Duke Ellington The Private Collection, Volume 09: The Studio Sessions, New York, 1968
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- Released: May 2, 1989
- Originally Released: 1989
- Label: Atlantic Mod Afw
- 1.I Can't Get Started
- 2.Waiting For You
- 6.Sophisticated Lady
- 7.Just Squeeze Me
- 8.Mood Indigo
- 9.In A Sentimental Mood
- 10.I Let A Song (Go Out Of My Heart) / Don't Get Around Much Anymore
- 13.Cool And Groovy
- 15.C Jam Blues
Personnel: Duke Ellington (piano); Trish Turner (vocals); Johnny Hodges (alto & tenor saxophones, reeds); Russell Procope (alto saxophone, reeds); Harold Ashby, Paul Gonsalves (tenor saxophone, reeds); Harry Carney (baritone saxophone, reeds); Willie Cook, Cat Anderson, Cootie Williams, Money Johnson (trumpet); Buster Cooper, Lawrence Brown, Chuck Conners (trombone); Jeff Castleman (bass); Rufus Jones (drums).
Recorded in New York, New York between November 23 and December 3, 1968. Includes liner notes by Stanley Dance.
Part of a 10-album series produced by Ellington himself and, until recently, found only in his private collection, the STUDIO SESSIONS come as close as anything to being a definitive collection of Ellington's material. The recordings are superb. In the opening cut, "I Can't Get Started," Harold Ashby's sax is so gorgeously cool that it is capable of melting ears and other facial features. This only hints at the delights yet to come. The listener is drawn through the panoply of Ellington's oeuvre, as tunes cast moods from the gentle piano interlude of "Meditation"--which gives way to a truly spectacular version of "Sophisticated Lady"--to the understated funk of "Knuf" and the sly slink of "Cool and Groovy."
Since Ellington wrote so many classics, and it is impossible not to include a few recognizable numbers on each disc, VOLUME NINE covers "Mood Indigo" and "In A Sentimental Mood." The personnel credits also read like a list of old friends, featuring Paul Gonsalves, Johnny Hodges, Cootie Williams, Harry Carney, and many others. By the time the disc has ended, with the old-time rave-up "C-Jam Blues," one is convinced anew of Duke's genius and of his rightful place among the essential figures of 20th Century music.
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