounique Duke material. Please bear In mind that suchmaterialIsto behandledwith care andcommonsense Itmust underno circumstancesbe used forcommercialpurposes. s aDEMS member please help seetothat thissimple ruleIsfollowed. Thus wewillbeable to continuefuture special offers.ALL FOR THE LOVE OF DUKE

2000/1March-MayE d i t o r : S j e f H o e f s m i tA s s i s t e d b y : R o ge r BoyesDEMS is a non-prof i t organizat ion, dependingonvoluntary offered assistance int ime and mater ia l .Sponsors are welcomed.

Address: Voort 18b, Meerle. Belgium Telephone and Fax: +323315 75 83 E-mail: dems@skynet.be

Some Reflectionsatthe startof2000AlthoughI number myself among those who believe that the

2 1 *century starts next year, the fact thatIhave made it into200 0 m akes me think about the future the future, that is, ofDEMS. Many DEMS members have expressed their concernabout my health, believing that something is wrong becauseI am reluctant to accept too much money on account from themembership. In factI am merely trying to be realistic bysafeguarding my wife and children from the obligation totransfer small amounts of money toa great number of DEMSmembers around the w orld. It would be a tiresome chore for myfamily to do thatMy greatest wish at present is to meet someone (orasmallgroup) who would be willing and able to take over the publicationof DEMS Bulletin now in order to ensure its continuation.In 1979, nobody (and certainly not Benny Aasland) expectedthat DEMS Bulletin would ever reach its2 2nd year of publication.Many questions and corrections were anticipated after Bennypublished the first of his series of large size (A4) WaxWorksdiscographies in 1979. The creation of the Bulletin to handle allthese expected questions and their answers wasabrilliant idea,and the resulting communication betweenagreat number ofEllington collectors around the world was of enormously help inpromoting new activities, most notably the annual DukeEllington Conferences.Now, as in 1979, DEMS Bulletin aims to be an instrument inpublishing questions, answers and other comments concerningthe latest discographies like ELLINGTON IA and Th e NewDESOR.A second major task for DEMS is to publish details of newlyreleased and re-released recordings. These are mainly of interestto elderly DEMS members when something "fresh" comes ontothe market If LP albums are re-released on CD and nothingisnew, these members are not particularly interested.It issufficient to say: this CD is the same as that LPPersonally,Iused not to believe that Ellington wouldbecomeaclassic comp oser.I was completely taken by hismusic, asIstill am. ButI lacked the confidence in my own goodtaste to anticipate that he would intrigue future generations.A pessimist by nature,I though that for others he would be nomore than another popular bandleader of the swing era.To my great surprise (and immense satisfaction)itturned outI was wrong. DEMS membership is still growing, and among thenew members are many friends who have found their way toEllington long after his death.Thus there isaheavy dem and for re-issues of albums like therecent 5 CD box of Reprise recordings (see DEMS 99/4-32).

For older collectorsitis enough to learn that there is n othingnew here, but for many younger DEMS friends all these albumsare new. Formyself,Ihave not boughtaset Many years agoIreplaced all my 78 rpm's with LPs.I have neither the money, northe room, nor enough years ahead of me to replace my entire

collection again with CDs. AccordinglyIpublishinthisBulletina complete survey of titles and recording dates of theCD set, for the benefit of younger DEMS members. It was notdifficult for me to do this without having the box and the linernotes to consult (See page 15/1)In many cases, however,it is im possible. Thereis(againtomy complete satisfaction)a constant stream of re-releases ofEllington material onto the marketItis not rea listic to bu yevery one of these CD s, simply in order to identify and publishthe contents in DE MS Bulletin. In the case of many of thesere-releases,itis clear that they offer nothin g thatis new for me.But without listeningtothe track s, accurate identificationisim poss ib le .It is here whereImust ask yo u, the mem bers, to help me.If you have bought a release which you have not foundmentioned in DEMS Bulletin, please send meamessage. If youhave identified the tracks, please give me your results.Iwillpublish your findings with your name in the Bulletin.If you cannot identify some of the tracks, send meamessagetoo, with your incomplete results.It may be thatI will be abletogive you the complete and correct data in the next Bulletin. If Icannot ,I will ask you to send meacopy on cassette, togetherwithaphotoco py of the liner notes.I shall be happy to replaceyour cassette with a DEMS Azure cassette of your choice.If you see a CD you are unsure about, but which you think youmaybe should buy it for announcement in DEMS Bulletin, waitand ask me firstItis possible thatI can give you the details, andin doing so help you to avoid buying something which youalready have.It is also possible thatI will ask you to buy it, forthe benefit of our DEMS members who are still building on theircollections. This is in order to try to prevent more than oneDEMS member from riskingapurchase which they m ay laterreg ret So please ask me first

I am reluctant to publish reviewsofEllington's ownrecordings. I assumemat DEMS members do not need to be toldabout the quality of Ellington's great works, also that they arehappy asIam to listen to h is lesser work.The positionisdifferent a s far as recordin gsofE llingtoniaby others are concerned. Many DEMS members are veryinterested in Ellington's music played by others (see DEMS97/2-23) .I have tried to increase the number of reviews ofreleases of this kind in the Bulletin. In such casesagenuinereview of the quality of the music played is most welcome.Ifyoucome acrossanice CD of E llingtonia , do feel free to send meyour review for publication in the Bulletin. Don't forget toinclude all available discographical details: label numbers,dates, locations and personnel.It seems that DEMS Bulletin will fulfila need for as long asEllington materialisreleased on to the m arket.I hope that thissituation will contin ue for many years. Sjef Hoefsmit

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DEMS BULLETIN 2000/1E L L I N G T O N 2 0 0 1 / 2 0 0 2This is an announcement from the Committees ofDESUK and the projected UK Ellington Conference, 2001/2.As some Ellington friends are aware, David Fleming akey member oftheDESUK committee is presentlyindisposed and has had to severely curtail his work for theSociety. In addition to being editor oftheDESUK journalBlueLight,David is the Society's Vice Chair and acting

general secretary.His illness has meant that other members of thecomm ittee, who like him, were also beginning work for aUK E llington conference in either2001or2002,have had togive priority to ensuring that the Ellington Society inBritain continues to flourish.We have therefore had to reluctantly rule out anypossibility of staging an UK conference in2001.We arehowever, investigating whether it is possible to reorganiseour commitments in time to stage one in 2 002 in a city andvenue which has yettobe decided. A further announcementwill be made as soon as possible.This message came from Elaine Norsworthy andappeared on theduke-lymlist on internet. DEM S"

An open let ter to DEMS members fromBelgium and HollandOverthemany years that the Ellington conferences wereheld in USA, Canada and Europe, wehavecrossed theEnglish Channel twice for gatherings in both Copenhagenand S tockholm. With the group ofDEMSmembers in bothBelgium and the Netherlands, the conference for2001 couldbecome a reality in Antwerp.Antwerp would be an ideal central meeting place for boththe Belgium and Holland members to chose and a mostattractive place for visitors from all parts oftheworld toattend.If you share my feelings, please write toDEMSandexpress your wishes. It would be great to meet in Antwerp in2001. JerryValburn**What DEMS can do and will do issendingthe letters to theperson(s) who volunteer to start the organisation of such anevent.Hoefsmitcan not afford to put time in the preparationof an Ellington conference. DEMS**

The Irving Jacobs Collect ionMy approximately 2500 LP albums must be disposed ofbefore the end ofthisyear.Unfortunately, I would notbenefit from donating the collection to a college oruniversity, as Jerry Valburn did. In my case, I must sell thecollection.I would much appreciate your mentioning mysituation in the DEMS Bulletin, which would circulate insufficient time to reach the subscribers before the Ellington2000 conference. My basic interestisto contact someonewho would be willing to acquire the entire collection at areasonable price. (I am prepared to ship the entire collectionto anywhere in the world ) It is obvious thatIameliminating those individuals who wish to browse throughmy collection in order to select whatever rarities they require.I would certainly be agreeable to selling the collection at aprice that enabled the purchaser to subsequently dispose ofmany items as a profit A "who lesale" offer would be mostacceptable, by someone willing to acquire all of the LPs. Onthe other hand, if no one is interested, I am turning thecollection overtoa local mail-order dealer, who will acceptthe collection on "consignment".IrvJacobs, 3542 Nile street, San Diego. CA 92 104-3817.

ScufNEWSTony Crom bie d iesWe read inJazz Journalof December99the obituary forTony Crombie, written by Pater Vacher.A few yearsago,this name would not haveranga bell,but since we have met Tony in Leeds during the 1997

Conference,wefeel as ifwehave lostadearfriend.The panel discussion, chaired by Peter Newbrook on24M ay97, has become a historical event It must have beenthe last time tha t the Jack Fallon trio performed as a group.Only Jack is still alive. We lost Malcolm Mitchell on9Mar98 and now we lost Tony Crombie, who died inLondon on 18oct99.Those who have been present in Leeds and have enjoyedthe most pleasurable panel discussion and the spontaneousperformance ofSatin DollandDon't Get Around MuchAnymorew ill never forgetTonyCrombie behind the drums.Hecertainly was a true Ellingtonian. The only reason tha t heis not mentioned in our discographies is the fact that therewere norecordingsmadeduringthe British 1948 tour withthe other "variety artists" like Duke, Ray Nance and KayDavis. I feel privileged to have had the opportunity to givehim and his mates a hell ofanapplause. Sjef Hoefsmit**G us Johnson d iesGus Johnson, the drummerwhodrove some of thebiggest names in swing, died Sunday (Feb. 6) of undisclosedcauses in W estminster, Colo. He was 86.Johnson's drumming became part ofthe influentialKansas City, M o., sound in 1938, whenhejoined up withJay McShann's ensemble, which also included saxophonistCharlie Parker. Johnson was a member of such influentialswing orchestras as those of Count Basie, Duke Ellington,

and Woody Herman, and keptthebeat for suchtop-flightvocalists as Billie Holiday, EllaFitzgerald,and Lena Home,as well as saxophonists from Coleman Hawkins and LesterYoung to Gerry Mulligan and John C oltrane.Gus Johnson, Jr. was born Nov. 1 5, 1913 in Tyler,Texas, where he distinguished himselfasa child prodigy,learning piano, bass, and drums. His professional careerstarted in Houston atage9. After graduating high school,Johnson started working in Kansas City and touring theMidwest in various ensembles, including the Four RhythmAces,Lloyd Hunter, and Ernest Redd. His tenure with theMcShann band was interrupted by military service duringWorld Warfl.After a return engagement with McShann, plus stintswith Eddie Vinson, Earl Hines, and Cootie Williams,Johnson played with the Count Basie orchestra in the early1950s, before he was sidelined with appendicitis. During thelate '50s and'60s,Johnson backed a variety of jazz greats,including Johnny H odges, Mose Allison, and Buck C layton.In1969,Johnson joined Dixieland revivalists the World'sGreatest Jazz Band and remained there until 1974.Johnson moved to Colorado in his later years, where hesometimes performed with Peanuts Hucko and Ralph Sutton,and was aregularat Dick Gibson's celebrated annualColorado jazz parties. Johnson's performances were curtailedin the 1990s as he battled Alzheimer's disease.Drew Wheeler**Inthe New DESOR wereadthat Gus Johnson played inthe Duke Ellington band during the sessions of 7Jan and10Feb59, the sessionsfrom 24Januntil 22Feb66 and thosefrom 28Nov until1Dec66. DEMS**

