Duke Ellington: The Complete 1936-1940 Variety, Vocalian & OKeh Small Group Recordings
(Out-of-print)
By Alan Goodman
Hear Ellington At the Beginning of His Creative Peak
Ellington is widely regarded as one of the most important composers in the history of music and many would agree that at the time of these recordings, he was at the beginning of his creative peak developing “The Ellington Effect”. This set gathers together all the small group sessions led by Duke Ellington and his sidemen Rex Stewart, Barney Bigard, Cootie Williams and Johnny Hodges, during the years 1936-40.
Many of these songs — now considered standards and jazz classics — were heard first in these exceptional small group recordings. Juan Tizol’s composition “Caravan” from a Barney Bigard session; Cootie Williams’ “Echoes of Harlem;” vocal versions by the forgotten Mary McHugh on “Lost In Meditation” and “Prelude To A Kiss;” Rex Stewart’s peerless cornet conceptions on “Rexatious” and “The Back Room Romp.” And the Johnny Hodges masterpieces alone consist of “Blue Reverie,” “Jeep’s Blues,” “The Jeep Is Jumpin’,” a trio side with Duke and bassist Billy Taylor on “Finesse” and one of the most plaintive of these Hodges releases, “Wanderlust.”
These songs will be played again and again through the ages. But these records stand alone.
The set also includes small group sessions led by Ellington during this period and a special bonus session recorded a few years earlier; Ellington’s piano solos; and the duet sides with bassist Jimmie Blanton. There is also the Gotham Stompers session that comprises both the Ellington band and the Chick Webb band with Chick at the drums. As an extra special bonus, Duke Ellington collector Steven Lasker included his own, rare treasure: a rehearsal disc of “Echoes of Harlem.”
All known alternate takes are included here as well, some of which only came out on short-lived bootleg LPs in the 1960s and 1970s. There are 173 tracks in all with rare photographs and a complete, updated discography.
Discography
For the purposes of this discography, only the first issue number of each matrix is listed. All first issues are American releases unless noted as (Au) for Australia, (E) for England, (F) for France, (It) for Italy or (Sd) for Sweden.
78 label abbreviations: Br for Brunswick, Col for Columbia, Mas for Master, OK for OKeh, Vri for Variety, Voc for Vocalion. LP abbreviations are shown at the end of this discography in the album index.
The arrangers for these sessions are discussed within the text.
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(A) DUKE ELLINGTON’S SEXTET: Rex Stewart (cor), Johnny Hodges (ss), Harry Carney (bari), Duke Ellington (p), Wellman Braud, Billy Taylor (b).
NYC, March 5-6, 1935 (11:00pm-5:30am)
B16975-2 Tough Truckin’ Col 37297
B16975-1 Tough Truckin’ Raretone (It) RTE 23001 (LP)
B16976-2 Indigo Echoes Col 37297
B16976-1 Indigo Echoes Blu-Disc T1003 (LP)
Note: The original title for Indigo Echoes was Indigo Echo, and was changed in 1947 when Columbia 37297 was released.
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(B) REX STEWART AND HIS 52nd STREET STOMPERS: Rex Stewart (cor), Lawrence Brown (tb), Johnny Hodges (ss, as), Harry Carney (cl, bari), Ceele Burke (g, stg), Billy Taylor (b), Sonny Greer (d).
Recordings Incorporated, Hollywood, December 16, 1936
B 4369-B Rexatious R/V 1001 (CD)
B 4369-A Rexatious Vri 517
B 4370-B Lazy Man’s Shuffle –
B 4370-A Lazy Man’s Shuffle CBS (E) M-52628 (LP)
Note: The Variety artist card lists Rexatious as Rexations.
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(C) BARNEY BIGARD AND HIS JAZZOPATORS: Cootie Williams (tp), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d).
Associated Cinema Studios, Hollywood, December 19, 1936
L-0371-1 Clouds In My Heart UTD 2004 (LP)
L-0371-2 Clouds In My Heart Vri 525
L-0372-1 Frolic Sam UTD 2004 (LP)
L-0372-2 Frolic Sam Vri 525
L-0373-1 Caravan Vri 515
L-0373-2 Caravan –
L-0374-1 Stompy Jones –
L-0374-2 Stompy Jones –
Note: Omit Carney on Clouds in my Heart and Tizol from Stompy Jones.
When first recorded on May 8, 1932, Clouds in my Heart was titled Harlem Romance; According to the Variety ledgers Clouds in my Heart was originally titled Never Again and Caravan as Caravan of Love.
