Ellington At Newport 1956

Duke Ellington - Ellington At Newport 1956

Ellington At Newport 1956
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CD Details

Artist: Duke Ellington
Edition: Music CD
Format: Live, Original recording remastered
CD Release Date: 1999-05-11
Music Label: Sony
Soundtracks:
Music CD 1
  1. The Star Spangled Banner - Duke Ellington, Key, F.S.
  2. Father Norman O'Connor Introduces Duke & The Orchestra/Duke Introduces - Duke Ellington,
  3. Black and Tan Fantasy - Duke Ellington, Ellington, Duke
  4. Tea for Two - Duke Ellington, Caesar, Irving
  5. Duke & Band Leave Stage/Father Norman O'Connor Talks About Festival - Duke Ellington,
  6. Take the "A" Train - Duke Ellington, Strayhorn, Billy
  7. Duke Announces Strayhorn's a Train & Nance/Duke Introduces ... - Duke Ellington,
  8. Part I- Festival Junction - Duke Ellington, Ellington, Duke
  9. Duke Announces Soloists: Introduces, Pt. 2 - Duke Ellington,
  10. Part II- Blues to Be There - Duke Ellington, Ellington, Duke
  11. Part III- Newport Up - Duke Ellington, Ellington, Duke
  12. Sophisticated Lady - Duke Ellington, Ellington, Duke
  13. Day In - Day Out - Duke Ellington, Bloom, Rube
  14. Diminuendo and Crescendo in Blue - Duke Ellington, Ellington, Duke
  15. Announcements, Pandemonium - Duke Ellington,
Music CD 2
  1. I Got It Bad (And That Ain't Good) - Duke Ellington, Ellington, Duke
  2. Jeep's Blues - Duke Ellington, Ellington, Duke
  3. Tulip or Turnip - Duke Ellington, Ellington, Duke
  4. Riot Prevention - Duke Ellington,
  5. Skin Deep - Duke Ellington, Bellson, Louie
  6. Mood Indigo - Duke Ellington, Ellington, Duke
  7. Studio Concert - Duke Ellington,
  8. Father Norman O'Connor Introduces Duke Ellington/Duke Introduces ... - Duke Ellington,
  9. Part I- Festival Junction - Duke Ellington, Ellington, Duke
  10. Duke Announces Soloists: Introduces, Pt. 2 - Duke Ellington,
  11. Part II- Blues to Be There - Duke Ellington, Ellington, Duke
  12. Part III- Newport Up - Duke Ellington, Ellington, Duke
  13. I Got It Bad (And That Ain't Good) - Duke Ellington, Ellington, Duke
  14. Jeep's Blues - Duke Ellington, Ellington, Duke

Music reviews of Ellington At Newport 1956

Music Review: Historical Ellington
Rating: 5 Stars

Frankly, I tend to agree with the reviewers who think there's simply too much ambiance noises and announcements collected here; perhaps the earlier studio dominated version was not such a bad idea?
But, than again, for as Ellington fan(atic)s it is absolutely essential to know all the fascinating details from the booklet and to hear how it all sounded at the spot...

This is not only highly pleasant but also historical album, although (I tend to agree with that as well) the band actually had better nights; Gonsalves' showcase is the only musically remarkable spot. But (another but), an B+ performance from Ellington's band is worth an "A" grade in any other band's book, so this is the right album to buy if you're already initiated into the Ellingtonia treasure.
The beginners might start with Duke Ellington: Blues in Orbit (Columbia Jazz Masterpieces) or, for instance, Ellington Uptown...

Description of Ellington At Newport 1956

When Duke Ellington took his orchestra to the Newport Jazz Festival in 1956, the band was in need of an uplift, some humongous event that would revitalize its image in the wake of bebop, hard bop, and so many more jazz currents. Ellington got the lift he needed when he called "Diminuendo in Blue" with set-closer "Crescendo in Blue" tacked on the end. Tenor saxophonist Paul Gonsalves got the nod from Ellington to segue from "Diminuendo" to "Crescendo," and he blew doors. With one rousing 27-chorus solo, Gonsalves blew a fever into the crowd and jump-started Ellingtonia for another generation. Trouble with all this is that the living document of the Newport show is almost fully manufactured, recorded in a studio with crowd madness dubbed in. So this two-CD historical correction is an awesome addition to the centennial-era reissues on Columbia (including Anatomy of a Murder, Such Sweet Thunder, First Time: Count Meets the Duke, and Black, Brown and Beige). The producers revisited the Newport gig after four decades because they discovered an extant Voice of America tape--the one whose microphone Gonsalves blew his solo into, and the VOA tape catches the whole Newport set in its organic glory. Alternately tender with layers of brushstroke orchestration and blazing with the band's well-seasoned tightness, this new Newport is one for the generalist and the Ellington completist. It's got the revived original gig as well as the original commercial release. And they make great siblings, illustrative of the live-event charm and the music industry's dogged labors in reinventing it on record. --Andrew Bartlett

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