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DEMS BULLETIN 2000/1Reminiscences by Steve VoceReading the JoeIgo-GordonEwing-Art Pilkington DukeBlington Itinerary in the Winter 1999 DEMS bulletin,enabled me to pin point the date of and to look up a piece Iwrote concerning Ellington's visit to Liverpool on January2 0, 196 3. It was published in Jazz Journal in M arch of thatyear. The 'Sinclair' referred to was the ma gazine 's editor, the

late Sinclair Traill. What follows is part of the piece.Pretty and T he W olfStanley Dance picked up the phone in Rowayton,Connecticut The call was from London:'Thisis L ittleEddie. Just to let you know we arrived all right'Sinclair Traill picked u p the phone and said hullo. 'Thisis Little Eddie the Piano Player,' said the caller. 'How's thePretty Section?* Little Eddie is better known as D uke, andthe pretty Section is his name for Mrs. Traill.I picked up the phone in Crosby, L iverpool. It was awrong number.Harry W ho?There seems to have been some doubt in some of theforeign magazines just lately about how to spell the name ofthe greatest jazz baritone player. Just for the record it goeslikethis:Harry Carney, Harry C arney, Harry C arney, HarryCarney.Considering that they seem to live normally in a state ofalmost mindless fatigue, it is amazing that the Ellingtonband members manage to be so composed and sociable mostof the time. Perhaps the most imperturbable of them all isHarry Carney. He has an elephantine m emory that is almostsupernatural. Standing outside the Empire in a Jacques Tatiberet andovercoat,which made one w onder where he had left

his motor bik e, he recalled his first visit to Liverpool. 'In1933 we stayed down that street. I think it was the secondturning on the left, and their name w as Jackson. I wonder ifthey still live there?'Later he was talking to Jimmy Hamilton. 'I was thinkingof phoning home today, but after that hotel bill last night Ican't afford it Fivequid just for bed and b reak fast''You know why that is,' said Hamilton. 'They watch youcome in through the door and they say 'Th is here is HarryCarney. He can PAY Jack up everything.'"Jimmy took me upstairs to meet Cootie. 'Harry '11be onthe phone now. Whe rever we are he always calls home. If hewas in Hell he'd be asking for a telephone.'Close up Cootie looks like a granite Red Indian, and hisconversation, consisting mainly of 'Yeah?' and 'No?' filledout the analogy. I left him cleaning his already gleam inghorn, squeezed between the Rabbit and the Cat and went tojoin Sinclair in the Duke's room, which had been convertedinto a sanatorium - Duke h ad the most impressive cold that Ihad ever been close up to. The room was littered withKleenex tissues and Duke was selecting his underwear for theconcert from aeasefulheld out by his dresser.'Canyou get me some fresh, unstrained grapefruitjuice?'he asked Sinclair and me. 'A jugful?'This presented rather a problem since the grapefruit treesin Liverpool have not even flowered yet, never mind bornefruit However we managed to geta jugful of some kind ofgrapefruit juice (I suspect it was the bottled kind withWorcester sauce added) and took it back to the dressing roomlike two of the three wise men.

(Note added in 1999: the grapefruit juice resulted from awalk across Liverpool to the Adelphi Hotel. This was aSunday and the city virtually shut down in those days ofausterity. I think I went on m y own and had great difficultyin persuading the hotel people to lend me the jug . All pubsand any source of alcohol closed by 10 p.m. every n igh t).Duke sipped it 'I think they strained it by m istake,'Sinclairoffered."Theygrow the grapefruit a bit sweet around here, too ,'said Duk e, sniffing the jug suspiciously .The dressing room belonged during the week toMorecambe of Morecambe and Wise, who was appearing atthe theatre in pantomime. Mr. Morecambe had left a pleasantnote inviting Duke to help himself to a drink and to makeuse of the television set in the room. Duke switched on thetelevision while the half bottle of gin on the table wentround the room. The time was 7.30 p.m. and I realised with

no little discomfort what was about to happen.An unctuous and servile voice came out of the speaker:'...welcomeyou ladies and gentlemen once again to theBlack and White Minstrel Show 'And there they were, capering about in their patchworksuits and gollywog make-up . Thi s, I said tomyself, is goingto be one of those famous moments of truth.Du ke and Strayhorn watched in baleful silence. Strayhorntook off his glasses, examined them, and put them back on.Suddenly the Minstrels went into 'Ca ravan ', and GeorgeChisholm came on.'Well produced sh ow,' said Duke, and turned back to theproblem of his underwear.A mother and daughter, whose interest in jazz must havebeen tenuou s, suddenly appeared in the room. A pparentlyDuke had met them somewhere and promised them ticketsfor the show. All the seats were sold, so I gave them mytickets.There followed a stormy tussle between Sinclair and thestage foreman, a belligerent and disenchanted person whom Ilearned to avoid years ago. His attitude was almo st as cold asthe stage of the theatre.'If you had w anted to borrow ten bucks and I had never

met you before, these guys would show you right into mydressing room ,' said Duke, 'bu t if you were som eoneimportant who had just come in to see the show beforesigning a contract or something, they'd practically come toblows keeping you out.No W eather For Brass MonkeysOn stage the Ellingtonians were shivering behind thecurtain. Johnny Hodges examined his alto and began callingfor anti-freeze. W e sat down o n two stools just off-stagefrom the piano.Duk e didn 't appear backstage until the band crackled into'A Train'. He walked briskly to the mike, did the 'we love

you m adl y' bit, and walked briskly off-stage to our side.' Jesus 'he said. 'When they built this place they forgotto put the roof on.' He called out for spotlights to be placedto shine on the piano stool. Would someone mind going outthere and breaking the ice between the piano keys?

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DEMS BULLETIN 2000/1Th e concert progressed more or less normally except thatthey left out 'Kinda Dukish' and 'Pretty and the Wolf butadded 'Mainstem'. The next day the Liverpool Daily Postsaid that 'Kinda Dukish' was one of the concert highlights.During the last tour the Liverpool Echo claimed that thetrumpet solos of Johnny Hodges were very moving.Kinda DukieThe big drawback about listening from the wings was

that the norm al bite of the sax section was a bit muffled. Butthis was more than co mpensated for the ability to hear thecontinuous battery of asides that goes on between themembers of the band.After Hodges had laid down three of his blandmasterw orks, he was in the process of sitting down againwhen Ellington called him out for another bow. Whilesmirking politely at the audience Rabbit was muttering allthe time to his boss. 'Lay off it, Dukie. Every time I benddown I can feel the ice cracking off the back of my p ants.'At the interval 'Dukie' hustled off to his room to changeinto ankle length underpants. The trumpet and trombonesections, which hadn't missed the goings on in the wings,

gathered around Sinclair's chair, removed hisflask,andemptied it Sinclair stood in the middle in his overcoat,looking for all the world like some football coach with h isteam at half time. I almost expected him to produce a plateof sliced lemons from somew here.The teams changed end s and crashed into the second halfwith a heat that had obviously come from Sinclair's flask,now lying forlornly abandoned behind the piano stool.'Little Eddie', who kept bounding into the wings to giveus a rundown on the state of the weather on-stage, had stillnot wanned up and was having constant trouble with hiscold. The piano was by now full of abandoned Kleenex

tissues.Te ll Stray to have my ugly pills ready when we comeoff,' he said as the last num ber approa ched.'Man,' said Jimmy Hamilton as they came off-stage,'Will I be glad to get out of this freezing theatre and into thatfreezing coach where I can at least die in an undignifiedposture of my own choosing.' (The band was making the200-mile trip back to London overnight).Try A Little UglinessIn the Duke's room the Wardrobe Section were busilypacking his clothes. Duke and Billy Strayhorn werediscussing how best to reciprocate Mr Morec amb e's gesturewith the gin. The half-bottle was by now as empty asSincla ir's flask. W ith a little pressure Duke extracted the factthat Billy had a full bottle of gin in his bag.'Thisfellow has been very gracious to us, ' said Duke.'We should try to be even more gracious in return. I thinkyou should leave the full bottle.''W hy no t just refill the half from my bottle ?' suggestedBilly. 'There'sgoing to come a moment of crisis on thattrain' (Stray and Duke were going back to London withSinclair on the train) at about three o'clock in the morningwhen I'm going to need that gin.'

' No , ' insisted Duke. 'We must be more gracious than he.The gracious thing to do is to leave the full bottle.' (Dukedoesn 't drink these days).'Edward, you're being gracious as all hell with MY gin.'Stray jam me d his hands in the pockets of his collarless

George Melly-type cordu roy suit and looked disconsolate.Harry Carney, who was going back on the coach and stoodno chance with the gin either way, roared with laughter.With Duke absorbed in his dressing, Billy cautiouslyrefilled the half bottle and slipped his own bottle back intohis bag.At the Adelphi H otel, Dougie Tobutt, the tour prom oter'sroad manag er, as usual completely unruffled by his Herculeantask of keeping the band intact on the road, was already wellstuck into a meal. It was by now almost eleven o'clock, andwith customary British Railways grace (the hotel belonged toBR) the headw aiter refused to serve us. 'I have to have my staffin by seven in the morning, and I'm not keeping them backnow for you.' In a second-class hotel they would haveprobably had the bouncer throw us outDuke w alked past as though he didn't know that theheadwaiter was there (he probably d idn't) and sat down at atable. Eventually a waiter arrived and Duke ordered soup, baconand eggs 'with the eggs cooked easy', toast and 'as many kindsof jam as you've got.''Give me my Ugly pill, ' he said to Strayhorn,abandoning yet another tissue. Strayhorn produced two pills,one a murky white large enough to choke a big ho rse, theother (the Ugly pill) smaller and bright emerald green.Duke explained when I asked him that he had to takethem to get any kind of relief from his cold, which was areally remarkable one.'They put me in an ugly mood, and Iget rude, very rude, to people I have no right to be rude to.I get very nasty, and really I sho uld n't I get very ugly.''Com e now Edw ard, you're not the monster you wouldhave everyone believe you are,' said Billy.' I 'M not amonster,'retorted Duke. 'YOU're the monster.You're a monster among monsters.''I guess I must be a monster,' Billy agreed, 'because theking monster says I am.'Edward pok ed into the two plates of jam in front of him- one blackcurrant and one strawberry. He stopped a passingwaitress: 'W hat o ther kinds of jam have you got? And bringme more milk and grapefruit juice.' She looked at him asthough he was mad, but came back with raspberry jam , milkand grapefruit juice .Billy surveyed the remains of Duke'ssnack. 'The insideof your stomach will be like Chicago on S t Vale ntine's

Day. Your germs will be tightening their hold.''It could n't be m uch tighter. These germs have got insidemy lovely, lovely body and they reckon on staying thereforever. They mustlikemy piano playing.'Sinclair told the joke about the brontosaurus, Dukecollected a huge supply of paper napkins, and I drove them toLime Street Stations. 'You should be wearing a coat,' Dukesaid to me at the station.I left them in the frozen station to face wh at transpired tobe a night in a train without heat - too cold to stay in theirsleepers, in factThre e days later I had one of the most aggressive coldsI have yet encountered. I took consolation in the thought thatit had probably originally belonged to Little Eddie.I think I could do with some of those Ugly pills.Steve Voce

