Duke Ellington Live at The Berlin Jazz Festival 1969-1973 (Mono & Stereo)
Regular price
€59,00
AVERAGE SHIPPING TIME : 2 TO 4 WORKING DAYS
Delivery time depends on country of delivery
VAT included in price for European Union countries, may be adjusted based on delivery country at check out.
Shipping is free within European Union (except for specific territories) above 99€ purchase up to 50kg. Shipping costs on quote above 50kg – quote request to be send to : contact@audiosoundmusic.com. No return policy for countries outside of European Union
Duke Ellington – Piano (all tracks) [click here to see more vinyl featuring Duke Ellington]
Joe Benjamin – Bass (A1-6)
Quinten "Rocky" White Jr - Drums (A1-6)
Harold "Money" Johnson - Trumpet (A1-6)
Paul Gonsalves - Saxophone (A1-6)
Harry Carney - Baritone Saxophone, Clarinet (A1-6)
Duke Ellington’s Orchestra (B1-5):
- Cat Anderson, Cootie Williams, Mercer Ellington - Trumpet
- Harold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope - Saxophone
- Harry Carney, Baritone Saxophone - Clarinet
- Rufus Jones - Drums
1LP, gatefold jacket, includes a digital download card
Limited to 2,000 hand-numbered copies
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12'’
Mono (B1-5) & Stereo (A1-6)
Live
Record Press : in Germany
Label : The Lost Recordings
Original label : The Lost Recordings
A1-6 recorded at the Berlin Jazzstage Berlin Philharmonie, on November 2, 1973
B1-5 recorded at the Berlin Jazzstage Berlin Philharmonie, on November 8, 1969
Mastered by Kevin Gray
A1-6 were previously issued on an Azure Records LP
B1-5 previously released on DVD Duke Ellington - Berlin Concert 1969
Reissued in November 2022
Tracks:
Side A:
- Piano Improvisation No. 1
- Take the "A" Train
- Pitter Panther Patter
- Sophisticated Lady
- Introduction by Baby Laurence
- Tap Dance
Side B:
- The Most Beautiful African
- El Gato
- I Can't Get Started
- Caravan
- Satin Doll
Reviews :
On November 8, 1969, on the stage of the great hall of the Berlin Philharmonic, the Duke, whose portrait is the poster of the Jazztage Festival which celebrates his 70th birthday, slowly joined his piano. His orchestra is at the orders, adorned with a gleaming section of which some have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. The legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope are also present.
In a kind of rattle, the Duke launches "La plus Belle Africaine". A baroque but perfectly mastered mixture of sunny colors captured during a tour in Dakar, launched on the solo saxophone and then taken up with flashes of inventiveness by all or part of the orchestra. The tone is set. Cat Anderson launches into a furious "El Gato" that shakes the audience with its squeaks, its voluntary deconstructions and evokes the revolutionary, fragmentary and unfinished gestures of a Thelonious Monk or a Cecil Taylor. A studied contrast with the gentle continuation of "I Can't Get Started", just before the 43-second parenthesis of "Caravan", set as a mischievous link to the flamboyant "Satin Doll" which masterfully punctuates this concert.
In 1973, a few months before his death, Duke returned to Berlin in a formation organized on the basis of his trio (Joe Benjamin on double bass and Quinten "Rocky" White Jr. on drums), joined by Harold Johnson on trumpet, clarinetist and baritone saxophonist Harry Carney - and by his long-time sidekick, tenor saxophonist Paul Gonsalves. Duke Ellington gives a central place to his piano, making it both the driving force of the ensemble and its harmonic and rhythmic framework.
In this Blues that opens the concert, we hear some Debussy. This is followed by "Take the A train". The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how much the Duke knew how to draw with sagacity from the audacious harmonies of his contemporaries. And then he dares everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in "Tap Dance". The magic works. The success is total.
Two concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, in the harmonic sources of all the musics and which make so relevant the formula which he liked: "there are only two kinds of music: the good and the bad". We have had the extreme privilege of resurrecting the best.