Check out "Ellington Jazz Party", one of his most underrated albums (for
Columbia, February 1959). Guests Dizzy Gillespie, Jimmy Rushing and Jimmy Jones.

dl

phillip holmes wrote:
> Ellington does sound stuffy at first, but once your ear has adjusted,
> it's the coolest thing in jazz. Cool in a "we've been there 100 times,
> and done it 1,000 times, so just be cool daddy" way. There are other
> musicians that take repeated listening to appreciate. I hated Coltrane
> the first time I heard him. After getting past some of the superficial
> stuff, I was able to listen to the music. Mozart sounds deceptively
> simple. Great playing makes Mozart sound easy, but it sure isn't easy
> to play. I digress. The way Ellington used Cat Anderson is genius.
> Most band leaders would have Anderson screeching and wailing all night
> long. Duke holds him in reserve till it's time for the coup de grace!
> I can vividly remember the "OH, holy crap!" moment I had when I listened
> to "Anatomy of a Murder". On the last cut, "Upper and Outest", it
> starts so cooool with a funky figure in the sax section, and you can
> really hear Carney too, then it just switches gears and here comes Cat
> Anderson. And it's not some gauche Maynard Ferguson-esque,
> hey-look-me-over, spectacle. Just so tasty and so right. I find myself
> holding my breath at the end of that. The little staccato squeaks and
> the oh-so-soft sustained chord under Anderson, all perfectly balanced.
> It just dissipates into some other part of the universe. Just amazing.
> Carney is featured on "Hero to Zero" with Gonsalves. That band had so
> many good musicians, it was like one of these basketball teams where you
> can't find enough playing time for everyone. The movie is good. And
> great art work by Saul Bass. They don't make them like that any more,
> and they never will. Where was Anatomy of a Murder recorded?
> Phillip
>
> Tom Fine wrote:
>> Some jazz fans find his music too stuffy or dated, but then I can't
>> get into the disorganized non-melody-based stuff of later on (later on
>> to me is the stuff after bebop and before fusion, all the stuff that
>> led to dead ends and killed off jazz for most people). All that stuff
>> is mostly forgotten, except among critics, but you can play Duke
>> Ellington for almost anyone and they'll soon be smiling and feet
>> tapping. If they're a musician, they'll still understand how hard it
>> is to write and play what Duke was up to and they'll be impressed.
>>
>> -- Tom Fine
>>
>> ----- Original Message ----- From: "phillip holmes"
>> <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Sunday, February 04, 2007 2:45 PM
>> Subject: Re: [ARSCLIST] Harry Carney
>>
>>
>>> Thanks for the leads. I'll start searching. I'm amazed by the
>>> number of Ellington dates/sides/albums. I've got quite a few, but
>>> they tend to be from the late '50s and on. "Festival Junction" is
>>> amazing. It was so good my wife took notice. That whole album is
>>> amazing.
>>> Michael Fitzgerald wrote:
>>>> At 11:18 PM 2/3/2007, you wrote:
>>>>> Someone on this list probably has encyclopedic knowledge of Duke
>>>>> Ellington. In all my Ellington stuff, I can only think of two
>>>>> records with solos by Harry Carney. Any recommendations?
>>>>
>>>> There are a bunch - some briefer than others. The following is by no
>>>> means complete.
>>>>
>>>> Sophisticated Lady (many - but not all - recordings)
>>>> Frustration (many recordings)
>>>> Got Everything But You (1928)
>>>> I Must Have That Man (1928)
>>>> Stepping Into Swing Society (1938)
>>>> Jack The Bear (1940)
>>>> So Far, So Good (1940)
>>>> Cotton Tail (1940)
>>>> Blue Goose (1940)
>>>> At A Dixie Roadside Diner (1940)
>>>> My Greatest Mistake (1940)
>>>> Sepia Panorama (1940)
>>>> Five O'Clock Whistle (1940)
>>>> Sidewalks Of New York (1940)
>>>> Jumpin' Punkins (1941)
>>>> John Hardy's Wife (1941)
>>>> Chocolate Shake (1941)
>>>> The Brown-Skinned Gal (1941)
>>>> I Don't Know What Kind Of Blues I Got (1941)
>>>> Perdido (1942)
>>>> I Don't Mind (1942)
>>>> Work Song (from Black, Brown, & Beige) (1944)
>>>> Prelude To A Kiss (1945)
>>>> Black And Tan Fantasy (1945)
>>>> In A Sentimental Mood (1945)
>>>> Blues Is The Night (1946)
>>>> Just You, Just Me (1946)
>>>> My Honey's Lovin' Arms (1946)
>>>> Memphis Blues (1946)
>>>> Royal Garden Blues (1946)
>>>> Golden Feather (1946)
>>>> Progressive Gavotte (1947)
>>>> Ultra Deluxe (1953)
>>>> Falling Like A Raindrop (1954)
>>>> Festival Junction (1956)
>>>> Prima Bara Dubla (1958, with Gerry Mulligan)
>>>> Villes Ville Is The Place, Man (1959)
>>>> In A Mellotone (1959)
>>>> Stay Awake (from Mary Poppins) (1964)
>>>> Agra (from Far East Suite) (1966)
>>>> A Chromatic Love Affair (1967)
>>>>
>>>> Carney also was featured clarinet soloist on Rockin' In Rhythm. He
>>>> can be heard on bass clarinet on I Let A Song Go Out Of My Heart and
>>>> Black Beauty (both 1945). Early on he played alto and soprano as
>>>> well and solos on alto on What Can A Poor Fellow Do and on soprano
>>>> on Blue Bubbles (both 1927). Be careful in this early period since
>>>> Otto Hardwick also played baritone (and bass sax) and some baritone
>>>> solos are by him.
>>>>
>>>> I believe the DESOR discography - Duke Ellington's Story On Records
>>>> - by Massagli, Pusateri and Volonte indicates soloists, so if you
>>>> really want a comprehensive list, it should be able to supply the
>>>> information.
>>>>
>>>> Lastly, FWIW, Carney led a few dates - 1946 for HRS (now on a Mosaic
>>>> boxed set); 1947 for WAX (now on a Storyville CD); 1947 for Clef (on
>>>> the Verve CD The Jazz Scene); 1954 for Clef (now on a Ben Webster
>>>> Verve CD); and 1960 for Columbia.
>>>>
>>>> Mike
>>>>
>>>>
>>>> mike at jazzdiscography.com
>>>> www.jazzdiscography.com
>>>>
>>>
>>
>>
>>
>