Duke Ellington The Uncollected Duke Ellington, Volume 1: 1946
- Released: November 1, 1989
- Label: Hindsight Records
- 1.Take the "A" Train
- 2.Crosstown - (previously unreleased)
- 3.Passion Flower
- 4.Magenta Haze
- 5.Everything Goes - (previously unreleased)
- 6.The Eighth Veil
- 7.Riff 'N Drill
- 8.Blue Abandon - (previously unreleased)
- 10.Rugged Romeo
- 11.Jennie - (previously unreleased)
- 13.The Jeep Is Jumpin'
Duke Ellington & His Orchestra: Duke Ellington, Billy Strayhorn (arranger, piano); Otto Harwicke, Johnny Hodges, Jimy Hamilton, Al Sears, Harry Carney (reeds); Shelton Hemphill, Taft Jordan, Cat Anderson, Francis Williams, Bernard Flood (trumpets); Joe "Tricky Sam" Nanton, Lawrence Brown, Claude Jones, Wilbur DeParis (trombone); Fred Guy (guitar); Oscar Pettiford, Wilson Myers (bass); Sonny Greer (drums).
Recorded on March 28, 1946 in New York, New York. Includes liner notes by Patricia Willard.
Digitally remastered by John Jungklaus.
Personnel: Duke Ellington (piano); Fred Guy (guitar); Harry Carney, Jimmy Hamilton, Johnny Hodges, Al Sears, Otto Hardwick (reeds); Bernard Flood, Taft Jordan, Shelton Hemphill, Francis Williams , Cat Anderson (trumpet); Lawrence Brown , Wilbur De Paris, Claude Jones (trombone); Billy Strayhorn (piano); Sonny Greer (drums); Joseph H. Igo (programming).
Liner Note Author: Patricia Willard.
Recording information: New York, NY (03/28/1946).
Photographer: Dave Dexter, Jr.
This collection of previously unreleased material is a treasure trove for Ellington fans, containing thirteen selections recorded in 1946 exclusively for radio play. As was the custom at the time, Ellington and his orchestra recorded tunes for the radio that were longer and more involved than contemporary commercial concerns allowed for. By '46, Ellington had become a household name not only in the U.S., but in Europe as well, and many of his most highly regarded tunes had been written. Long-timers Sam Nanton and Johnny Hodges were still present, adding their distinctive sound to the proceedings, but talents like Oscar Pettiford were adding an extra kick to the arrangements (listen, for example, to Pettiford's hard-swinging breaks on "Blue Abandon"). From evergreens like "A Train" to the less mainstream "Transblucency," featuring Kay Davis' wordless soprano vocal, this album offers some heretofore unobtainable insights into the indispensable '40s recordings of the Ellington orchestra.
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