Duke Ellington, Louis Armstrong - Great Summit: The Master Takes
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CD Details
Artist: Duke Ellington, Louis ArmstrongEdition: Music CD
Audio: English (Unknown); English (Original Language); English (Published)
Format: Original recording remastered
CD Release Date: 2001-01-09
Music Label: Blue Note Records
Soundtracks:
- Duke's Place
- I'm Just A Lucky So And So
- Cottontail
- Mood Indigo
- Do Nothin' Till You Hear From Me
- The Beautiful American
- Black And Tan Fantasy
- Drop Me Off In Harlem
- The Mooche
- In A Mellow Tone
- It Don't Mean A Thing (If It Ain't Got That Swing)
- Solitude
- Don't Get Around Much Anymore
- I'm Beginning To See The Light
- Just Squeeze Me
- I Got It Bad (And That Ain't Good)
- Azalea
Music reviews of Great Summit: The Master Takes
Music Review: When gigants meet....
Rating: 5 Stars
First of all, this is Bach on Harpsichord accopaigning Haydn on Violin, at least it is qualified to say that two musicians of that magnitude meet on this disc. To one who wants to learn compose, learn the music functionings, I would advice to study first Bach (for the counterpoint) and Haydn (for the harmony), and with these two as base, one can go anywhere. The same goes for the one who wants to learn the functionings of Jazz-Music, just substituting Bach with Louis Armstrong and Haydn with Ellington-Strayhorn; and there it is! One good reason to get this disc, and similar, is that you get the two antidotes of Jazz black on white to compare. If you are in the studies even of classics, this will be a very fine way of contrasting Bach and Haudn to each other. This CD contains small rips, just look for getting adding the longer more symphonical works of Ellington as well. These works form the bridge between some roads in the classical music, as Ellington adopted the unresolved nonaccords which were to large extent first used by Claude Debussy. Harmonics based on these accords substance what we use to refer to as "The Jazzy sound" (in harmonics), but was so actually not an invention by jazzmusicians. Later on from the mid 1920ies and at least 30 years onwards, jazz rythms and the jazz sound should inspire many classical composers, among them: Malcolm Arnold, Béla Bartók, Dimitrij Schostakowitsch, Kurt Weill, Ernst Krenek...and the two genres has thereby given very important contributions to each other. Ellington represent in the longer works a greyzone herebetween. Ellington in his larger works still awaits recognition, although he with his nearly 2200 shorter "melodies" already stands as an important and one of the very finest musicmakers of the 20th century. Nobody can play Ellingtons music like the Ellington Band, and a good reason to that is that Ellington was such an outstanding virtuoso writer for brass. He knew exactly what his players could play and how. Other reason to get this disc is hence of course the performance itself, which in Lou Armstrongs case at least belongs to the cream of what he ever did as performer, and Armstrong knew how to blow the trumpet, and here is much cream I promise you. Especially in toodles like "I don't mean a Thing" and "I got it bad (And that ain't good)" he stands out with a virtuosity whose make may the world never see. Also Ellington himself is great on the piano here, and also "I don't mean a Thing" is his best number. As you can guess I love Ellingtons music, and this coupling had my eyes to brim.
Description of Great Summit: The Master Takes
Louis Armstrong and Duke Ellington the most important artists in the history of jazz and the two most influential American musicians of the 20th Century. Because of their centennials (1999 for Duke and 2000 for Louis), their great legacy is celebrating a worldwide rennaissnce. And this month, they are the focus and the continum in Ken Burns' JAZZ, a 20-hour documentary to be broadcast on PBS. In April, 1961, these two giants got togethr in a New York studio for their only encounter. Louis brought his trumpet, voice and the all-stars with Trummy Young and Barney Bigard. Duke brought his pianistic talents and a considerable canon of great compositions. The magic that transpired over one night and the following afternoon was an historic simgularity.This disc contains all 17 master takes that made during those magical sessions, newly remixed from the original tapes with 24-bit/96kHz mastering for maximum fidelity, far superior to the previous mid-price CD issue.
PERSONNEL:
Louis Armstrong (trumpet,vocals), Trummy Young (trombone), Barney Bigard (clarinet), Duke Ellington (piano), Mort Herbert (bass), Danny Barcelona (drums).
For starters, The Great Summit produced not only itself, both with this Master Takes set and the two-CD Complete Sessions, but also a later summit, Count Basie and Ellington's tandem showdown, First Time. On its own, though, The Great Summit needs no later chapters to justify its celebrated standing in jazz annals. This was and is terrifically important music: Ellington is in grand form between recording the Paris Blues soundtrack and cutting ace sessions like Duke Ellington Meets Coleman Hawkins and Duke Ellington and John Coltrane in late 1962. For his part, Armstrong was on leave as well, resting up between ceaseless tours as a bona fide jazz superstar and veteran. So Ellington and Armstrong join hands, backed by the latter's band (Trummy Young on trombone, Barney Bigard on clarinet, Mort Herbert on bass, and Danny Barcelona on drums), tackling 17 of Duke's tunes. Armstrong's sweet, rolling vocal growl gives the tunes endless hugs, just as his band both cuts plump solos and then backs way off so Ellington can throw down alternately swinging and unapologetically modernist solos himself. --Andrew Bartlett
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