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(D) DUKE ELLINGTON: piano solos.
Hollywood, December 21, 1936
L-0377-1 Mood Indigo / Solitude Mas 102
L-0378-1 Sophisticated Lady / In A Sentimental Mood –
Note: The above sequence of tunes reflect what is shown on the label. The actual sequence for L-0377 is Mood Indigo / Solitude / Mood Indigo. The sequence for L-0378 begins with a short introduction of Sophisticated Lady into In a Sentimental Mood then the full Sophisticated Lady.
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(E) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Joe Nanton (tb), Johnny Hodges (ss, as), Harry Carney (bari), Duke Ellington (p), Hayes Alvis (b), Sonny Greer (d).
NYC, March 8, 1937 (8:00pm-1:40am)
M 185-2 I Can’t Believe That
You’re In Love With Me UTD 2002 (LP)
M 185-1 I Can’t Believe That
You’re In Love With Me Vri 555
M 186-2 Downtown Uproar UTD 2002 (LP)
M 186-1 Downtown Uproar Vri 527
M 187-2 Digga Digga Do CBS (F) 88185 (LP)
M 187-1 Digga Digga Do Vri 555
M 188-2 Blue Reverie Vri 527
M 188-1 Blue Reverie CBS (F) 88185 (LP)
M 189-2 Tiger Rag FDC (It) 1022 (LP)
M 189-1 Tiger Rag Tax (Sd) M-8011 (LP)
Note: The alternate title Harlam (sic) Uproar is shown on the metal part for Downtown Uproar. The vocal interjection on Downtown Uproar is supplied by Jerry Rhea.
There are several variants on the spelling of Digga Digga Do.
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(F) THE GOTHAM STOMPERS: Cootie Williams (tp), Sandy Williams (tb), Barney Bigard (cl, ts), Johnny Hodges (as), Harry Carney (bari), Tommy Fulford (p), Bernard Addison (g), Billy Taylor (b), Chick Webb (d), Ivie Anderson (vcl), Wayman Carver (arr).
NYC, March 25, 1937 (10:00am-2:00pm)
M 301-1 My Honey’s Lovin’ Arms (IA-vcl) Vri 629
M 302-2 Did Anyone Ever Tell You? (IA-vcl) Meritt 25 (LP)
M 302-1 Did Anyone Ever Tell You? (IA-vcl) Vri 541
M 303-1 Alabamy Home Vri 629
M 304-1 Where Are You ? (IA-vcl) Vri 541
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(G) BARNEY BIGARD AND HIS JAZZOPATORS: Rex Stewart (cor), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
NYC, April 29, 1937 (2:15pm start)
M 433-2 Lament For A Lost Love Vri 564
(originally released as Solace)
M 433-1 Lament For A Lost Love Blu-Disc T1003 (LP)
M 434-2 Four And One-Half Street –
M 434-1 Four And One-Half Street Vri 564
M 435-2 Demi-tasse Blu-Disc T1003 (LP)
M 435-1 Demi-tasse Vri 655
M 436-2 Jazz a la Carte –
M 436-1 Jazz a la Carte Blu-Disc T1003 (LP)
Note: The alternate title Ev’ah Day is shown on the metal part for Demi-Tasse as is Sauce for the Goose for Jazz a la Carte.
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(H) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp, vcl), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Hayes Alvis (b), Sonny Greer (d), Buddy Clark (vcl).
NYC, May 20, 1937 (2:00-5:30pm)
21186-2 Foolin’ Myself (BC-vcl) Raretone (It) RTE 23005 (LP)
21186-1 Foolin’ Myself (BC-vcl) Vri 576
21187-2 A Sailboat In The Moonlight (BC-vcl) Raretone (It) RTE 23005 (LP)
21187-1 A Sailboat In The Moonlight (BC-vcl) Vri 586
21188-2 You’ll Never Go To Heaven
(If You Break My Heart) (BC-vcl) Vri 576
21188-1 You’ll Never Go To Heaven
(If You Break My Heart) (BC-vcl) previously unissued
21189-3 Peckin’ (CW & band-vcl) Raretone (It) RTE 23005 (LP)
21189-2 Peckin’ (CW & band-vcl) –
21189-1 Peckin’ (CW & band-vcl) FDC (It) 1022 (LP)
Note: Omit Ellington from 21188-2 and Hardwick from 21188 and 21189. This session was recorded for ARC’s dime store labels and later transferred to Variety.
