"This 1957 effort is distinguished from Fitzgerald's other songbooks in that it is the only album in which the composer whose work she is singing actively participates. In fact, these recordings are packed with some of the key figures in jazz. Ellington's arranger/composer Billy Strayhorn, guest musicians Dizzy Gillespie and Oscar Peterson, and brilliant record producer Norman Granz all have a hand in the proceedings. And what better backing band could one want than Duke's orchestra? The usual suspects, like Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, and Harry Carney contribute fine performances throughout. Duke's spectacular catalog dazzles, and his sprightly, lush textures are transfigured under Ella's warm-timbred voice and elegant, precise delivery. Included here are classics like "Rockin' in Rhythm," "Caravan," "Satin Doll," "Sophisticated Lady," "Prelude to a Kiss," and "It Don't Mean a Thing...," each tune as familiar as it is delightful to hear in this new context." (Allmusic; 4,5 uit 5 sterren)
"Although their paths had crossed from time to time over the years, nobody had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a 7½-hour session at RCA Victor's Studio One in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele's inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz." (Allmusic; 5 uit 5 sterren)
Albumpick op Allmusic: "This CD documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance (on cornet and violin), trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant "The Jeep Is Jumpin'," an interesting remake of "Mood Indigo," and a few new Ellington pieces. This delightful music is recommended in one form or another." (Scott Yanow, Allmusic)
"Topping off a wealth of full-band recordings, the various stars of Ellington's great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-'30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry "Sweets" Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging "Going Up" and Hodges' bluesy closer, "You Need to Rock." A must for fans of vintage combo swing." (Stephen Cook, Allmusic)
Albums uit de tijd dat Ellington onder contract stond bij Capitol Records. "Capitol did not allow Ellington to do much more than pop-oriented singles and recover old ground. That may be true, and the original marketing campaign behind this album ("Old tunes, new treatments for your listening and dancing pleasure") only seemed to back up this perception. There were no recordings of experimental, long-form pieces, which Columbia had occasionally allowed, but Ellington's pop numbers were extended out to five and six minutes each, to allow for multiple solos. It's hard to complain about the recording though." (Allmusic over "Ellington '55" - een tekst die ook toepasbaar is op de twee andere albums op deze compilatie) Een bonus wordt gevormd door liefst 13 tracks uit 1953.
"In 1963, singer Sathima Bea Benjamin persuaded Duke Ellington to see her future husband, Abdullah Ibrahim, play in a club in Europe. Ellington was impressed by both of the recent South African émigrés and arranged with Reprise to record them. While Brand's record came out within a year, Benjamin's debut was lost and not heard for decades. As it turned out, engineer Gerhard Lehner had made a second copy and kept it for all of these years, so the initial 1997 release of this important session was possible. Backed by pianist Ibrahim, bassist Johnny Gertze, drummer Makaya Ntshoko, and (on two songs a piece) Duke Ellington or Billy Strayhorn, and occasionally joined by violinist Svend Asmussen (who here plays exclusively pizzicato, as if he were using a high-pitched guitar), Benjamin's voice sounds quite beautiful. She performs two Ellington tunes, Strayhorn's "Your Love Has Faded," and nine standards, with the emphasis on slow ballads. The moody music is often haunting and quite memorable." (Allmusic)
"Ellington led arguably the most important big band of the swing era while also recording widely in smaller formats. But he considered his music well beyond the definition of jazz. These 3 suites were recorded between 1959 and 1972. "The Queen's Suite" was composed shortly after the coronation of Great Britain's Elizabeth in 1955 and contains a solo piano (supported by string bass) composition, "Single Petal of a Rose." The Goutelas and Uwis Suites are 1970s products. The latter is supplemented with "The Kiss" recorded at the same time as the suite. Ellington still featured Paul Gonsalves and Johnny Hodges, whose voices loom large on this recording. Ellington's suites may have suffered from under exposure for their forward thinking approach of melding jazz and classical forms. But listening to these pieces, the thread of Ellington is in fully flowered evidence on these relatively late career recordings. These pieces make it hard to dispute Ellington's supremacy in American jazz." (C. Michael Bailey, Allmusic)
Met dit album maakte deze bigbandleider z'n comeback, het is z'n best verkochte album. De lange solo van de tenorsaxofonist Paul Gonsalves in 'Diminuendo and Crescendo in Blue' maakte het publiek uitzinnig. Energieke en opwindende registratie.
Onze website en deze zoekfunctie is vernieuwd en we werken er op dit moment hard aan om de laatste puntjes op de i te zetten. Mis je bepaalde functionaliteiten, dan vind je hieronder tijdelijk nog de link naar oude zoekfunctie.
