From: Patent Tactics, George Brock-Nannestad


"The Billboard" dated 20 January 1943 has a review of the concert and it 
mentions some of the selections played. It is on p. 20. A repeat of the 
concert is promised for 28 January in Boston and even later in Cleveland.

A lot of what we are interested in has some sort of treatment in Billboard, 
available via Google Books. The typography is represented in hellish quality, 
as usual, but it is readable, and you can tweak it in some of the image 
processing programmes. But a good, old microfilm of the whole run would have 
been lovely.

Kind regards,


> Hello all.Iīve just read Maurice Peressī "Dvorak to Duke Ellington"
> in which he describes how he got to know Ellington and how he went about
> developing a reconstruction of the 1943 Carnegie Hall concert where
> "Black, Brown and Beige" was introduced.I have several questions Iīd
> like to bounce off the collective wisdom here.
> First, Iīd like to learn more about the "recording studio" which was
> used in Carnegie Hall for the 1-23-1943 concert.Apparently from the surface
> noise itīs a 78rpm setup; would they have used some kind of instant
> recording discs?Peress (and Timnerīs discography) indicates that some
> tracks were actually recorded a few days later on 1-28-1943 in Symphony
> Hall, Boston.What equipment would have been used for the Boston
> recordings?Iīve seen BSO historic recording notes that indicate recording
> engineer H. Vose Greenough was active there about this time; is there any
> chance he might have been involved in this recording?Are there photos in a
> book or online somewhere?Why is the sound quality so rough, and were all
> Carnegie or Boston recordings from this era this bad, or were the masters
> damaged by excessive playback or something?Where would those masters be
> today and who owns them - the Ellington estate?A record label?
> Second, Iīm curious about the actual program played in the concert, and
> why the CD jumbles the tunes as it does.Peress mentions that the concert
> didnīt follow the program exactly as printed.Some of Dukeīs introductory
> remarks make more sense when looking at the tune order as printed in
> Peress.Timnerīs "Ellingtonia" discography shows another variation,
> perhaps explaining why some of the tracks on the CD werenīt listed in the
> program.Has this been hashed out somewhere already, perhaps in a book or
> article?I looked through a few articles cited in Black Music Research
> Journal, but that didnīt resolve anything for me.What exactly WAS played
> on 1-23-1943 in Carnegie Hall? 
> Thanks and best wishes,
> Rob DeLand