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(I) BARNEY BIGARD AND HIS JAZZOPATORS: Rex Stewart (cor), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Charlie Barnet -1 (maracas), Sonny Greer (d), Sue Mitchell (vcl).
NYC, June 16, 1937 (3:00-8:20pm)
M 525-2 Get It Southern Style (SM-vcl) Blu-Disc T1003 (LP)
M 525-1 Get It Southern Style (SM-vcl) Vri 596
M 526-2 Moonlight Fiesta -1 Vri 626
M 526-1 Moonlight Fiesta -1 CBS (F) 88137 (LP)
M 527-2 Sponge Cake And Spinach Blu-Disc T1003 (LP)
M 527-1 Sponge Cake And Spinach Vri 626
M 528-2 If You’re Ever In
My Arms Again (SM-vcl) Blu-Disc T1003 (LP)
M 528-1 If You’re Ever In
My Arms Again (SM-vcl) Vri 596
Note: The alternate title Swing Alero is shown on the metal part for Moonlight Fiesta. It earlier had been recorded for Brunswick as Porto Rican Chaos by Duke Ellington and his Famous Orchestra.
Matrix M 526-1 is misidentified on CBS 88137 as B16974-2 from March 5, 1935, which is the big band version of Porto Rican Chaos.
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(J) REX STEWART AND HIS 52nd STREET STOMPERS: Rex Stewart (cor), Freddy Jenkins (tp) -1, Johnny Hodges (cl, as), Harry Carney (bari), Duke Ellington (p), Brick Fleagle (g), Hayes Alvis (b), Jack Maisel (d).
NYC, July 7, 1937 (midnight-5am)
M 549-2 The Back Room Romp
(A Contrapuntal Stomp) -1 CBS Realm (E) M-52628 (LP)
M 549-1 The Back Room Romp
(A Contrapuntal Stomp) -1 Vri 618
M 550-2 Love In My Heart CBS (F) 88210 (LP)
M 550-1 Love In My Heart Vri 664
(originally released as Swing Baby Swing)
M 551-2 Sugar Hill Shim Sham CBS Realm (E) M-52628 (LP)
M 551-1 Sugar Hill Shim Sham Vri 664
M 552-3 Tea And Trumpets CBS Realm (E) M-52628 (LP)
M 552-2 Tea And Trumpets R/V 1001 (CD)
M 552-1 Tea And Trumpets Vri 618
Note: The ledgers and metal part show the alternate title The Back Room Stomp for The Back Room Romp. The ledgers also show the alternate title You ain’t in Harlem Now for Sugar Hill Shim Sham and Trumpetology for Tea and Trumpets.
Matrix M 552-3 is misidentified as M 552-2 on the CBS Realm LP.
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(K) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Juan Tizol (vtb), Barney Bigard (cl, ts), Otto Hardwick (ss, as), Harry Carney (as, bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Jerry Kruger (vcl).
NYC, October 26, 1937 (2:30-7:20pm)
M 669-2 Jubilesta Voc 3922
M 670-1 Watchin’ (JK-vcl) Voc 3890
M 671-1 Pigeons And Peppers Voc 3922
M 672-1 I Can’t Give You Anything But Love Voc 3890
Note: Matrix 669 was originally recorded on August 5, 1937 by Charlie Barnet as Emperor Jones. The full Ellington Orchestra then recorded it on September 20, 1937 as an untitled piece which was briefly changed to Hey Child which was in turn changed to Emperor Jones as is shown in the ledgers. When this master was released in 1948 on Special Editions 5007-S it was re-titled Jubilesta.
Piano is not heard on Pigeons and Peppers which was originally Piggins & Peppers in the ledgers.
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(L) BARNEY BIGARD AND HIS ORCHESTRA: Rex Stewart (cor), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
NYC, January 19, 1938 (10:00am start)
M 724-1 Drummer’s Delight Voc 3985
M 725-2 If I Thought You Cared Blu-Disc T1003 (LP)
M 725-1 If I Thought You Cared Voc 3985
Note: The alternate title Jump Barney Jump is shown on the metal part for Drummer’s Delight. The ledgers also show the alternate title Imagination for If I Thought You Cared.
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(M) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Joe Nanton (tb), Barney Bigard (cl, ts), Johnny Hodges (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
same date as (L).
M 726-2 Lost In Meditation Voc 3960
(originally released as Have a Heart)
M 726-1 Have A Heart CBS (F) 88220 (LP)
Note: The ledgers show the original title as What a Man.
