Tír Na HiFi

Seán wrote: Some background information:
The orchestra that Ellington assembled for the recording sessions in May 1970 had changed significantly over just a couple of years. The five man trumpet section contained only two stalwarts, his son Mercer (who never played any solos) and the old and rather tried, Cootie Williams. Trumpeter, ‘Cat’ Anderson, who had been with Duke since 1946, found settled employment as a studio musician in LA. Herbie Jones his lead trumpeter and copyist had left too.

In 1968 his great saxophone section started to “fall apart”: his principal clarinet soloist and tenor saxophonist, Jimmy Hamilton, left the band and he was replaced by the rather ordinary tenor player, Harold Ashby, who went on over the next five years to contribute nothing of any value to the orchestra. Fortunately, at that time, Duke had "discovered" the saxophonist and flautist, Norris Turney and so, for the first time, Duke was able to add a new tone colour to his orchestral tonal palate: the flute. This was Turney’s first studio recording session with the orchestra and he later confessed to finding it a rather humbling experience.

The previous year, Duke had had a fierce row with his great (and extremely contrary) trombonist, Lawrence Brown and, as a result, Brown left the orchestra, never to return. Duke and Brown had known each other since 1929. Shortly thereafter Buster Cooper and bass trombonist Chick Connors left too. Duke had lost his entire trombone section. His replacement section saw the welcome return of 'Booty' Wood and the interesting inclusion of the avant garde trombonist, Julian Priester, alas he only stayed with Duke for six months before leaving to join Herbie Hancock’s Fusion Ensemble. The lovely bass player John Lamb was on the session too. Duke was able to welcome the organist, Will Bill Davis, into the studio too.

So the orchestra that Duke assembled had seen huge changes over a very short period, Duke was now 71 years old and was working with an ensemble that was, in part, unfamiliar to him. This must have been a very strange situation for him to find himself in.

fergus wrote:

Seán wrote: Some background information:
The orchestra that Ellington assembled for the recording sessions in May 1970 had changed significantly over just a couple of years. The five man trumpet section contained only two stalwarts, his son Mercer (who never played any solos) and the old and rather tried, Cootie Williams. Trumpeter, ‘Cat’ Anderson, who had been with Duke since 1946, found settled employment as a studio musician in LA. Herbie Jones his lead trumpeter and copyist had left too.

In 1968 his great saxophone section started to “fall apart”: his principal clarinet soloist and tenor saxophonist, Jimmy Hamilton, left the band and he was replaced by the rather ordinary tenor player, Harold Ashby, who went on over the next five years to contribute nothing of any value to the orchestra. Fortunately, at that time, Duke had "discovered" the saxophonist and flautist, Norris Turney and so, for the first time, Duke was able to add a new tone colour to his orchestral tonal palate: the flute. This was Turney’s first studio recording session with the orchestra and he later confessed to finding it a rather humbling experience.

The previous year, Duke had had a fierce row with his great (and extremely contrary) trombonist, Lawrence Brown and, as a result, Brown left the orchestra, never to return. Duke and Brown had known each other since 1929. Shortly thereafter Buster Cooper and bass trombonist Chick Connors left too. Duke had lost his entire trombone section. His replacement section saw the welcome return of 'Booty' Wood and the interesting inclusion of the avant garde trombonist, Julian Priester, alas he only stayed with Duke for six months before leaving to join Herbie Hancock’s Fusion Ensemble. The lovely bass player John Lamb was on the session too. Duke was able to welcome the organist, Will Bill Davis, into the studio too.

So the orchestra that Duke assembled had seen huge changes over a very short period, Duke was now 71 years old and was working with an ensemble that was, in part, unfamiliar to him. This must have been a very strange situation for him to find himself in.

Thank you very much for that Seán; excellent work as ever!

I have very limited experience of listening to Ellington's music but I must admit that I "noticed" the difference with the New Orleans Suite. It definitely had a different feel to it. Now I know why. I would not have said that things were better or worse on this album but they certainly were different.

tony wrote:Many thanks Sean,I hope I like the explanation as just ordered from amazon!

tony wrote:It hasn't arrived yet Sean but when I was in tower records on friday I ended up with more Sonny Rollins. Vol 2 a 4 cd pack including 7 recordings. Listen to one or two already.Great stuff. Anything I have heard so far I find more enjoyable than the stan getz stuff.

tony wrote:Having a listen to Duke at Newport just got past the introduction and on to the first track. Hope this doesn't sound kitsch but the first track is
from 'The Cotton Club period I think. My first 'Jazz' album was the soundtrack from Coppola's film of the same title so looking forward to hearing the real thing. Posted this yonks ago at this stage but I think that movie is very unrated and so is the sound track music.
Thanks again Sean for your selection as it was why I took a chance on it. On tea for two now and it looks like another time gobbling album. i.e. no option but to play the lot. Just a gang of pros at the height of their game.