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DEMS BULLETIN 2000/1

NEW FINDSA Day At The Races

On April 2 5 Turner Classic M ovieMusic/RhinoMovieMusic releases Hollywood Swing&Jazz: Hot NumbersFrom Classic M-G-M, WarnerBros,and RKO Films.This two-CD collection of"lejazzhot from classicmovies features51tracks, 29 previously unavailable.Among the artists featured on these two discs areLouis Armstrong, Artie Shaw, The Mills Brothers,Benny Goodman, Mel Torme\ Harry James, HoagyCarmichael, Lena Home, Billy Eckstine, Nat "King" Cole,The Andre" Previn Trio, Carmen McRae, Gerry Mulligan, ArtPepper, Pearl Bailey, Stan Getz, and Count Basie.One ofthereal treasureson thecollection is a previouslyunheard Duke Ellingtoncutfrom the1937Marx Brothersclassic "A Day AtTheRaces". Ellington indicated at thetime that he and his band had done a number for the film,but only vocalistIvieAnderson singingAllGod's Chillun'

GotRhythmappearedonscreen.Feltenstein discovered that Ellington was hired to providemusic, but since the sequence takes place in a barnyard, both

Ellington and Metro concurred it wouldn't make sense for theband to be shown in the scene. For the finished eight-and-a-half-minute number, the Ellington orchestra supplied onlyone piece of music: the accompaniment behind Anderson'svocal. In the sequence as originally recorded, E llington alsoprovided a secondsegment,a dance-music interlude, which isrestored here forthefirst time.Other rarities here include the three Count Basie cutsfrom Maid inParis.No soundtrack for the movie has everbeen released before, which is a shame because it featuresBasie with a small group, an uncommon set-up for him.The tracks are only heard briefly in the movie-not intheirentiretyand arepresented complete here forthefirsttime ever.The doubleCDlists for$31.98and is available directfrom the Rhino Web site at www.rhino.com. Stan Dunn**Three Cent Stomp and Lover Man

OtherNEW FINDSareThree Cent Stomp(10Nov47),on page16/1andLover Man(17Jan45) on page 19/4.

VIDEO REPORTST V - B Y E N

The New DESORVol.1page 457 .Session 6709, 23Jan67.Thistwo-partTV-Byen programme(32+24 min) recordedin Copenhagenhasfinally been shownrecentlyon theFrench TV-channel M EZZO. Itisa very nice programme ofexcellent quality in black and white. (See DEMS 99/3-7)On screen the sequence is exactly as shown in theoriginal Desorentries1073/1096,Timnerand Nielsen andlistening to Duke's comments makes this progression lookquite authentic.In the New DESORwe now finda different sequence,placingMeditationbeforeThe Second Portrait Of The Lionand placingPassion FlowerandHappy Reunionbefore thelarger group's segmentWhat can have been the reasons forthesechanges made tothe programme's sequence?Nielsen mentioned two additionaltitles:SolitudeandLimboJazz.Can it be that they have been performed but notusedand/orlost in the meantime? Klaus Getting**

ErikWiedemanwrote an article in "Musik&Forskning"#13(Copenhagen 1988). Among ail the other recordingswhich weremadeof Duke in Denmarkwe findthe 23Jan67session with the selectionsinthe same sequence as in theoriginalDesor.SolitudeandLimbo Jazzareplaced betweenJeepIsJumpin'andSophisticated Ladyasbelonging to theoctet selections.We asked Erik to translateafew lines for us and he wasso kind to give us a full explanation. DEMS**In "Musik & Forskning" #13,1wrote: SolitudeandLimboJazzwerescheduled, butweredropped before thetelecast; timings are from the royalty-listings.Solitude,aLawrence Brown solo, is possibly a quartetpiece;the two

pieces have notbeenfound and are probably lost.1073a-gwere telecaston theday ofrecording;1096a-i were telecaston March 7,19 67."ThatSolitudeandLimbo Jazzwereactuallyrecorded/tapedappears from the fact that they are listed with their timingson the royalty listings, which also apparently provide theorder of recordings. I have photo copies oftheselistings,which I used for my article in "Musik & Forskning".For my handout at the Duke Ellington Conference inWashington on29Apr89,1listed the pieces in a systematicalorder of size of ensembles. This was also used in my"Duke in Denmark: A Discographical Excursus" in AnnualReview of Jazz Studies 51991,from which it probably wentinto the New DESOR. I now find that a chronologicallisting, as in "Musik & Forskning", is a preferable solution.Erik Wiedemann**T h e Wild Party

We have acable TVnetwork here (TCM) whichspecializes in classic movies. They presented for ourenjoyment the restored sound film by the late Clara Bowentitled 'The Wild Party."It wasfilmedn 1929, and was the very first sound filmproduced by Paramount Studios. The "party" sequenceconsists of a group of young ladies dancing the Charlestondance, and the Paramount studio orchestra (heard but notseen) provides a very lively treatment ofJIGWALK byDuke Ellington and Jo Tre nt Since this wasParamount'sfirst sound film, I would guess that this was the very firstperformance of a Duke Ellington tune in a feature lengthfilm. The Clara Bow film is quite charming, if you enjoyviewing early "talkies." The JIG WALK sequence is all toobrief,but interesting to hear performed by a full orchestra.CHECK AND DOUBLE CHECK from RKO Studios isabout one year later than THE W ILD PARTY. IrvJacobs.

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DEM S B U L L ET I N 2 0 0 0 / 1DISCUSSIONS - ADDITIONS - CORRECTIONSShakespeare - E l l ington - StrayhornSeeDems98/3-8.I have found the source ofthesheet-music that puzzledWalter van de Leur,MyLove Is As AFever.It appeared in a book: CLEO LAINEsings WORDSONGS,

the poetry of William Shakespeare, Eliot, Milligan, Donne,Thackeray, Campion, Auden, Hardy, Betjeman, Cum mings,Owen, French&Brooke set to music by John Dankworth,Young, E llington, Hymas &W illiams. Album co-ordinationMark Francis; Album setting & design Polly Productions;printed in England by Panda Press (Anglia) LTD.In this book were actually two Ellington scores:on page 42 TakeAll MyLovesandon page 44My LoveIs As AFever.The score forMy LoveIs As AFeveris the same as waspublished in DEMS 98/3 on pages9,10and 11.The existence ofTakeAll M yLovesis already mentionedby RogerBoyes,who also indicated that this Shakespearesonnet (number40)was coupled withSonnet ToHank Cinqand performed byCleoLaine.I include Xeroxes of some ofthepages ofthebook. Asyou can see in the discography on page3there must be analbum titled "Wordsongs" RCA RL251 76(2). But from thisalbum I can not give you further details. AndrewHomzyWe are very grateful for the Xeroxes from Andrew Homzy.We have printed the score ofTakeAl lMy Lovesonpages 7and 8. DEMSInDEMS 96/2-41mentioned the existence of aCDtided"Solitude ," by Cleo Laine with the Duke Ellington OrchestraconductedbyJohnny Dankworth, recorded in1994.On page

12 of the same bulletin DEMS included this news in thecolumn for ELLINGTONIA, but did not give details aboutthe selections.Track5ofthis CDcontains the performance ofTake All My Loves. Apart from Cleo Laine, the soloists areArt Baron and Barrie LeeHall.Johnny Dankworth is theclarinettist who"sings"the melody together with C leo'svocals. Josef Mahdal

We quote from a review by Peter Clayton of theCleo Laine songbook:"The Ellington inventions,Takeall mylovesandM ylove is asafever,areatoo-often-overlooked example ofDuke's casual genius.That he should bother to write, instrumentally, tuneswhich fitted the 14-line form ofthesonnets, is remarkableenough. That they make such marvellous songs, in theircontrasting w ays, without ever thrusting their contrivanceupon you, is even more satisfying. Take all mylovesbeganasSonnetTo H ank Cinq,an instrumental steeplechase fortrombonist Britt Woodman, while the sinuous dolorousM ylove isa s a fever wasSonnet forCaesar,both fromEllington's 'Such Sweet Thunder' suite."We have a lso gone through our files of1996and foundthe Xeroxes made for us by JosefMahdal.We print themhere,because they give usallthe de tails one can ask for.Thank youJosef DEMS

C L E OI'] Don't GetAround MuchAnymoreJu- l;lSophisticated Ladys u-

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DEMS BULLETIN 2000/1 DISCUSSIONS - ADDITIONS - CORRECTIONS

42 TAKEALLMY LOVESWords by William Shakespeare/ Music by Duke Ellington & B.StrayhomJ - 180

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DEMS BULLETIN 2000/1 DISCUSSIONS ADDITIONS CORRECTIONS 8

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DEMS BULLETIN 2000/1 DISCUSSIONS - ADDITIONS - CORRECTIONS The Duke Ellington Song BookSeeDEMSBulletin 99/5-19I boughtthe3-CD set Ella and Duke (Verve) and noticethat the personnel listings differ from those I have andDESORaswell. A lso some take numbers are different(Example:Take The"A"Trainis -6 and not -5.) I believethat the liner notes and the discographical datahavebeencompletely reviewed forthereissue and thatweshould relyonthem.I have no recording sheets for these Verve sessionsto verify anything. WillieTimnerI also bought this setPatricia Willard mentions on page15of her eminent linernotes Britt Woodman's statement that Frank Foster replacedPaulGonsalves on one or more ofthesessions between 24and27Jun57.Frank Foster remembered that he did not playto Duke's satisfaction the solo on the bridge ofDayD ream,written for Paul Gonsalves. Duke then gave the solo toJohnny Hodges. I suggest that we accept Frank Foster on thefirs t day, 24Jun57 as stated in the personnel listing in thebooklet. I think we should also accept that Paul was back thenext day, 25Jun57, as stated in the listing. Doing so makesme have doubts about Frank Foster coming back again thethird day. Did Paul fall ill again? Maybe we should onlymake a note, saying that it is possible that Frank Fosterreplaced Paul Gonsalves on26Jun57,but that we have noconfirmation.There is no doubt that Paul was present on27Jun57.Hecan be heardinAll TooSoon,Chelsea Bridgeand inPerdido.This is again in accordance with the listing. That means thatyou should correct the personnel listings on 2 4 and on27Jun57 in your ELLINGTONIA,4thedition. (See also myremark on page 26 ofmy"Comments on Timner," whichcame with Bulletin 99/1.) I suggest that DESOR makes thecorrection on 24Jun57.It is a pity thatwehave no recording reports of thesesessions, with the exception oftheone for 2Sep57 on page

42 ofthebooklet If we'd had themwecould also havechecked the take numbers. Now we have conflicting takenumbers, as you mentioned, forTake The"A"Train(inTimner and DESORtake-5,in liner notes take-6).There isalso a discrepancy in the take numbers forLostInMeditation( in Timner and DESOR take -4, in liner notes take -3).Therearefurther differences between the linernotesandour discographies.25Jun57.The liner notes say Ray Nance or Harold BakerforDrop Me Off InHarlem.DESORhasidentified RayNance in this piece.DESOR gives Billy Strayhorn at the p iano for1 Got It Badon page238,but Duke Ellington in thedescription on page912.The liner notes credit Ellington.I opt for Strayhorn.The liner notes give M ercer Ellington on claves inLost InM editation."Claves" is a Spanish word that standsfor a pair of sticks used in Latin American music. DESORgives explicitly Sam Woodyard as the only percussionist onpage1000.The liner notes mention that Clark Terry playedcowbells which explains some oftheunusual sounds.26Jun57.The liner notes give once again Ray Nance orHarold Baker in the trumpet section. Ray is identified byDESOR inRockin' InRhythmandClementineand Haroldis identified inI'mBeginning ToS eeTheLight. Formyself,I am only convinced about Ray inClem entine.DESOR believes that Duke Ellington played the piano inClementine.The liner notes say Billy Strayhorn. I opt forEllington.27Jun57.The liner notes again fail to choose betweenHarold BakerandRay Nance. DESOR believes both are to be

heard on this session. Harold Baker onCaravanandPerdido.Ray Nance onAll Too SoonandE And D Blues.I am notconvinced thatwehear RayonAll Too Soon.It is possible that "Ray Nance or Harold Baker" means thatthey were both present but that they did not play together.Discographers normally put both names in the personnellisting unless they know exactly who played and who did notin each number. I do not think that the liner notes give causeto correctthediscographies as far as "Ray or Harold" isconcerned. EspeciallynotforChelseaBridge.It is obviousfrom the recorded rehearsals that they both took part in thisrecording.There is an unimportant error in the liner notes on page 9.It is nottracks4 and11ofdisc 3which were previously issuedon the Complete Ella Fitzgerald Songbook. It was track 9,track 10,index 2 and3,and track 11.I am a bit disappointed about the packaging of the 3 CDs.It is a problem to get them out of theirpockets.Maybe I willput them in the3CD box which came with the earlier3CDrelease in1988,the sound quality of which I also foundvery disappointing. John Sanders' valve trombone inLostInMeditationwas rather poor, and it still is.Sjef Hoefsmit