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(N) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Mary McHugh (vcl).
same date as (L).
M 727-2 My Day (MM-vcl) Voc 3948
M 728-1 Silvery Moon And Golden Sands (MM-vcl) –
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(M) COOTIE WILLIAMS AND HIS RUG CUTTERS: Same as matrix M 726 except omit Guy and add unknown xylophone and Joe Nanton in rehearsal only.
same date as (L) (11:30pm finish).
M 729 Echoes Of Harlem (rehearsal) previously unissued
M 729-2 Echoes Of Harlem Voc 3960
M 729-1 Echoes Of Harlem CBS (F) 88220 (LP)
Note: The engineer’s log shows the alternate title Cootie Concerto #2.
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(O) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Mary McHugh (vcl).
NYC, March 28, 1938 (2-6:00pm)
M 793-1 Jeep’s Blues Voc 4115B
M 794-1 (What Would You Do) If
You Were In My Place (MM-vcl) Voc 4046
M 795-1 I Let A Song Go Out Of My Heart (MM-vcl) –
M 796-2 Rendezvous With Rhythm Voc 4115A
Note: According to the Vocalion ledgers Jeep’s blues was originally titled Johnny’s Blues
Vocalion 4115 is the only 78 found in this listing that bears side designations.
Some 78s were pressed from production take M796-1A. Such pressings are in all cases dubs of -2.
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(P) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Joe Nanton (tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Jerry Kruger (vcl), Jerry Blake (arr).
NYC, April 4, 1938 (2:30-6:40pm)
M 801-1 A Lesson In C (JK-vcl) (JB-arr) Voc 4086
M 802-1 Swingtime In Honolulu (JK-vcl) Voc 4061
M 803-1 Carnival In Caroline (JK-vcl) –
M 804-1 Ol’ Man River (JK-vcl) Voc 4086
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(Q) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (ss, as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Mary McHugh (vcl).
NYC, June 22, 1938 (2-6:45pm)
M 852-2 You Walked Out Of The Picture (MM-vcl) Voc 4213
M 852-1 You Walked Out Of The Picture (MM-vcl) Blu-Disc T1003 (LP)
M 853-1 Pyramid Voc 4242
M 854-1 Empty Ballroom Blues Voc 4213
M 855-2 Lost In Meditation (MM-vcl) Voc 4242
M 855-1 Lost In Meditation (MM-vcl) Raretone (It) RTE 23005 (LP)
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(R) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (ss, as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Leon LaFell (vcl).
NYC, August 1, 1938 (3:45-6:20pm)
M 872-2 A Blues Serenade (LL-vcl) Voc 4309
M 873-1 Love In Swingtime (LL-vcl) Voc 4335
M 874-1 Swingin’ In The Dell –
M 875-1 Jitterbug’s Lullaby Voc 4309
Note: A test pressing of Jitterbug’s Lullaby shows the original title as Rabbit’s Blues.
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(S) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Scat Powell (vcl).
NYC, August 2, 1938 (2:00 start)
M 876-1 Chasin’ Chippies Voc 4425
M 877-1 Blue Is The Evening (SP-vcl) Voc 4324
M 878-2 Sharpie (SP-vcl) –
M 879-1 Swing Pan Alley Voc 4425
Note: The alternate title Pickin’ the Blues is shown on the metal part for Swing Pan Alley.
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(T) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Mary McHugh (vcl).
NYC, August 24, 1938 (7:00pm-midnight)
M 887-1 Prelude To A Kiss (MM-vcl) Voc 4386
M 888-1 There’s Something About
An Old Love (MM-vcl) Voc 4351
M 889-1 The Jeep Is Jumpin’ Voc 4386
M 890-1 Krum Elbow Blues Voc 4351
Note: There are two alternate titles on the metal part for The Jeep is Jumpin’: Krum Elbow and Hop, Skip & Jump.
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(U) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (ss, as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d).
NYC, December 20, 1938
M 950-2 I’m In Another World Voc 4622
M 951-1 Hodge Podge Voc 4573
M 952-1 Dancing On The Stars Voc 4622
M 953-1 Wanderlust Voc 4573
Note: Ledgers show the alternate title Sexxita and the engineer’s log Sexxitta for I’m in Another World.
Hodge Podge was originally titled Stomp according to the original score.
Dancing on the Stars was copyrighted and released on sheet music as I’m Riding on the Moon and Dancing on the Stars.
Katie Blues is shown on the metal part for Wanderlust.
