The widely heralded recordings made of Duke Ellington & His Orchestra during a 1940 concert in Fargo, ND, have been justifiably praised for their historic value as well as for the surprisingly good sound obtained by a pair of young amateur engineers with a portable disc cutter. Both the soloists and Ellington's unique-sounding blend of reeds and brass are very distinct. Some of these tracks previously appeared on the Jazz Society label, followed by a Book-of-the Month Club set, and all of them appeared on the now-defunct Vintage Jazz Classics, but this latest version tops them all for sound quality.
Duke Robillard has always had one foot in the blues world and one in the swing/jazz universe. He loves both styles of music and enjoys not only playing them separately but combining them together. The founder of Roomful of Blues back in 1967, Robillard has led dozens of projects throughout his career, including collaborations with guitarist Herb Ellis, Jimmy Witherspoon, and Jay McShann. On A Swingin Session, he plays with some of his favorite musicians, many of whom originated (like he did) in Rhode Island. While six horn players participate, there are no more than four on any one selection, and some numbers do not have any. The contrasting tenor solos are fun to hear, with Scott Hamilton sounding smooth and mellow on his numbers while Sax Gordon is greasier and much closer to Illinois Jacquet. Present throughout are Bruce Katz (mostly on organ), one of three bassists (usually Marty Ballou), and drummer Mark Teixeira. Robillard takes vocals on half of the selections in his personable way, but it is his guitar solos, which hint at both Charlie Christian and T-Bone Walker, that often take honors.
There is no greater paragon of tenor saxophonist taste than Harry Allen. While the fickle winds of prevailing styles continue to blow this or that way, Allen stands tall like the mighty oak, unswayed by fad fashions and firmly rooted to the music of the Great American Songbook. On this appealing date, Allen visits the music of George Gershwin, Cole Porter, and Duke Ellington.
'Here We Go 1, 2, 3' is Heidi Talbot's fifth solo album. Produced by musical partner and husband, John McCusker, (himself recently the recent recipient of the Good Tradition honour at the BBC Radio 2 Folk Awards) Heidi's new album crosses the ages, jumps into the unknown, traverses oceans and musical styles – from folk, through Americana, to classic pop, and back again…
This was Duke Ellington's first film score, undertaken at the urging of Anatomy of a Murder's director, Otto Preminger. The full range of the composer's previous work was brought to bear on this 1959 work. Ellington was a natural choice to convey the rich and varied emotional moods of this drama. Tension and release, danger and safety, movement and stillness, darkness and light; the textural palette that was Ellington's signature was always compellingly cinematic.
In these orchestral settings, Duke's soloists (Cat Anderson, Clark Terry, Johnny Hodges, Harry Carney, and others) shine, as their playing reflects true variations on a theme in a classical sense. That's not to say that this set doesn't swing, too – "Happy Anatomy" is a short but fully cranked gallop. This is an album of rich variety and evocative writing.
Awarded a Grammy Lifetime Achievement Award in 1966, Duke Ellington called his music "American music" rather than jazz, and liked to describe those who impressed him as "beyond" category. He remains one of the most influential figures in jazz, if not in all American music and is widely considered one of the 20th century's best composers and band leaders. Ellington's reputation has increased since his death in 1974, with thematic repackagings of his signature music often becoming best sellers. Posthumous recognition of his work include a special award citation from the Pulitzer Prize Board. This 1956 session features Ellington and 14 sidemen performing updated recordings of some of the best from Ellington's career going back to 1926.
“… Gerry Beaudoin is a fine guitarist, composer and arranger. I am looking forward to more musical adventures with Gerry and his trio in the future.” - David Grisman The all acoustic,no amps allowed, recordings by the Gerry Beaudoin Trio were a watershed mark in Gerry’s’ career. His special guest, mandolinist David Grisman, had a huge impact on on the way Gerry looked at music and the setting he presented it in. ” When I first heard the David Grisman Quintet I was very aware after a few songs that David was not just a jazz player but had allowed all of his experiences in music and all the genres he played or listened to to come out in his music. I also noticed, like all great jazz musicians, he used the Quintet as an instrument…