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| The Private Collection, Volume Ten - Studio Sessions New York & Chicago, 1965, 1966 & 1971 |
| Duke Ellington |
első megjelenés éve: 1971
66 perc |
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| (1996)
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CD |
| 4.305 Ft
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| 1. | Black
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| 2. | Come Sunday
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| 3. | Light
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| 4. | West Indian Dance
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| 5. | Emancipation Celebration
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| 6. | The Blues
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| 7. | Cy Runs Rock Waltz
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| 8. | Beige
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| 9. | Sugar Hill Penthouse
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| 10. | Harlem
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| 11. | Ad Lib on Nippon
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Jazz
Duke Ellington - Bandleader, Piano, Producer
Booty Wood - Trombone
Buddy Pearson - Reeds
Buster Cooper - Trombone
Cat Anderson - Trumpet
Chuck Connors - Trombone
Cootie Williams - Trumpet
Eddie Preston - Trumpet
Harold Ashby - Reeds
Harry Carney - Reeds
Harry Hirsch - Producer
Herb Jones - Trumpet
Herbie Jones - Trumpet
Jimmy Hamilton - Reeds
Joe Benjamin - Bass
John Lamb - Bass
Johnny Hodges - Reeds
Lawrence Brown - Trombone
Malcolm Taylor Trombone
Mercer Ellington Trumpet
Money Johnson Trumpet
Nancy Stahl Artwork, Illustrations
Norris Turney Reeds
Paul Gonsalves Reeds
Paul Serrano Trumpet
Ray Nance Cornet, Violin
Richard Gene Williams Trumpet
Rufus "Speedy" Jones Drums
Russell Procope Reeds
Sam Woodyard Drums
Stanley Dance Liner Notes
Tony Watkins Vocals
The last entry in a ten-volume set of mostly unreleased studio and live recordings from Duke Ellington's personal collection, Private Collection, Vol. 10 primarily consists of a 1965 re-recording of Ellington's first major extended work, 1943's "Black, Brown, and Beige." (The sixth part of that nine-part tone poem, "The Blues," is actually a 1971 recording featuring Tony Watkins on vocals; this is one of the very few times this song was sung by a man.) Removing a couple of sections from the original score -- the wartime march that ended the 1943 version is gone, and the "Beige" section is drastically truncated -- Ellington retains all of the tone poem's vivid, near-symphonic splendor. The rest of the disc consists of a pair of 1966 recordings: a 13-minute take on '50s oft-recorded "Harlem," with some dazzling rhythmic shifts highlighting the orchestra's uncanny musical synchronicity, and "Ad Lib on Nippon," a section of 1963's "The Far East Suite" that doesn't actually have that much of a Japanese character but does feature some sterling bop-like piano-bass jousting by Ellington and John Lamb, followed by an excellent, gently swinging clarinet solo by Jimmy Hamilton. ~ Stewart Mason, All Music Guide |
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