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(V) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Otto Hardwick (cl, as, bass sax), Harry Carney (cl, bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d).
NYC, December 21, 1938
M 954-1 Delta Mood Voc 4574
M 955-1 The Boys From Harlem –
M 956-2 Mobile Blues Voc 4636
M 956-1 Mobile Blues Epic LN 3237 (LP)
M 957-1 Gal-avantin’ Voc 4636
Note: The alternate title Cat Rag is shown on the metal part for The Boys from Harlem.
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(W) DUKE ELLINGTON AND HIS ORCHESTRA: Wallace Jones (tp), Lawrence Brown (tb), Barney Bigard (cl), Harry Carney (b-cl), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
NYC, December 22, 1938
M 958-2 Blue Light Br 8297
M 958-1 Blue Light Col (Au) DO-2165
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(X) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Jean Eldridge (vcl), Billy Strayhorn (arr).
NYC, February 27, 1939 (4:45-7:05pm)
M 974-1 Like A Ship In The Night (JE-vcl) (BS-arr) Voc 4710
M 975-1 Mississippi Dreamboat (JE-vcl) (BS-arr) Voc 4849
M 976-1 Swingin’ On The Campus -1 (BS-arr) Voc 4710
M 977-1 Dooji Wooji -1 Voc 4849
-1 omit Brown.
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(Y) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp, vcl), Barney Bigard (cl, ts), Johnny Hodges (as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d).
NYC, February 28, 1939 (8:10pm finish)
M 982-1 Beautiful Romance Voc 5411
M 983-1 Boudoir Benny Voc 4726
M 984-2 Ain’t The Gravy Good ? (CW-vcl) Blu-Disc T 1003 (LP)
M 984-1 Ain’t The Gravy Good ? (CW-vcl) Voc 4726
M 985-1 She’s Gone (CW-vcl) Voc 5411
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(Z) DUKE ELLINGTON: piano solos.
NYC, March 8, 1939
MW 990-1 Just Good Fun FDC (It) 1003 (LP)
MW 991-1 Informal Blues –
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(AA) REX STEWART AND HIS ORCHESTRA: Rex Stewart (cor), Louis Bacon (tp, vcl), Joe Nanton (tb), Barney Bigard (cl), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Brick Fleagle (arr).
NYC, March 20, 1939 (3-5:00pm)
WM 994-1 San Juan Hill (BF-arr) Voc 5510
WM 995-1A I’ll Come Back For More (LB-vcl) -1 Voc 5448
WM 996-1 “Fat Stuff” Serenade –
-1 omit Nanton.
Note: The engineer’s log shows the alternate title Fat Stuff Swing for “Fat Stuff” Serenade.
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(BB) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (ss, as), Harry Carney (cl, bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d), Billy Strayhorn (arr).
NYC, March 21, 1939 (2:45-4:45pm)
WM 1001-2 Savoy Strut (BS-arr) CBS (F) 88518 (LP)
WM 1001-1 Savoy Strut (BS-arr) Voc 5170
WM 1002-1 Rent Party Blues Voc 5100
WM 1003-1 Dance Of The Goon Voc 4941
WM 1004-1 Good Gal Blues Voc 5170
Note: The alternate title Anything You Want is shown on the metal part for
Savoy Strut. The engineer’s log states “no title (hep cat)” for Dance of the Goon.
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(CC) DUKE ELLINGTON (p), JOHNNY HODGES (as), BILLY TAYLOR (b).
Same date as (BB) (4:45-5:30pm).
WM 1005-1 Finesse Col CL 663 (LP)
Note: Finesse is also known as Night Wind.
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(DD) JOHNNY HODGES AND HIS ORCHESTRA: Same as (BB) except Hodges (as) and Carney (bari) only.
NYC, June 2, 1939 (2:30-6:00pm)
WM 1026-A Kitchen Mechanic’s Day Voc 4917
WM 1027-A My Heart Jumped Over The Moon Voc 5330
WM 1028-A You Can Count On Me (BS-arr) Voc 4917
WM 1029-A Home Town Blues Voc 4941
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(EE) THE QUINTONES WITH BARNEY BIGARD AND HIS ORCHESTRA -1 / BARNEY BIGARD AND HIS ORCHESTRA -2: Rex Stewart (cor), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), The Quintones (Irving Deutsch, Murray Deutsch, Lloyd Hundling, Al Lane and Patti Davis) (vcl).