GOLD DIGGERSee DEMS99/4-15/1and 99/5-10Here arethecomplete details aboutGoldDigger,recordedby Johnny Ringer's Rosemont Orchestra:Matrix GEX 878-A - Gennett6280,recorded16 September 1927 in NYCSammy Castin, tp .; Gus Fetterer and Billy King, saxes;HarryRadford,p.;Pete Epelitto, b nj.; unknown, tu ;Johnny Ringer, dr.I have another recording with this title :BillyJones AndOrchestra, vocal Edison51220,recorded July1923. Luis ContijochThe Gennett78 rpmby Johnny R inger's RosemontOrchestrawasrecordedinNew York City,16Sep27.Thisinformation comes from Brian Rust's "Jazz Records"publication. John HornsbyHere are the recording details for the Johnny Ringer sessionin 1927, which producedGoldDigger.These were providedthrough the kind assistance of researcher colleagueBert WhyattJohnny Ringer His Rosemont Ballroom Orchestra, New York, 26Sep27

Personnel unavailable, except forArthurFields (vocal on875,876and 877).Who'sThat KnockingAt My Door

GEX875GEX875A Gennett6264A,Champion 15362A875 testMoonlitWaters GEX876GEX876A Gennett6264BGEX876B

The Varsity Drag(from Good News )GEX877GEX877A Gen nett 6280B,Champion15363B,Superior309BGEX877B

Gold Digger GEX878GEX878A Gennett 6280A,Champion 15366B,Superior 310AThe Champion and Superiorissueswould have been releasedunder other artistnames,but these are not known.Payment for the titles with vocals was $ 87.50 each, butfor the non-vocalGoldDigger,it was only $ 62.50.I would guess that the first Gennett coupling was probablyreleased in aboutNov27,with theGold Diggercouplingappearing in December. Frank Dutton

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DEMS BULLETIN 2000/1 DISCUSSIONS - ADDITIONS - CORRECTIONS 10. Willie Timner is rightOn page 25 ofmycomments on Timner's fourth edition(in a supplement ofDEMSBulletin 99/1) about the entryon Timner's page162,1expressed my doubts about thethree Apr 1957sessions. Jerry Valburn, a very dear friend ofmine, has sentmecopies ofthesecond and third sessions(bothinTimner claimed to be from Birdland) and Ican nowtell you that these entries are definitely genuine.They are bothMBSbroadcasts in the series "BandstandUSA ," and according to the announcer these Bandstand USAbroadcasts were broadcast live once aweek,"we will be backnext week," on Saturday evening, "next Saturday n ight."Duke stayed at Birdland from 20 Apriluntil andincluding1 May1957.There were only two Saturdaysduring that stay, 20 and 27 April. The last ofthethreebroadcastsonTimner's page 162 must be the last in theseries with Duke participating. From the announcement ofthe musicianswhowould perform "next Saturday night"Duk e's name is missing. This makes us believe that the dateof that broadcast was 2 7Apr57 and thatthemiddle one onpage 162 is from 20Apr57.Another indication for this date is the mention of therecording ofCop-Out, "coming out this week," in the 20Aprbeand the recording ofRockCityRock,"will be releasedtomorrow," in the 27Aprbe .(Rock CityRockwas on theflip side ofCop-Outon NP Co 4-40903.) It seems odd forthe last statement to be uttered on a Saturday. It was not yetSunday morning, because Willis Conover, the guest in thestudio, said: "I will take a cab at10o'clock to go toBirdland and enjoy the rest oftheshow.We have no confirmation ofthefirstofthethreebroadcasts. For those who havenoTimner (4thedition) wegive details ofthetwo sessions: We use the DESOR signfor incomplete: %. Sjef HoefsmitB i r d l a n d , 2 0 A p r5 7 , M B S b r o a d c a s t B a n d s t a n d U S A ,guestLeonard Feather.Take The"A" TrainCop-OutI Got ItBad% Rock City RockRock City Rock (encore)Sophisticated LadyCaravan %Birdland, 27Apr57, MBS b roadcast B andstand USA,gue st Willis Conover.Take The"A" TrainRock City RockSophisticated Lady%Perdido

Mood IndigoSolitudeJam With Sam %Timme Rosenkrantz

In the last DEMS Bulletin, someone asked about TimmeRosenkrantz. (99/5-5/1)I knew him well in the early 1940's. He was tall, fair anda jolly man, a big eater and drinker. He was living then inHarlem with an African American woman named InezCavanaugh.Shehad been a newspaper writer, and was awould-be singer. She managed to go to Europe with somesmall combo and that's where she and Timme met Timmewas working at Commodore Records shop (where I alsoworked for some 6 months) in 1942. Later (around early1943) Timme and Inez moved to the Greenwich V illage area.I was a visitor at both houses for dinner and parties. I donot recall a piano in either house and am wondering about

theErrolGarner record that was supposed to be made there.Maybe they rentedone.Inez didn't work and they were quitepoor, probably did not have money to buy a piano.After the war, they went to Europe and openedaclubcalled Chez Inez (Paris?) where she sang and was the cook.I think Timme made records.I never saw him again.I did not know when Timme died until I read the lastBulletin. But Inez turned up in Los Angeles in1973,veryconfused and clearly grief stricken from losing her long-timepartner. From the article I see that he had died about3yearsearlier. She stayed at my home for about a month. She readherBibleall day (she had notbeenreligiousbefore) and saidsome very crazy things. Later I heard she went to Jonestownand perished there w iththe otherswho all committed suicide.That's about all I can help filling in. Claire Gordon

Duke's European tour in 1963See DEMS 99/5-9Stuttgart,13Dec99.1met my friend yesterday. TheVienna Concert from 10Feb63 was in the Konzerthaus.Helmut Kirch**Milano 31Dec99. Ellington played in Milano twoconcerts: thefirstone on the evening of20Feband thesecond on the evening of 2 1Feb. The concert of21wasrecorded byN.Granz (audio) and by RA .I. (video).Luciano Massagli**13Selections ofthe 21Feb concert are issued on MusicaJazz MJCD1091(see DEMS92/2-4)and3of theseselections arereleasedon Pablo CD 2308-247 (DE In TheUncommonMarket,see DEMS87/1-2;87/4-4;88/4-6and94/3-3).A correction should be made in Klaus Stratemann'sDay By Day AndFilmByFilmon page 680. TheR.A.I.tele-recording was not on 20Feb, but on21Feb63.DEMS**

(7\ Recollections of the Big Band EraA few days ago, rambling through my collection, I cameacross an item whose existence may be of some interest toDEMS m embers.In1971,while I was working for an Italian recordcompany who had among others a license contract with theWEA G roup, we received a test pressing of a forthcomingDuke EllingtonLP.At that timeIwrote onthe white label"Will Big Bands EverBack?-vol.2".I cannotrememberfthat was written somewhere else (label copy?) or ifImade itup by comparing it with the obviously related Reprisealbum.Anyhow matrix numbers were:ST-A-712273AST-A-712274AContents were the same as the later issue "RecollectionsoftheBig BandEra",Atlantic SD1665.The only differencewas the fact that the test did not includeChiribiribin.Apartofthis,all titles were there in the same sequence.At that time nothing happened after the mailing of thetest and the definitive compilation was released three yearslater in 1974.It is worth noting that both matrix numbers of the 1974issue were changed into:ST-A-743233 BST-A-743234BBoth former matrix numbers were still visible but they

were cancelled bysuperimpositionof various signs. As thefirst two digits seem to relate to the year of mastering, itprobably means thatChiribiribinwasadded to sideBback in1971 between the making of my test pressing and thedecision to suspend the album 's release. Vittorio Castelli**

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DEMS BULLETIN 2000/1 DISCUSSIONS - ADDITIONS - CORRECTIONS 1 1. TEENTIMERS CL U BLetussee what the NBC files say about the Teentimersbroadcasts:Saturdays,11:00-11:30AM EST.Client: Teentimers, Inc.Product(s): Dresses and Cosmetics.Origin: NBC, New York.Program description:Teentimer's Club has its setting in an imaginary "clubforthe teenage boys and girls" with entertainmentfortheirspecial benefit and to please their tastes.The M aster of Ceremonies is Johnny Desmond, formersinging star with Glenn M iller's Overseas Orchestra.Jane Harvey,whoformerly starred with Benny Goodman'sorchestra,is featured vocalist Each program presents a"name band" selected from the top bands ofthenation, tosupply the music for the show. A teenage comedy skit willbe included with each week's program.Scriptwriter is GeraldHolland;Tom Hudson announces.Here are the two programmes in which Duke Ellingtonparticipated:16Mar46.John Conte subbing for Johnny Desmond, who is ill.Herb Sheldon subs today for regular announcerTomHudson.The files do not give "Philadelphia" as location. You mayrecall that WEAF is NBC'sNewYork station.Files note that 'Teentimer Girl Scout Chorus", composedof Girl Scouts hailing from New York High Schools, isheard on the program.This is TEENTIMER network show # 17.It wasabridgedby AFRSinto a15minutes program and receivedthe AFRS #4.Here are the selections:MyBlue Heaven -Blue Skies- InThe EyesOfMy IrishColleen - I'm J ust ALuckySo And So.12oct46From NYC, NY. This is TEENTIMER network show #47 .AFRS made a15minutes abridgement and gave itnumber #25.It is probably broadcast through AFRS on16Nov46. Stan Kenton madeaTEENTIMERS broadcast on16Nov46; Duke might have done a broadcast from Omaha onthis date but ifsoit wasn't part oftheTEENTIMERS-series.Here are the selections:Somebody Loves Me-Blue Skies- JustSqueezeM e -SeptemberSong. Carl Hallstrom

When Ray Nance joined the bandSee DEMS 99/5-6/2.I noticed that Volonte" and Massagli have decided not toalter their discography by adding Ray Nance's name to theWinnipeg Auditorium concert of6Nov40.1have tremendousrespect forthesemen and theirwork;I am the owner of the16-volumefirstedition. However just before I received the99/5 Bulletin, I heard from another source who was at the6Nov concert. He provided me with a portion ofaletter thathe had writtentoAndrewHomzyon 29Aug92.From the correspondence that I have received from him,I am satisfied that he is not a member ofDEMSnor did heknow Art P ilkington. He has however made presentations tothe Toronto Duke Ellington Society, mainly on theperformance of "Such SweetThunder at the StratfordFestival of5Sep57.The portion of the notes:

'The horrible news about Cootie's defection spread to us(three16year olds) at Winnipeg Auditorium on 6Nov40theprospect appalledus.But the band did arrive,including a scrawny little trumpeter who sat betweenWallace Jones andRexStewart. as Duke playedan intro to each selection, all the musicians would flipthrough the m usic and find proper sheets. All that is exceptRay Nance (we learned his name from theinyautographbelow Duk e's) who would look imploringly atRexRex would tell him thename/numberand Ray would starthis search through the suitcase. Usually the number endedbefore Ray found i t Occasionally he'd be able to join in onthe coda after intermission,Duke stunnedus by calling on Ray to play a violin solo(onHoneysuckle Rose)and a vocal(Wham)."I do not think a great deal matters aboutthis.There wereno recordingsmadeattheconcert and Ray was recorded atFargo playing these numbers (VJC 1019/1020 - 2 tracks 20and21 ).We should also keep in mind that Andrew's notes weredone before 1990. They had to be based on the reports fromlocal newspapers (Free Press and Tribune). These werereports that I had turned over to Art Pilkington either in1985or1986.However, we have heard from two men who,I do not believe, know each other; the latest gentlemanhaving moved from Winnipeg before 1943.I include a copy of a sheet of autographs sent by this"New Finder". He advises that the autographs of BillyStrayhom, Harry Carney and Jimmy Hamilton were notobtained in Winnipeg, but were added when the band playedat the K ingston Armouries in K ingston, Ontario, on17Nov43.Note that Rex signs his last name as "S tuart" herealso. Bill Morton**The sheet is copied on page 27 .Youhave convinced me. SjefHoefsmit**

Rex Stuart and He rble Jeffre ySee DEMS 99/4-13 and00/1-27Interesting to see the autograph of "Rex Stuart ,butpuzzling that no mention was made in the Bulletin of"Herbie Jeffrey". When did he change the spelling of hissurname, and which is the correct one? Frank Dutton**I am a member of the list, which is dedicated toHerb.(To become a m ember, sendto anE-mailwith only this text in the body of the message: "subscribe").I willask.I know that Herb signs his mail nowadays withHerb Jeffries, butIcannot answer your questionsmyself.

Sjef Hoefsmit**According to my Dad, Herb Jeffrey was used during thetime for the westerns. When he joined Duke Ellington andrecordedFlamingo,someone at Victor records told the labelprinterhisname was"HerbJeffries" and spelled it wrong.Dad figured he might as well adopt the spelling, as it wastoo late to change the label on1million recordsHope this answers your question.Herb's daughter, Trish**Throughouthislong and illustrious career, my Dad hashad a few acceptable variations to h is name, most especiallyin his earlieryears.However, as long as I've known himand that wouldbe52 years "Herb Jeffries" has been hisname. #1 Daughter, Feme**

mailto:FlamingosRoost-subscribe@onelist.commailto:FlamingosRoost-subscribe@onelist.com

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DEMSBULLETIN 2000/1 DISCUSSIONS - ADDITIONS - CORRECTIONS 12 Music America Loves Best (MALB)The New DESORVol.1pages 86 and 88;The New DESOR Vol.2 page 1007.According to the New DESORMain Stemhas beenperformed twice during two different broadcasts in1944:4428b/3Jun44, MALB #1 (followed byC-JamBlues)and4437b/17D ec44, MALB# 68 or#77.I suspect that there has only beenONEperformance ofthis title, but used twice as part oftwodifferent MALBbroadcasts.Here aremy reasons:a) The New DESORVol.2only offers a description ofMainStem4437b, but remains silent concerningMain Stem4428b and C-JamBlues4428c. This probably means thatourItalian friends have not been able to listen to these itemsand, of course, could not detect a repetition.b) I havetwodifferent tapes including the very samecombination ofMain StemandC-JamBlues.The structureseems to be that of the New DESOR(Main Stem)4437b,whereI hearMain Stemuptochorus8included andC-JamBluesduring the remaining choruses9,10and11.The first one ofmytapes has unknown origin/date, lowquality and runs a little fast. It starts with a 0:35 spoken

intropresentingMain Stem IC-JamBlues(3:00) and endswith a 3:19 version ofDoNothin'Till You Hear FromMesung by Gertrude Niesen and introduced by the same speaker"A".The second tape said tobefrom 17Dec44isof betterquality, butsoundsmuch more like a "m ontage". It startswith the Medley (4:24= 4437a)which is presented by adifferent voice (speaker"B").No introduction is made to thefollowingMain Stem IC-JamBlues(3:15),which is thesame recording, although slower, as above. Finally the tapeends with some0:41non-Ellington music as background andagain a different speaker( C )taking outthis"AFRS"Be(oris it simply a standard AFRS ending?).Considering the above, I suspect that the sameperformanceofMain Stem IC-JamBlues4428b and c (withthe structure describedas 4437b) wasused fortwodifferentbroadcasts on3Jun44and 17Dec44.Thus the two recordings/broadcasts-sessions (if therereally have been two) may have beenasfollows:- 03Jun44:Mood ToBeWooed4428a,Main Stem4428b,C-JamBlues4428c andDoNothin'Till You HearFromM e4437c with vocal Gertrude Niesen (and not MarionHutton as mistakenly claimed by Klaus Stratemann).- 17Dec44: Medley 4437aandSomebodyLoves Me4437d. 4437b does notexist;4428b and c were inserted intothe broadcast instead.Is this pure speculation? Klaus Getting**No,I believe you are right. I would even speculate a bitfurther and suggest that there must have been only onerecording session with the Jay Blackton Orchestra fromwhich three different broadcasts wereassembled.They are alldocumentedinJerryValburn'sDirectory of Duke Ellington'sRecordings, published in May86 on page 2 -7.From the first one (MALB # 1, 3Jun44, DESOR 4428 ,WaxWorks44-32)we have never heard thefirstselection,Mood ToB eWooed(neitherhasDESOR).The second one (MALB # 68,1 7Dec44, DESOR4437,WaxWorks44-43) iscomplete and circulating among tapecollectors.From the third one (MALB #77)no broadcast date isknown, not in DESOR, not inWaxWorks. We have neverheard thefirstselection,Dancers InLove.We areconvincedthat the Medley is again the same as 4437a.

Maybe we have heard these two missing selectionsbefore. Only ifwecan listen to them, we can try to find thesource. We also have no idea about the recording date of thisBlackton session whichweconsider more important than therespective broadcast dates.Who knows. Maybe your question may inspire someoneto share his knowledge ofthesebroadcasts with us.SjefHoefsmit**Duke's d i s c o g r a p h y on CD-ROM?See DEMS99/4-14/3and99/5-4/3.

In the last bulletin you bring up the idea of discographiesand other information onCD-ROM.Wouldn 't it make moresense to do these on a web site so that many people couldwork on them at once. (They would need a knowledgeableperson as administrator). I am assuming that no one doesthese things for money and that they would like to reach asmany people as possible. There are good on-linediscographies for M iles Davis and Charles M ingus, whichcould serve as m odels, though I realise that EKE was muchmore prolific. Joe Medjuck**Although not including all the un-issued recordings, there

is a very fine web site with a terrific administrator:http://www.geocities.com/BourbonStreet/Sauare/2660/After it opens, you should choose A Duke EllingtonPanorama and after that opens, choose "sessions".You will find much more on this web siteThe administrator is Peter MacHare, board member of theWashingtonian Duke Ellington Society and DEMS memberDEMS**I 'm Beginning To See The Light

There is a question which Gunther Schuller asked melongago:Why did Duke sell his superior arrangementofI'm Beginning To SeeThe LighttoHarry James who wasvery successful with his record and why did Duke keep thelesser arrangement for himself? Sjef Hoefsmit

Don George had some interesting information on this inhis book SWEET MAN. JaneVollmerI have found the information aboutI'mBeginning ToSeeTheLighton page 56 of Don George's book. He mentionedfor the Harry James recording Johnny Thompson as thearranger(whodeservedly receivedtheDownbeatAwardforbest arrangement oftheyear).This answers Gunther Schuller's question. I will tell him.Sjef HoefsmitI worked with Harry's band in 1960-61 and ifmymemory

is correct, the arrangement was by Dave Matthews.Bud B illingsI have often heardthough can't documentthat itwas a conscious decision to give the songI'mBeginningToSe eTheLighttoJames and include his name on thecomposition so it would generate more revenue for thecomposers. Annie KueblerI know that Gunther feels that Duke and James swappedarrangements, but I think a close listening will prove thisassertion to be false. Loren Schoenberg

Big Sid Catlett in October 1945SeeDEMS 99/3-19/3.You are possibly right about Sid Catlett being in theband on 10,11 and 13oct45,but we are not absolutely sure.GiovanniVolont6and Luciano Massagli

http://www.geocities.com/BourbonStreet/Sauare/2660/http://www.geocities.com/BourbonStreet/Sauare/2660/

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DEMS BULLETIN 2000/1 DISCUSSIONS - ADDITIONS - CORRECTIONS 13 AFRS Jubilee shows on CDA small US company has issued many AFRSJUBILEE PROGRAMS on cassettes and CDs.Their website:www.crabapplesound.comTheir email :otr@crabapplesound.comAmong theCDs/Cassettesyou canfindhe 3 (completewith announcements)DUKEJubilee shows (show#1,show #69 and show#11 7).Please note: the catalogue number of these issues(Cassettes or CDs):JUBILEE RMU-3228 AFRS Jubilee IJUBILEERMU-3235 AFRS Jubilee 69JUBILEE RMU-3238 AFRS Jubilee117There are2Jubilee programmes on each CD /Cassette.Jubilee1 is coupled with Jubilee 2 (Les Hite). Jubilee 69 iscoupled with Jubilee65(Cab Calloway) and Jubilee117iscoupled with Jubilee 106 (Earl Hines).For more details on the otherJubileeprogrammes(2,65and 106) see "Jubilee, an exploratory discography" by Lotzand Neuert, 1985. Christian Dangleteroe**

Because there has always been some confusion aboutthese Jubilee shows, I give here a survey of the completeshows again as farasmusic is concerned (there were inJubilee #1 also some comedy routines).

9oct42,El CapitanTheatre, Hollywood, DESOR4229,Jubilee # 1, MC Rex Ingram.Duke Ellington:Jubilee Theme;HayfootStrawfoot.Hall Johnson Choir:ACity CalledHeaven.Ethel Waters:St. Louis Blues.Eddie Rochester Anderson: /WannaShout.Duke Ellington:Goin' Up.Hall Johnson Choir:Josuah Fit The BattleOf Jericho.Ethel Waters:Blues In TheNight;StormyWeather.Duke E llington:JubileeTheme.Note: Duke only played three selections. The secondJubilee Themewas taken from the same recording as the firs tone.

