1951

構成数 : 1枚
合計収録時間 : 01:04:56
Personnel: Lloyd Oldham, Jimmy Grissom (vocals); Jimmy Hamilton (clarinet, tenor saxophone); Russell Procope, Willie Smith (alto saxophone); Paul Gonsalves (tenor saxophone); Nelson Williams , Clark Terry, Harold Baker, Ray Nance, Willie Cook, Francis Williams , Dick Vance, Cat Anderson (trumpet); Juan Tizol, Quentin Jackson, Britt Woodman (trombone); Billy Strayhorn (piano, organ); Duke Ellington (piano); Louie Bellson (drums). Liner Note Author: Anatol Schenker. Recording information: New York, NY (06/01/1951-12/11/1951). Director: Billy Strayhorn. Volume 41 in the complete chronological recordings of Duke Ellington as reissued by the Classics label contains 16 master takes that came together during the second half of 1951, the year that saw the release of Duke's marvelous Uptown album. Although big bands were struggling to stay together during this period and Johnny Hodges was off making records with producer Norman Granz, the Ellington Orchestra sounds exceptionally fine throughout. Billy Strayhorn had a lot to do with the elegance that characterizes the 1951 recordings, and the soloists are in extraordinarily good form. "Deep Night" features trombonists Juan Tizol, Quentin "Butter" Jackson, and Britt Woodman. "Please Be Kind" belongs to alto saxophonist Willie Smith, an alumnus of the Jimmie Lunceford Orchestra. The "Duet" between bassist Wendell Marshall and clarinetist Jimmy Hamilton is mostly an orchestral number that ends as a duo. Hamilton also plays tenor sax on "Bensonality." "Jumpin' with Symphony Sid," a tune rarely associated with Ellington, here becomes a solid steady groove that you'll want to slip into more than once. "Before My Time" from the "Controversial Suite" was Duke's whimsical response to the language of music critics who used up a lot of energy defining Tradition and Modernity; the Suite's title also referred to the flashy progressivism of Stan Kenton. The vocalist on "Blues at Sundown" is Jimmy Grissom, a steady customer who also handles Strayhorn's "Something to Live For" and "Azalea," a love song that Ellington claimed to have designed for Louis Armstrong, who subsequently recorded it with Duke about ten years later on that utterly essential Roulette album, The Great Summit. ~ arwulf arwulf