NYC, June 8, 1939 (2:30 start)
WM 1034-A Utt-Da-Zay (The Tailor Song) (Q-vcl) -1 Voc 4928
WM 1035-A Chew-Chew-Chew
(Chew Your Bubble Gum) (Q-vcl) -1 –
WM 1036-A Barney Goin’ Easy -2 Voc 5378
WM 1037-A Just Another Dream -2 OK 5663
Note: The alternate title Comme Ci is shown on the metal part for Just Another Dream.
Barney Goin’ Easy is an instrumental version of I’m Checkin’ Out Goom-Bye.
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(FF) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp), Barney Bigard (ts), Johnny Hodges (as), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d).
NYC, June 21, 1939 (3:30-4-5) (sic)
WM 1042-A Night Song Voc 4958
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(GG) COOTIE WILLIAMS AND HIS RUG CUTTERS: Same as (FF) .
NYC, June 22, 1939 (2:45-4:30pm)
WM 1043-A Blues A Poppin’ -1 Voc 5618
WM 1044-A Top And Bottom OK 6336
WM 1045-A Black Beauty Voc 4958
-1 Billy Strayhorn (p) replaces Ellington.
Note: In 1928 when first recorded Black Beauty was known as Fire Water.
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(HH) JOHNNY HODGES AND HIS ORCHESTRA: Cootie Williams (tp), Lawrence Brown (tb), Johnny Hodges (as), Harry Carney (bari), Billy Strayhorn (p) -1 (arr), Duke Ellington (p) -2, Billy Taylor (b), Sonny Greer (d).
NYC, September 1, 1939 (2:05-4:35pm)
WM 1072-A The Rabbit’s Jump (?BS-arr) -1 Voc 5100
WM 1073-A Moon Romance -1 OK 5940
WM 1074-A Truly Wonderful -2 Voc 5330
WM 1075-A Dream Blues -2 (?BS-arr) Voc 5353
Note: The artist’s contract card for Johnny Hodges shows matrix WM 1072 as What Do You Call It? and WM 1075 as Cream Blues.
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(II) JOHNNY HODGES AND HIS ORCHESTRA: Same as (HH) except Hodges (ss, as).
Chicago, October 14, 1939
WM 1096-A Skunk Hollow Blues (BS-arr) -1 Voc 5533
WM 1097-A I Know What You Do (BS-arr) -2 Voc 5353
WM 1098-A Your Love Has Faded (BS-arr) -2 OK 5940
WM 1099-A Tired Socks -1 Voc 5533
Note: Master numbers WM 1096 through WM 1099 were originally assigned master numbers WC 2807 thru WC 2810 inclusively.
The sheet music for Skunk Hollow Blues was originally titled Skunk Hollow.
The manuscript score in the Billy Strayhorn collection bears the title I Know What You Know (I Know What You Do).
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(JJ) DUKE ELLINGTON: piano solo.
Same date as (II).
WM 1100-A Blues Raretone (It) RTE 23004 (LP)
Note: Matrix WM 1100 was originally WC 2811-A.
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(KK) BARNEY BIGARD AND HIS ORCHESTRA: Rex Stewart (cor), Barney Bigard (cl), Harry Carney (bari), Duke Ellington (p), Billy Taylor (b), Sonny Greer (d).
Chicago, October 16, 1939
WM 1105-A Early Mornin’ Voc 5422
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(LL) BARNEY BIGARD AND HIS ORCHESTRA: Rex Stewart (cor), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Billy Strayhorn (p, arr), Jimmie Blanton (b), Sonny Greer (d).
Chicago, November 22, 1939
WM 1117-A Minuet In Blues (BS-arr) Voc 5378
WM 1118-A Lost In Two Flats (BS-arr) Voc 5422
WM 1119-A Honey Hush OK 5663
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(MM) DUKE ELLINGTON AND JIMMY BLANTON: piano and bass.
same date as (LL).
WM 1120-A Blues Col 35322
WM 1121-A Plucked Again –
Note: Although the label on this and many other releases spell Blanton’s name as “Jimmy”, copies of his autograph are all signed as “Jimmie.”
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(NN) BARNEY BIGARD AND HIS ORCHESTRA: Rex Stewart (cor), Juan Tizol (vtb), Barney Bigard (cl), Harry Carney (bari), Billy Strayhorn (p, arr), Jimmie Blanton (b), Sonny Greer (d).
Chicago, February 14, 1940 (4:20-5:15 pm)
WM 1139-A Pelican Drag Epic LN 3237 (LP)
WM 1140-A Tapioca (BS-arr) –
Note: The artist contract card for Barney Bigard shows Pelican Drag as The Gasser Blues.
