1. Perdido
2. Copout Extension
3. Duel Fuel - Part 1
4. Duel Fuel - Part 2
5. Duel Fuel - Part 3
6. Idiom '59 - Part 1 (Vapor)
7. Idiom '59 - Part 2
8. Idiom '59 - Part 3
9. Things Ain't What They Used to Be
10. Launching Pad
11. V.I.P.'s Boogie
12. Jam with Sam
13. Idiom '59 (Live version)
14. Copout Extension (Live version)
Duke Ellington - Piano
Russell Procope - Alto sax, clarinet
Johnny Hodges - Alto sax
Jimmy Hamilton - Tenor sax, clarinet
Paul Gonsalves - Tenor sax
Harry Carney - Baritone sax, clarinet, bass clarinet
Cat Anderson, Harold "Shorty" Baker, Fats Ford, Willie Cook,
Clark Terry - Trumpets
Ray Nance - Trumpet, violin, vocals
Quentin Jackson - Trombone, bass
Britt Woodman, John Sanders - Trombones
Jimmy Woode - Bass (tracks 1, 2, 7-14)
Joe Benjamin - Bass (track 6)
Sam Woodyard, Jimmy Johnson - Drums
This reissued 1959 album was recorded after the Duke Ellington Orchestra
had appeared at the Newport and Playboy jazz festivals and it contains
several works which were premiered at those events. But it begins
with an Ellington standard: Perdido, which starts off the proceedings
cheerfully with a solo from Clark Terry which includes a musical conversation
with the drummers.
In fact the drums are a strong presence on this album, with Sam Woodyard
using his relentless offbeat rimshots to drive along Paul Gonsalves'
freewheeling solo on Copout Extension. It is difficult to tell
exactly which drummer is soloing in the first two parts of Duel
Fuel (also known as Duael Fuel). In the first part, they
play tag with the orchestra, and the second part veers effectively
between very loud and very soft. The final part of Duel Fuel
consists of a long drum battle between Sam Woodyard and Jimmy Johnson.
The opening section of Idiom'59 is typical of Duke's adventurous
spirit, with mysterious chords and shifting tempos. The second part
opens with that unique Ducal piano leading into a bluesy ensemble,
with clarinet (Jimmy Hamilton or Russell Procope or both?) floating
over the top. The third section returns to the mysterious mood of
the first, with very unconventional voicings, although the Duke and
Clark Terry return us to a blues feeling. It is a shame that this
intriguing three-piece suite dropped out of Ellington's programmes
after this recording - but perhaps that is an indication of the richness
of Duke's repertoire.
We are back on familiar ground with Things Ain't What They Used
to Be, which spotlights Johnny Hodges' resplendent alto sax flying
freely. Launching Pad was orchestrated by Ellington but it
was actually composed by Clark Terry, who was rather peeved that another
trumpeter (Ray Nance) got to do the featured solo.
The original LP stopped here, but the first CD reissue added two
tracks from the same session, both oft-repeated in Ellington programmes:
V.I.P.'s Boogie, which boasts some magisterial baritone sax
from Harry Carney plus high-flying clarinet from Jimmy Hamilton, and
Jam with Sam, designed to give solo opportunities to many band
members.
This CD offers two more extra tracks - both recorded at the Newport
Jazz Festival earlier in 1959. This version of Idiom '59 was
the work's premiere, and the only other recording of the piece. Given
that this was its first public performance, it is remarkably well
integrated - making one wish even more that it had remained in the
Ellington repertoire. Paul Gonsalves stretches out further on the
second version of Copout Extension, which clocks in at ten
minutes rather than the previous eight. The backing ensemble seems
even more exciting than in the other performance of the tune.
This album proves that Duke's orchestra was as strong as ever in
the late fifties - perhaps revived by its success at the 1956 Newport
Festival. The arrangements and the performances here are due cause
for a festive celebration.
Tony Augarde
CD Reviews
Poll Winners Records PWR 27209
