CD V.7: Studio Sessions 1957 & 1962 (CD 339994),
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V.7: Studio Sessions 1957 & 1962

  • 1. Things Ain't What They Used to Be
    2. Something Sexual
    3. Riff
    4. Bluer
    5. Wailing 'Bout
    6. I Cover the Waterfront
    7. Blues a la Willie Cook
    8. Slow Blues Ensemble
    9. Circle of Fourths
    10. Perdido
    11. Three Trumps
    12. Deep Blues
    13. Things Ain't What They Used to Be (Instrumental)
    14. Paris Blues
    15. I've Got It Bad (And That Ain't Good)
    16. Circle Blues
    17. Perdido
    18. Sky Fell Down
    19. Cottontail
    20. Passion Flower
  • Additional Info
    Manufacturer Part Number (MPN): AGEK2037

  • Credits

    Personnel: Duke Ellington, Billy Strayhorn (arranger, piano); Milt Grayson (vocals); Paul Gonsalves (tenor saxophone, reeds); Russell Procope, Johnny Hodges, Jimmy Hamilton, Harry Carney, Harold Ashby (reeds); Ray Nance (trumpet, violin); Willie Cook, Clark Terry, Cat Anderson, Roy Burrowes, Bill Berry (trumpet); Quentin Jackson, Britt Woodman, John Sanders, Lawrence Brown, Leon Cox, Chuck Connors (trombone); Jimmy Woode, Aaron Bell (bass); Sam Wodyard, Sonny Greer (drums).
    Producer: Duke Ellington.
    Reissue producer: Harry Hirsch.
    Recorded in Chicago, Illinois in January 1957 and New York, New York in March-June 1962. Includes liner notes by Stanley Dance.
    All the Duke's Men--on salary, so Ellington would make good use of "down time" (no tours/concerts) by organizing less formal (and self-produced; no record company "suggesting" things) recording sessions, where he could try out pieces before live performance. These sessions would include old classics reworked or re-arranged (here, "Perdidio," "Cottontail"), standards ("I Cover the Waterfront") and new pieces ("Something Sexual," featuring Johnny Hodges and an uncharacteristic vocal chorus). There's some swell trumpet playing throughout from Willie Cook, Clark Terry, Ray Nance, Bill Berry and Cat Anderson. Of course, Hodges, Gonsalves and Carney (Harry, not Art) are in typically sublime, soulful, restrained form--so typical, it's almost scary. Many of the tunes here are rich with a blues feeling -- 20 tunes, a great value, most of it perfect for late-night listening. A worthy addition to any CD collection, whether you're a fan or just getting into Ellington (or classic, though modern, big band jazz).

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