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(OO) BARNEY BIGARD AND HIS ORCHESTRA: Same as (NN).
Chicago, February 15, 1940 (12:15-1:30 am)
WM 1141-A Mardi Gras Madness Voc 5595
WM 1142-A Watch The Birdie (BS-arr) –
Note: The metal parts show this and the next session as from February 14th. However, the 15th is correct according to the original recording ledger which give the time of day when these sessions took place.
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(PP) COOTIE WILLIAMS AND HIS RUG CUTTERS: Cootie Williams (tp, vcl), Barney Bigard (cl, ts), Johnny Hodges (as), Harry Carney (bari), Duke Ellington (p), Jimmie Blanton (b), Sonny Greer (d), Billy Strayhorn (arr). same date as (OO) (1:30-4:00 am)
WM 1143-A Black Butterfly (BS-arr) Voc 5618
WM 1144-A Dry Long So (CW-vcl) OK 5690
WM 1145-A Toasted Pickle OK 6336
WM 1146-A Give It Up -1 OK 5690
-1 Billy Strayhorn (p) replaces Ellington.
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The original recording supervisors for these sessions include Harry Grey (A), Irving Mills (B), (C) and (D); Helen Oakley (E), (F), (G), (I) and (J) and John Scott Trotter (H). It is uncertain who produced the remainder of these sessions although John Hammond is known to have supervised some of them.
Album Index
78 album
Columbia C-127 (37297) Ellington Special
LP
Blu-Disc T1003 Unheard and Seldom Heard Ellington, Vol.2
CBS (F) 88137 The Complete Duke Ellington Vol. 6 1933-1936
CBS (F) 88185 The Complete Duke Ellington Vol 8 1937
CBS (F) 88210 The Complete Duke Ellington Vol 9 1937
CBS (F) 88220 The Complete Duke Ellington Vol 10 1937-1938
CBS (F) 88518 The Complete Duke Ellington Vol. 10 1938-1939
CBS Realm Jazz M-52628 Rex Stewart Memorial
Columbia CL 663 Blue Light
Epic LN 3237 Ellington Sidekicks
For Discriminate Collector (It) 1003 Duke’s Rare and Unissued Masters
For Discriminate Collector (It) 1022 Duke’s Unissued Masters Vol.2
Meritt 25 Jazz Potpurri Vol.3
Raretone (It) RTE 23001 A Study in Ellingtonia – Duke Ellington
Raretone (It) RTE 23004 A Study in Ellingtonia – Duke Ellington 1939
Raretone (It) RTE 23005 A Study in Ellingtonia – Johnny Hodges
Tax (S) M-8011 Cootie and his Rug Cutters 1937-1940
Up To Date 2002 The Studio Recordings Volume One
Up To Date 2004 The Studio Recordings Volume Three
CD
R/V 1001 Stew Burp: Small Groups and Big Band 1936-1959
Release Dates of Original Issues
78 rpm singles:
Variety (all catalog numbers were prefixed by “VA”) 515: 4/1/37; 517, 527: 4/10/37; 555: 5/14/37; 564: 5/28/37; 576: 6/11/37; 586: 6/25/37; 591, 596: 7/9/37; 618: 8/6/37; 626: 8/20/37; 655: 10/1/37; 664: 10/15/37. Vocalion (all catalog numbers through v4958 were prefixed by “v”): 3890: 12/20/37; 3922: 1/20/38; 3948: 2/10/38; 3960: 2/20/38; 3985: 3/10/38; 4046: 4/21/38; 4061: 4/28/38; 4086: 5/12/38; 4115: 5/26/38; 4213: 7/14/38; 4242: 7/28/38; 4309: 8/25/38; 4324: 9/1/38; 4335: 9/8/38; 4351: 9/15/38; 4386: 9/29/38; 4425: 10/20/38; 4573, 4574: 1/12/39; 4622: 2/9/39; 4636: 2/16/39; 4710: 3/13/39; 4726: 3/30/39; 4849: 5/25/39; 4917: 6/29/39; 4928: 7/16/39; 4941: 7/13/39; 4958: 7/20/39; 5100: 9/29/39; 5170: 11/2/39; 5330: 1/25/40; 5353: 2/8/40; 5378: 2/23/40; 5411: 3/14/40: 5510: 5/9/40; 5533: 5/23/40; 5595: 6/21/40; 5618: 7/5/40. OKeh: 5663: 7/26/40; 5690: 8/9/40; 5940: 12/20/40; 6336: 8/8/41. Master MA 102: 4/1/37; Brunswick m8297: 1/19/39; Columbia (Au) DO-2165: 1/21/41; Columbia 37297 (disc two of album C-127): 6/23/47.