Various dates in 1943,various locations, Jubilee # 69 ,MC Ernie "Bubbles" Whitman.Duke Ellington?:OneO ClockJump. 1Duke Ellington:The CanteenBounce. 2The ArtTatumTrio:ExactlyLike You. 3LouisJordan and his TympaniFive:InfantryBlues.Duke Ellington:Hayfoot, Strawfoot. 2Duke Ellington:SentimentalLady;Hop,Skip AndJump.4The Art Tatum Trio:SweetLorraine. 3Duke Ellington: /Don't Want AnybodyAtAll. 5Duke E llington:A Slip OfTheLip. 6Duke Ellington?:One0'ClockJump. 1Notes: 1. The opening theme is very short. The closingtheme is longer. Both are used as background music forcomments. They may have been takenfromthe samerecording."Both recordings ofOneO ClockJumpare definitelyplayed by Duke Ellington and not by Count Basie" (wroteRay Knight on 3Feb88). Rainer Lotz also gives both themesas played by Duke Ellington.GiovanniVolontewrote on 28Jun90, that two Italianexperts, G iovanni FollaraandVittorio Castelli, state thatOneO ClockJumpis neither played by Duke, nor by Basie.

2.Taken from the recording of 30May43in NYC for theFitch Bandwagon broadcast. See DESOR 4319on correction-sheet 1011 .3.The Art Tatum trio had Tiny Grimes on guitar andSlam Stewart on bass.

4. Taken from World Transcriptions, NYC, 8Nov43.See DESOR 4359.5.Taken from World Transcriptions, NYC, 9Nov43.See DESOR 4360.6. Taken from "Coca Cola Spotlight Bands" broadcast,recorded in Buffalo on27Nov43.See DESOR 4360.The selections undernotes2 and 6 are issued on aHindsight3CD set HBCD 504 "Big Band Jazz. The Jubilee

sessions" on CD3as track21,22and2 3.They have a verygood sound. Christian Dangleterre**Jubilee # 117,MC Ernie "B ubbles" Whitman.The recordings were made on the M ondays1,8and15Jan45 in Hollywood. The programme was assembled on18Jan45.See DESOR4506.The broadcast was on26May45.It was an exclusive Ellington programme:Take The "A"Train;Suddenly ItJumped;I'mBeginning To See TheLight;I tDon't MeanAThing;I Didn'tKnow About You;I Get AKick OutOfYou;Midriff;BlueSkies;Take The "A"Trainandclose.Guest was Lena Horn who did the vocals on/ Didn'tKnow About Youand/ Get A Kick Out OfYou.

SjefHoefsmit**Where was Duke on 13 and 14Nov69?

I send you an article, published in the Bulletin of theHot Club de France of October 1969. It gives a completelisting ofallthe concerts of Duk e's European tour.If you compare this list with KlausStratemann'sbook,page601,you willfindone difference.Klaus gives in his tentative schedule Bologna on 13Novand Mestre & Venice on 14Nov, whereas the listing on theXerox copy I have sent you indicates Venise on 13Nov andBologne on 14Nov.I visited the concert on 15Nov69 in Geneva and I spokewith the road manager. He explainedthefact that themusicians were very tired by telling me that they came fromBologna,where they played the day before.That leaves me with a question: where was Duke on 13and 14Nov69? Yvan Fournier**

We believe thatKlaus Stratemannis righ t Klaus workedclosely together with Gordon Ewing and Art Pilkington,the keepers ofJoe Igo'sDuke Ellington Itinerary (DE I).This itinerary also comprises the sources of information.The Bologna concert of 13Nov is confirmed by the"Musica Jazz" M agazine of Oct69, page 2 0. This is stilltaken from a tentative schedule. The day of 14Nov howeveris documented in Variety of 26Nov69. This means 12daysaftertheconce rt Duke played two concerts that day. One inMestre at Teatro Corso and one in Venezia atTeatroLaFenice. The Bulletin of the Hot Club de France of Oct69 isalso mentioned in the DEI as reference for the concerts inNancy and Bordeaux. That meansthat Joe Igomust have hadthe same documentasthe one you were so kind to send me.I am sure thathedecided to take the date from the VarietyMagazine fortheVenetian concert because it reported afterthe occasion.

BennyAasland,whoreceived from Duke's office all theitineraries of forthcoming tours after he met Duke in 1958,taught me to look for reports after the day of the concert tobe sure. It seems thattherewere often changes made in theschedule.Still a bit more confirmation of Klaus' dates would bewelcome. I hope that one of our members can give us histestimony. Who saw him on 13and/or14Nov69?Sjef Hoefsmit**

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DEMS BULLETIN 2 0 0 0 /1 DISCUSSIONS - ADDITIONS - CORRECTIONS 14(T\ A Good quest ion

Some names of correspondents in the Bulletin arefollowed by **. Whatdoesthatmean? Klaus Getting**I have chosen this unusual sign in ordertolocate thenames and the articles to which they belong. Since this signis not used elsewhere, a computercanfindhese locationsimmediately.As soon as myco-editor,Roger Boyes, has sent me

corrections on these articles, the asterisks can easily beremoved. The asterisks preventmefrom sending forinspection the same text to Roger twice.We are working on a faster (E-mail) communication andthat will reduce the number of asterisks in the Bulletin.I could easily remove the signs before I bring the Bulletinto the printer. I decided against it because it indicates whereRoger's responsibility for correct English ends and becauseI was curious to see ifIwould receive complaints beforesomeone would ask about the meaningof thoseasterisks.You won SjefHoefsmit**A Good Request

The handling ofallthecorrections/additionsto theNew DESOR is certainly very difficult to organise and noteasy to explain to DEMS-members. I think I got it, but youcertainly will have to explain again what are the contents ofthese correction-sheets:10 = sessions, 20 = titles andsoon. I would suggestalarge-typed,separateand "once-for-all"page (a kind of front-page to our correction-sheetscollection) in a coming Bulletin. Klaus Getting* *You mayfindn your Bulletin a column titled 'T he NewDESOR corrections". (This Bulletin page24,2""column.)This column is available for everybody to makesuggestions for corrections in the New DESOR. You canmake such a correction immediately in yourNewDESOR

volumes. You can also wait until the suggestion is acceptedby the authors and the discussions have ended.Accepted corrections w ill be published in DEMS Bulletinin a column titled "DESOR small corrections" with a 5000number. (In this Bulletin on page 2 6.)As soon as a correction-sheet with small corrections isfull, it will be made available and it can be ordered by givingus the number in the5000region. This is especiallyinteresting for new- and non- DEMS members.Apart ofthe5000 series sheets withSmal l c o r r e c t i o n s ,there are correction-sheets with corrections, too large to beincluded in theSm all corrections-sheets.1000 series sheetswillcontain new and corrected S e s s i o n s .2000 sheets will have corrections and additions forT it les .3000 sheets are for corrections and addition in the D is c ssection (section #3) in the New DESOR.4000 is free for additions and corrections in theMusicianssection (#4) if necessary. They will usually be smallenough for theSm al l c orrec t ions .

The numbers ofthecorrection-sheets are only for makingit easy to refer to and to order the sheets.The fir st column on page 24 of this Bulletin gives youthe numbers ofthecorrection-sheets, which can be obtainedfrom DEMS with a short indication of their contents.The correction-sheets will notbeavailable before they arefilled up sufficiently. We want to give you as manycorrections as possible for yourmoney.The sheets 1 017,3006 and 5002 are notyet full. ' DEM S**

Timner's ELLINGTONIAI guess that you will not continue with the correctionsto my book. WillieTimner**

No,I have in mind to go on. I wait a bit until the firstavalanches of corrections totheNew DESOR are over.SjefHoefsmit**( 4 ) Satin Doll

What's the story on who composed Sarin Do//?Most recordings of it that I own list only Ellington, butI am often told that it was really Strayhorn. One recordingI own, lists Ellington-Strayhorn-Mercer as the composer.DidJohnny Mercer write words?What is the most accurate way to credit the composers ofSatin Doll(no matter what the copyright really says)?Peter MacHareTo my knowledge (I haven't seen a score, however),Ellington was the composerandarranger, Strayhorn andJohnny Mercer wrote the lyrics.Incidentally, Earl Hines claimed that Duke stole the tunefrom him. I haven't seen any documentation to support his

claim. DavidBergerEstrellitaSee DEMS 99/4-8/2.

Estrellita (English titleLittle Star)wasfirstpublished aslong ago as 1914, so any similarity withSolitude isprobably coincidental, since Duke is not known to have beenatune-stealer asa rule.The song had a very popular revival in the 1920s and wasstill being heard and recorded in the1940s(eg. Harry Jameson Columbia, 19M ar42). Frank Dutton**The Genius Of Duke LP

See DEMS97/4-8and 98/1-19/3.MY "G enius of Duke" L P is a two-sided standard 12"LP,not two separate single-sided pressings. There is music onbothsides,each covering a15-minutebroadcast. I don'tknow if it is a "dem o"LP.The sides are labelled "ShowNo.1" and "Show No.2 ", so I think it must be the first LPin the regular series. Frank Dutton**Based on the listing suppliedbyJerry Valburn andpublished in DESU K's BLUE LIGHT Volume4,No.4 andbased on the titles you found on your LP(3titles on eachside,see your contribution in BLUE LIGHT Volume 2 ,No.2) the conclusion must be that you have thefirstandsecond show from the demo set which contained four shows.Jerry Valburn has show N o.l and Show No.2 on twoseparate single-sided LPs and Show No.3 and Show No.4 onone double sidedLP.You have the ShowsNo.1 and No.2 onone double sidedLP.I believe that is the only difference.The regular Shows, numbered withNo.1 and No.2 haveother selections than those you mentioned. SjefHoefsmit**

The Early YearsSeeDEMS 99/4-12.In my discussion oftheVictor matrix prefixesI mentioned the Victor"MagicEye"process, which wasprobably similar to the Brunswick system which used aphotoelectric cell as part oftherecording equipment.This Brunswick photoelectric recording system wasknown as the "Light-Ray" system. Frank Dutton**

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DEMS BULLETIN 2000/1NEW RELEASESA N D R E - R E L E A S E S

Mosaic MD5-193 (5 CD box)Duke EllingtonThe Reprise Studio RecordingsSee DEMS99/4-32last item.CD1 (78:12)Re-issue of"WillBig Bands Ever Come Back ?"&"Recollections Of The Big Band Era"29Nov62: Christopher Columbus; Let's Get Together;Good-Bye; Chant OfTheWeed;I'm Gettin' Sentimental OverYou;OneO'ClockJump1lDec62:TuxedoJunction; Ciribiribin;It'sALonesome Old Town13Dec62: Minnie The Moocher; Sentimental Journey14Dec62: When It's Sleepy Time Down South;For Dancers Only20D ec62: Rhapsody In B lue; Contrasts; Sleep, Sleep, Sleep29Dec62: Don't Get Around Much Anymore;AuldLang Syne3Jan63:The Midnight Sun Will Never Set;AtThe Woodchopper'sBall; Artistry In Rhythm4Jan63:Smoke Rings; The Waltz You Saved For Me;CherokeeCD2 (70:31)Re-issue of "Afro Bossa"&'T he Piano Summations"& first part of "ViolinSession"5Jan63:Afro-Bossa; Purple Gazelle; Absinthe; Moonbow;Sempre Amore20Dec62: Silk Lace5Jan63:Tigress; Angu29Nov62: Volupte"4Jan63:Bonga

20Dec62: Pyramid13Dec62: Eighth Veil8Jan63:First and Second Piano Summation22Feb63:Tricky's Lick; Blues In C ; Limbo Jazz;Pretty Little One; String Along With Strings;The Feeling OfJazzCD 3 (61:53)Re-issue ofthesecond part of "ViolinSession"& "The Symphonic Ellington"22Feb63:Take TheATrain; InASentimental M ood;Don'tGetAround Much Anymore; D ay Dream;Cotton Tail8Feb63:Night Creature 1" Movement (Blind Bug);Night Creature2ndMovement (Stalking M onster)31Jan63:Night Creature3riMovement (Dazzling Creature)14Feb63:Non-ViolentIntegration21Feb63:La Scala, She Too Pretty To Be True31Jan63:HarlemCD4 (69:05)Re-issue of "Ellington '65"&"Ellington '6 6"27Apr64: Hello, Dolly15Apr64: Call Me Irresponsible16Apr64: FlyMeTo The M oon; So Little Time27Apr64: Danke Schoen16Apr64: More15Apr64: The Second TimeAround;Never On Sunday

