Duke Ellington Paris Jazz Concert, Volume 1, Alhambra, 29 October, 1958 (Live)
- Released: July 14, 1998
- Label: Malaco Jazz Classics
- 1.Take The "A" Train
- 2.Black And Tan Fantasy / Creole Love Call / The Mooch
- 3.Newport Up
- 4.Deep Purple
- 5.Harlem Airshaft
- 6.Such Sweet Thunder / Sonnet To Hank Cinq
- 7.Sophisticated Lady
- 8.Kinda Dukish / Rockin' In Rhythm
- 9.What Else Can You Do With A Drum?
- 11.Jeep's Blues
- 12.All Of Me
- 13.Things Ain't What They Used To Be
Personnel includes: Duke Ellington (piano); Ozzie Bailey (vocals); Johnny Hodges (alto saxophone); Russell Procope (clarinet); Paul Gonsalves (tenor saxophone); Clark Terry (trumpet, flugelhorn); Jimmy Woode (bass); Sam Woodyard (drums).
Recorded live at the Alhambra Theater, Paris, France on October 29, 1958.
Includes liner notes by Claude Carriere.
Personnel: Duke Ellington (piano); Ozzie Bailey (vocals); Ray Nance (violin, trumpet); Russell Procope (clarinet, alto saxophone); Jimmy Hamilton (clarinet, tenor saxophone); Harry Carney (clarinet, baritone saxophone); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Clark Terry (trumpet, flugelhorn); Harold Baker, Cat Anderson (trumpet); John Sanders (trombone, valve trombone); Quentin Jackson, Britt Woodman (trombone); Sam Woodyard (drums).
Liner Note Author: Claude CarriŠre.
In 1958 Duke Ellington and his band were still riding high on their revitalizing success at the 1956 Newport Jazz Festival. Moreover, playing for a focused, European concert audience allowed Duke to stretch out a little and include exerpts from recent, more extended works like "Such Sweet Thunder" and "A Woman Is A Drum" along with requisite numbers like "Take The 'A' Train," "Sophisticated Lady" and "Things Ain't What They Used To Be." Even so, the "hits" are living, breathing tunes, as Duke's current sidemen are given the freedom to infuse their roles with their own musical personalities and energies. And these recordings, which also boast excellent fidelity, positively crackle with personality and energy throughout. It's a pleasure to hear the pride in Duke's voice as he brings various musicians to the microphone for feature numbers; he also makes an endearing if brief effort at speaking French and introduces a medley of Cotton Club--era "jungle sound" tunes as "a potpourri of themes taken from the late Roaries Twenties...of course these things were put in the book before I joined the band."
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