33 rpm LPs:
Blu-Disc T1003: ca. August 1979; CBS(F)88185: 1976; 88220: 1977; 88518: 1981; CBS(E)Realm Jazz M-52628: 1969; Columbia CL663: 9/6/55; Epic LN3237: 5/21/56; FDC(It) 1003: ca. 1965; 1022: 1969; Meritt 25: August 1987; Raretone(It)RTE23001: spring 1973; RTE23004, RTE23005: fall 1973; Tax(Sd)m-8011: 1973; Up-to-Date 2002: fall 1980; 2004: August 1981.
CD:
R/V 1001: May 2000.
Produced for release by Scott Wenzel and Steven Lasker
Executive Producer: Michael Cuscuna
24 bit disc to digital transfer and CEDAR restoration: Steven Lasker
Digital editing and CD master preperation: Kurt Lundvall
Original sources provided by Steven Lasker, Michael Brooks and The Institute of Jazz Studies.
Special thanks: Michael Brooks, Wren Troy Brown, Anthony Fountain, Gary Giddins, Jeff Healey, Sjef Hoefsmit, Tad Hershorn, The Institute of Jazz Studies, Brooks Kerr, John Leifert, Dan Morgenstern, Ken Steiner,Yale University Library (Ken Crilly, Suzanne Lovejoy).
This compilation (p) 2006 Sony Music Entertainment Inc./Manufactured by Sony Music Custom Marketing Group, 550 Madison Avenue, New York, NY 10022-3211/”Columbia” and “Sony” Reg. U.S. Patent & TM Office/Marca Registrada/WARNING All Rights Reserved. Unauthorized duplication is a violation of applicable laws.
Producers’ Note:
This set gathers together all the small group sessions led by Duke Ellington and his sidemen Rex Stewart, Barney Bigard, Cootie Williams and Johnny Hodges, during the years 1936-40 for labels now owned by the Sony half of Sony-BMG. Those recorded under Ellington’s leadership include three solo piano sessions, a duet session with Jimmie Blanton, a trio version of Finesse and two takes of Blue Light played by an octet. Two additional sessions are offered as a bonus; one is a 1935 date (session A) played by an Ellington sextet, and the other a March 1937 date (session F) by “The Gotham Stompers” who were drawn from the ranks of the Ellington and Chick Webb orchestras.
Of the small group titles collected here, Johnny Hodges recalled that the engineers would routinely record “four or five takes and keep one or two” (Down Beat, June 7, 1962, p.21). Those that were kept were assigned a take suffix, which could be either a letter (-A or -B) or a number (-1, -2 or -3). That suffixes were assigned on the basis of performance preference rather than recording sequence is supported by two contrasting observations:
1) Examination of the original recorded sequence on 16″ acetate disc safeties and session tape reels from other labels, reveals that the master take is seldom the first but instead usually the last take recorded.
2) Approximately 80% of the takes the American Record Corporation (or ARC, the original parent company of the recordings contained herein) chose for initial release in the years 1932-40, were either the -A or -1 takes.
Therefore, the -A or -1 takes were probably assigned as the first choice at the time of the session, with a -2 or -B take being the second choice and so forth.
Where we able, the producers would opt to present the various takes in the order in which they were originally recorded, but are unable to do so as there is no surviving company file that shows the original recording sequence. It was decided that for the sake of comparison, it would be best if all the takes of a given master were grouped together in descending alphabetical or numberical order. We believe, this approach most closely approximates the original recording sequence, not that we could tell you what that is in any given case.
Session (B) was recorded in Hollywood at Recordings Incorporated which, like ARC, assigned take suffixes according to performance preference. This session is thus also presented with takes in descending alphabetical order. Session (C) was recorded in Hollywood at the Associated Cinema Studios. Not knowing what criteria this studio used when assigning take suffixes, we present the takes from this session in the default mode (ascending numerical order).
All tracks were transferred from master pressings with but six exceptions: the acetate rehearsal disc and five other tracks for which no master pressing could be found (M 302-2, M 725-2, M 726-1, M 729-1, WM 1001-2). The sound quality, therefore, is far below the standard of the rest of this package.
Steven Lasker & Scott Wenzel