27Apr64:1LeftMyHeart In San Francisco15Apr64: Blowin' In The Wind16Apr64: StrangerOnThe Shore21Jan65:Red RosesFor ABlue Lady19May64: Charade; People

1519Jan65:AHMy Loving21Jan65:A Beautiful Friendship; I WantToHold Your Hand19Jan65:Days OfWineAnd Roses19May64:1Can't Stop Loving You; The Good Life19Jan65:Satin Doll; Moon River21Jan65:Ellington'66CD5 (74:07)

Re-issue of "Mary Poppins"& "Concert In The Virgin Islands"6, 8 & 9Sep64: A Spoonful Of Sugar;Chim ChimCheree;Feed The Birds; Let's Go Fly A K ite; Stay Awake;I Love To Laugh; Jolly Holiday; Sister Suffragette;The Perfect Nanny; Step In Time; The Life I Lead;Supercalifragilisticexpialidocious14Apr65:Island Virgin; Virgin Jungle;FiddlerOn TheDiddle17Mar65:Jungle K itty; Things Ain't What They Used To Be14Apr65:Big Fat Alice's Blues4Mar65:Chelsea Bridge; The Opener14Apr65:Mysterious Chick; BarefootStamper4Mar65:Tootie For Cootie (Fade Up).

@ The 24 CD RCA Centennial boxFor those who haven't been lucky enough to obtain theRCA Victor Centennial box, RCA will start releasingsubsets, starting with "Black, Brown and Beige" in April and"The Blanton-WebsterBand tofollow. Alan Lankin**Last night (9Feb00) Steven Lasker told me the completeRCA set of 24 CDs is almost sold out - he thought there wereonly 100 copies left out of the 10,000 pressed and that RCA'sdistribution department was asking stores who had unsoldcopies to return them so they could use them tofillorders inother parts of the country (world). Andrew Homzy**The Duke Ellington CentennialEditiontheCompleteRCA Victor Recordings('27/'73)won the Grammy for besthistorical album. This means another Grammy for StevenLasker, a frequent participant at our international conferencesand an active member of the Southern California Chapterofthe Duke Ellington Society. Tony Bennett's Ellington tributealbum was a winner (seeDEMS 99/4-24/2)as was DonSebesky'stribute, "Joyful Noise" (2 awards). Bill Saxonis**

gk M essage from SONY (Columbia)IE-mailedthis message to Sony:In April of 1999,RCA releaseda 24CDbox setwhichcovered all of Duke Ellington'sre cordings forRCA('27/'73).

a.Does Sony intend todosomething similar thisyear,andreleaseabox set of allofDuke Ellington'srec ordings forColumbia and its affiliated labels?Ialready know aboutSony's'EssentialDuke" set('27/'62),butthat'snoteverything. (See page16ofthisBulletin)b.What'sthestatuso fSony's reissueof Duke's A DrumIsA Woman?"Will this reissuebe instereo,withagood,clean sound?Ihave the import issueofthisC D ,an dit'sinmono and has poor soundquality. Thomas Young* *This is Sony'sanswera. No, not at themoment.b.We are working onanupgradeof A Drum IsAWoman,"butit'snot on our release scheduleasofyet.

Itwill be similar in sound qualitytothe5expanded editionswereleased last year (Meets CountBasic;Black Brown&Beige;CompleteNewport;Such SweetThunder;Anatomyof aM urder),whichis to say,excellent.Thanks foryour supportofLegacyRecordings.

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DEMS BULLETIN 2000/1 New and Re-releases 16

O Sony C3K 65841The Duke The Essential 1927-1961Tracks chosen by Henri RenaudDisc 3 1956-1961 (75:23)

Disc 1: 1927-1940 (74:21)1.Hot And Bothered 12 Jun30 15 0585-12.EastStLouis Toodle-Oo 22Mar27 W143705-33.BlackAndTan Fantasy 3Nov2 7 W81 776-B4.Black Beauty loct2 8 W4011 72-B5.RingDemBells 30oct3 0 W404519-A6.TheMooche loct28 W401175-A7.It Don't Mean A Thing 2Feb 32 B11204-A8. Slippery Horn 17F eb33 B13078-A9. Saddest Tale 12 Sep34 B1591 1-A10. Showboat Shuffle 30Apr35 B17407-111 .In A Sentimental Mood 30Apr35 B1 7406-112.In AJam 29M36 B19626-113. Caravan 19Dec36 L0373-114.The Gal From Joe's 2F eb38 M7 53-115. Braggin' In Brass 3Mar38 M7 73-216.1 Let A Song Go Out Of MyHeart 3Mar38 M772 -117.Battle Of Swing 19Dec38 M9 49-218. Prelude ToAKiss 9Aug38 M8 84-219. Slap Happy 22 Dec38 M961 -220.Old King Dooji 22 Dec38 M959 -121 .PortraitOf TheLion 21 Mar39 WM1 006-122.Country Gal 16o ct39 WM1 108-A23. Little Posey 14oct39 WM1 091-A24.Tootin'Thru TheRoof 14oc t39 WM1094-A25. Sophisticated Lady 14Feb40 WM1138-A

Disc 2: 1947-1952 (75:13)1.HyaSue 14Aug47 HC02 531-12.Lady Of TheLavender Mist 14Aug47 HC0 25 32 -13.Antidisestablishmentarianisimist 30Sep47 HC02 658-14.Golden Cress lSep47 HC02 597-15.Sultry Serenade 6oct4 7 HC 02 677-26. Maybe I Should Change My Ways 6oct4 7 HC 02 665-27.Stomp, Look And Listen 10Nov47 C0 38 37 1 -alternate,previously issued on LP Up To Date20038.On ATurquoise Cloud 22 Dec47 C038592-19. Three Cent Stomp 10Nov47 C0 383 73-alternate,unissued,intended tobeissued on LP Up To Date 200310.Don't Get Around Much Anymore 20N ov47 C03 8398 -111 . Progressive Gavotte HNov47 C038374-alternate,previously issued on LP Up To Date200312 .I Can't Believe ThatYou'reIn Love14Nov47 C038387-1

13.1 LikeThe Sunrise 24Dec47 XCO40789-alternate,previously issued on LP Up To Date 200514. Snibor lSep49 CO41690-115.Creole Love Call lSep49 C041 688-116.The Tattooed Bride 18Dec50 C04 4749 -117. Brown Betty 24May51 C045831 -118.Primpin' For The Prom 22 Dec52 CC0539 7-119. Monologue 10May51 C045818-120.Take The"A"Train 30Jun52 C04 7485mxC047485 became latermxC048343Thelast16 barso fthe 1st chorus and thefirst 1 6barsof the2nd chorus aredeleted.One wonders why the alternate takeso fCreole Love Call andSnibor haveno tbeen issued on thisset.

1. Jeep's Blues2 . Solitude3.Blue Rose4.Star-Crossed Lovers5.Mood Indigo

NewportCO59960-3Rosemary ClooneyCO57015-4

6.7,8.9.10.

Dancers In LoveCome SundaySatin DollFlirtibirdPerdido

7Jul5614oct5723Jan563May579Sep57sameasearlier onCoCK-444449Dec57 C059488-2RHCO40635-10CO60749-1RHC046261-5C063512

HFeb5831Mar58Uun598Sep59on allprevious releases the codais fadedout.Here Duke shouts after thecoda: ClarkTerry *11 .C-JamBlues 2Dec59 C0 644 4412 .Things Ain't What They Used To Be 8Sep 59 CO63 510only onthis release,Duke's piano intra is precededby ashout.13.Happy-Go-LuckyLocal 30Jun6014.Something To Live For 14Jul6015.Creole Blues 14Jul6016.Dance OfTheFloreadores 3Jun6017.Lotus Blossom 2M ar6118.A Midnight In Paris 21 Jun6219 .Asphalt Jungle Theme (Part 2) 3 0Jul6120. Battle Royal 6Jul6 121 .The D uke Loves Us Madly

RHC046715-2RHC046716RHC046725RHCO46674-20no matrix numberC075568C067855C067612-7this isa fragmentof aninterview,where Dukesaysandtell all yourlovely listeners that we do lovethemmadly."Sjef Hoefsmit**

Music & Arts CD 1051Duke Ellington in Hamiltonat the Forum on8Feb54The Hamilton concert is now available on the Music &

Arts label. CD number is1051.Music and Arts Programs ofAmerica,Inc.P.O.Box771,Berkeley, CA94701.www.musicandarts.com The contents and liner notes are identical to the originalissue on Radiex RDX 1000, see DEMS95/2-1and 3.In addition tothe addressand website information theyhave an E-mail address: musicart@sirius.comTony Schmidt**

4Independent CDsDuke in ParisR T E 7 1 0 5 8 0 / 8 1 / 8 2 / 8 3The concerts in Paris on 29oct58 and 29/30Jan65 arere-issued on 4 CD s by RTE "Europe-1". the second Alhambra concert from 29oct58 (New D ESOR5843) ha s been re-released in Januari as two independentCDs,numbered R TE 710582 and 710583. Nothing ismissing or added compared to the previously releasedRTE 710707 (see DEMS9671-8) parts from three concerts performed at the Paris 'T hea tredes Champs Elysees" on 29 and 30Jan65 can be found onthe two new RTE CDs numbered 71 0580 and 710581.All of this has been issued previously on RTE 2CD set710 433/434 (see DEMS 94/1-4)The qu ality is superb and the price is very attractive.Klaus Gdtting**

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DEMS BULLETIN 2000/1 New and Re-releases 1 7M asters Of Jazz M JCD 1300"Duke E l l ington Ann iversa ry"13 CD Box

This13 CObox is mentionedinthe supplementtoDEMSBulletin 99/3 in JerryValburn's"New ReleasesOnCompactDisc." Bruce Talbot has taken thetimeto give us all therecording dates (in American notation) of every selection andthis is whywepublish itagain.Bruce writes:I wouldlike todraw your attention to a new boxed setfrom Masters ofJazz- 'Duke Ellington - Anniversary'.Produced by Noel Heire"andcompiled and annotated byClaude Carriere it comprises13CD s, each containingbetween 60 and 75 minutes of music. The collection groupsthe music into separate CDs entitled 'Ballads' 'Blues''Composer*'Dance' 'Friends' 'Jungle' 'Ladies' 'NewYork''Pianist' 'Portraits' 'Soloists' 'Swing'"Vocal'and theselections have been,asfarasI'm concerned, imaginativelychosen and sequencedbyClaude and Noel, in such awayasto give a subtly different and very enjoyable listening

experience, thanks in no small way to unfamiliarjuxtapositions.It's also the only set on the m arket that could genuinelybe called 'Best of, thanks to the presence oftracksfrom mostoftherecord labels thatDukerecorded for during theperiod.The m usic spansc.1927 toc.1949 and includes someair-check material as well as commercialdiscs. The sound isexcellent,the packaging attractive and user-friendly withpersonnel, and short but useful notes from Carriere.MJCD 1301, Ballads:All Too Soon 7.22.40;I Got It Bad6.26.41;Solitude 2.14.40;Mood Indigo 2.14.40; Dusk 5.28.40; After All2.15.41;Moon M ist 7.28.42; Finesse 3.21.39;

SerenadeToSweden6.6.39;Black Butterfly2.15.40;Lost In M editation 2.2 .38; Blue Light 12 .22.38;Please Forgive Me 8.4.38; Prelude To A Kiss 8.9.38;Mighty Like The Blues 9.2.38;I Never FeltThisWay Before10.14.39;You Never Know The Things You Miss1.3.45;In A Sentimental M ood 5.14.45;A Flower Is A Lovesome Thing 7.17.46; Violet Blue6.9.47MJCD 1302, Blues:Things Ain't 1 1.9.43;Across The Track Blues 10.28.40;C-JamBlues1.21.42;Blues 10.14.39; Main Stem 6.26.42; Blues 1 1.22 .39;Yellow Dog Blues 6.5.28; BluesWith A Feeling1 1.20.28;

Saratoga Swing 5.3.29; Beggar's Blues 5.28.29;Sweet Chariot 10.30.30; Bundle Of Blues 5.16.33;Blue Feeling 6.10.34; Indigo Echoes 3.15.35;Jeep's Blues 3.28.38; Mobile Blues 12 .21.38;Subtle Lament 3.20.39;BealeStreet Blues8.26.46;Memphis Blues 9.3.46; Royal Garden Blues6.9.47MJCD 1303, Composer:Ko-Ko 3.6.40;Concerto For Cootie 3.15.40; Sepia Panorama 11.7.40;Tootin' Thru The Roof 10.14.39; Battle of Swing 12.19.38;I LetASong 3.3.38; Creole Rhapsody 6.11.31;Slippery Horn 5.18.32; Daybreak Express 12.4.33;Saddest Tale 9.12 .34; Showboat Shuffle 4.30.35;Braggin' In Brass 3.3.38; D&C In Blue8.3.46;

Blue Serge2 .15.41;In A Mellotone 9.5.40;BB&B (Work Song & Come Sunday) 12 .44;HappyGoLucky Local11.25.46

MJCD 1304, Dance:Caravan 5.11.45;Conga Brava 3.15.40; Moonlight Fiesta 3.5.35;Snake Hip Dance8.2.29;Breakfast Dance 1 1.14.29;Maori 2.21.30; Admiration 2.21.30;That Lindy Hop 10.2.30; Truckin' 8.19.35;The Skrontch 5.2 5.38;SwingtimeIn H onolulu 4.11.38;Slappin*Seventh Ave. 4.1 1.38; Hip Chic 8 .9.38;Lambeth Walk 8.9.38; Empty Ballroom Blues 6.22.38;HamingSword 10.17.40;Bakiff9.17.41;Moon OverCuba7.2.41;BB&B (Three Dances) 1 2.12 .44;Liberian Suite Dance No. 3 12 .24.47

MJCD 1305, Friends:Hot & Bothered 1 0.1.28;AccordionJoe4.22.30;Three Little Words8.26.30;Diga Diga Doo 1 2.22.32; I Can't G ive You ... . 12.22 .32;My Old Flame 4.23.34; Blues withBillieHoliday late 34;I C over The W aterfront1.17.45;Tonight I Shall Sleep5.14.45;I Can't Believe That Yo u'r e... . with AnitaO'Day 1.17.45;Metronome All Out1.15.46;Long Long Journey1.10.45;Honeysuckle Rose with Django Reinhardt 11.10.46;I Fell And Broke My Heart 9.29.47; Jazz Cocktail 9.2 1.32 ;Blue Skies 11.8.43;Hollywood Hangover 8.7.45;My H oney's Loving Arms 9.3.46;C-JamBlues with Woody Herman Orch1.16.46

MJCD 1306, Ju ng le: Prologue To B& T F1.13.38;New B& T F1.13.38;The Mooche 10.1.28;Saturday Night Function1.16.29;Mississippi Moan 4.4.2 9;Jungle Jamboree8.2.29;Haunted Nights 9.16.29;Jungle Nights In Harlem 6.4.30;Shout'Em AuntTHlie6.4.30; Jungle Blues1.29.30;Echoes Of The Jungle1.16.31;Baby When You Ain'tThere2 .4.32;Dear Old Southland 12.4.33;New East St. L T 3.5.37;Delta Mood 12.21.38; Dooji Wooji 2.27.39;Way Low 11 .24.45; A Gathering In A Clearing7.10.46;Liberian Suite DanceNo.5 12.24.47;Air Conditioned Jungle11.10.47

MJCD 1307, Ladies:Sophisticated Lady 2.14.40;Dinah Lou1.20.36;The Lady Who Couldn'tBeKissed 4.22 .37;The Gal From Joe's 2.2.38; Dinah's In A Jam 4.1 1.38;Lady In Blue 3.20.39; Country Gal 10.16.39;Warm Valley 10.17.40;Chloe1 0.28.40;John Hardy's Wife2 .15.40;Clementine7.2.41;Brown Skinned Gal7.2.41;Sentimental Lady 7.28.42 ;Blue Belles Of Harlem 7.7.45; Lily Belle 10.6.45;Lady Of The Lavender Mist8.14.47;Women (They'll Get You)8.14.47;Brown Betty 1 2.10.48;TheTattooed Bride 12.10.48

MJCD 1308, New York:Harlem Airshaft 7.22.40;Sidewalks OfNY1 2.28.40; Uptown Downbeat 7.29.36;Harlem River Quiver 1 2.19.27;Harlemania2.18.29;Harlem H at Blues 3.1.29; Wall Street Wail 12 .10.29;Blue Harlem 5.16.32; Drop Me Off In Harlem 2 .17.33;Harlem Speaks 7.13.33; It Was A Sad Night In . ... 7 .17.36;Scattin'At The K it Kat 3.5.37;Sugar Hill Shim Sham 7.7.37;Harmony In Harlem 9.20.37;The Boys From Harlem 12 .21.38;Cotton Club Stomp 6.6.39; Carnegie Blues 9.8.45;Park At 106th 7.10.47; New York City Blues 1 2.30.47;Manhattan Murals 11.13.48

5/24/2018 Dems

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DEMS BULLETIN 2000/1 New and Re-releases 1 8MJCD 1309, Pianists:Black Beauty 10.1.28;Swampy River1.1.28;Fast & Furious 5.17.32 ;Mood Indigo/Solitude; Sophist Lady/Sentimental Mood all12 .21.36; Love In My Heart 7.7.37; Informal Blues 3.8.39;Mr. J B Blues 10.1.40; Dear Old Southland 5.14.41 ;Solitude5.14.41;Frankie & Johnny 5.16.45;Jumpin1Room Only 5.16.45; Dancers In Love 7.30.45;The M inor Goes Muggin'; 5.14 .45; Tonk1.10.46;Drawing Room Blues1.10.46;

There Was Nobody Looking 11.10.46;New York City Blues 12 .27.47; Clothed W oman 12 .27.47;New W orldAComin'6.16.45MJCD 1310, Portraits:Black Beauty 3.26.28;Gypsy Without A Song 6.20.38; Old King Dooji 12 .22 .28;Portrait Of The Lion 3.21 .39; Little Posey 10.14.39;Weely 10.14.39;Jack The Bear 3.6.40; Bojangles 5.28 .40;A Portrait Of Bert Williams 5.28.40; Menelik7.3.41;Poor Bubber7.3.41;Fancy Dan 9.2 2.45; Jennie 3.28.46;Unbooted Character 7.16.46; Hearsay 11.10.46;The Beautiful Indians Parts 1 & 2 11.25.46;Golden Feather 12.5.46; Golden Cress 8.14.47;Frankie & Johnny5.26.45MJCD 1311, Soloists:Liberian Suite DanceNo.4 12.24.47;Doin' TheVoom Voom1.16.29;B& T F 5.11 .45;Frustration 8.7.45; Clarinet Lament 2.27.36;Mood ToBeWooed1.17.45;Echoes Of Harlem 2 .27.36;Rose OfTheRio Grande 6.7.38; Morning Glory 3.6.40;Ain't M isbehavin' 11.9.43;Passion Flower 8.7.45;Pitter Panther Patter 10.1.40; Stardust 11.7.40;Take The "A " Train2.15.41;Flippant Flurry 11.25.46;Rugged Romeo 3.28.46; The Suburbanite 7.16.46;Tip Toe Topic 3.28.46; Sultry Serenade 10.6.47;Blue Skies 11 .25.46MJCD 1312, Swing: Cottontail 5.4.40;It Don't Mean A Thing 2 .2.32; Jubilee Stomp 3.26.2 8;Double Check Stomp 4.11 .30; RingDemBells 8.20.30;Lightnin' 9.21.32; Jive Stomp 9.15.33;StompyJones1.9.34;In A Jam 7.29.36;Exposition Swing 7.29.36; Chatter Box 9.20.37;Buffet Flat 8.9.38; Slap Happy 12.22.38;Jazz Pot Pourri 7.26.39; R idin' On A Blue Note 8.17.40;Squaty Roo7.3.41;BliBlip 9.2 6.41;Rockin' in Rhythm 11.8.43;Stomp, Look & Listen 11 .1047;I Can't Believe That You 're In Love W ith M e11.10.47MJCD 1313, Vocal:The Blues I Love to Sing 10.26.27; Sloppy Joe 3.7.29;She's Gone 2.28.39; Troubled Waters 5.9.34;I've Got To Be A RC 3.5.37; I'm Checkin' OutGB6.12.39;Something To Live For 3.21.39; Jump For Joy7.2.41;Rocks In My Bed9.26.41;Just Squeeze Me 7 .9.45;Go Away Blues 11.9.43;Everything But You 5.1.45;It Don't Mean A Thing 5.14.45; I Don't Mind 5.12 .45;Solitude 7.15.45; St Louis Blues 9.3.46;Once UponADream 11 .20.47; Do Nothin' .... 11 .18.47;OnATurquoise Cloud 12.30.47;I've Got ToBe ARug Cutter March 37 (Ellington vocal)The set is imported by DNA (DistributionNorth

America) (the contact is Rick Lawlor) and apparently it canalso be got by mail order on1 800 888 8574 and is availableon the web from CD NOW. It sells in France for aboutFF550.1recommend it highly. BruceTalbot

Partly ELLINGTONB e n W e b s t e r ,T h e S w in g E ra 1 9 3 1 - 1 9 4 6Best Of Jazz (F) 4 0 5 2

Inthe series T he Swing Era" on the label Best Of Jazz,another volume has beenreleased.This timeIt'sBenWebster.There are almost 70 minutes of fine music. A review ofthis release byVicBellerby is in Jazz Journal51/10(withsome minor typos) and (without discographical details) inDESUK'sBlue Light 5/3.Camden, N.J.,27Mar31Blanche Calloway And Her Joy Bo ys: Edgar Battle, Joe K eye s,Clarence Smith (tp); Alton Moore (tb); Booker P itman,Leroy Hardy, Ben Webster (reeds); Clyde Hart (p);Andy Jackson (bjo/g); Joe Durham (tu);Cozy Cole (dm).Note: Some experts believe that we hear Lawrence SlimFreeman and not Ben Webster on this recording.

Just A Crazy Song -2Camden, N.J., 13Dec32Bennie Mo ten's Kansas City Orchestra: Hot lip s Page,Joe K eyes, Dee Stewart (tp); Dan M inor (tb);E