The Complete 1932-1940 Brunswick/Columbia/ Master Recordings of Duke Ellington and His Famous Orchestra
(Out-of-print)
By Alan Goodman
The Definitive Songs. The Definitive Orchestra. And Now…
The DEFINITIVE Edition.
After achieving youthful acclaim in Washington, and making a successful move to New York fronting (at first) small groups, Duke Ellington entered the 1930s with an expanded line-up and an increasingly creative approach to composing. Weekly radio broadcasts and swank guests in the audience spread the word; Hollywood noticed his marquee smile and musical brilliance; and the orchestra began touring extensively, including trips to Europe. His fame and popularity were on the rise.
But more importantly, Ellington entered the ’30s having perfected his method of using the group to experiment with arranging and orchestrating. Ensconced at the Cotton Club in New York at the end of the previous decade, Duke Ellington catered to a lot of musical interests and needs – he played for the dancers, and for the jazz lovers. He relied on ideas from his musicians, and wrote for them as individuals rather than as anonymous section players. With all that work and a line-up of marvelous, distinctive musical voices, Ellington began the most creative period of his life.
“Sophisticated Lady.” “Stormy Weather.” “Solitude.” “In a Sentimental Mood.” “Echoes of Harlem.” “Caravan.” All of them and many more are a part of “The Complete 1932-1940 Brunswick, Columbia, and Master Recordings of Duke Ellington and His Famous Orchestra,” an unprecedented 11-CD set that compiles these recordings for the first, and quite possibly the last, time. There would be many more exceptional compositions in the years following, including his highly regarded suites and longer works, but the scope of our latest, lavish Mosaic collection is the period when Ellington would establish himself as the most important composer ever in jazz.
Musicians Created Their Own Voices, and Interpreted His
“Jazz, if it means anything, means freedom of expression,” he told writer Stanley Dance. And express himself is what he did, through the instruments of stalwarts and newcomers to the orchestra who not only created personality for Duke Ellington’s band – they were, in many instances, standard bearers in their own right for their respective instruments.
Barney Bigard on clarinet and tenor saxophone established links to the past with his New Orleans-style runs, executed with exceptional warmth. Harry Carney was the only important soloist on baritone saxophone for years, and the big bottom his instrument provided brought real gravity to the Ellington sound. The great trumpeter Cootie Williams joined to replace the fallen Bubber Miley, quickly perfecting Miley’s growl and mute techniques while creating his own sound with the open horn. He was a master of establishing mood and emotion.
Lawrence Brown had a ringing tone on trombone, which complemented Joe “Tricky Sam” Nanton’s earthy growl and Juan Tizol’s fat sound. Trumpeter Arthur Whetsel, saxophonist Otto Hardwick, and the inimitable Sonny Greer on drums were all associates from the earliest days in Washington. Ben Webster began perfecting his tenor saxophone style during a brief mid-’30s stint with the band before being offered a permanent position in 1940.
Late in the decade, Ellington discovered Jimmy Blanton, who would revolutionize bass playing with his terrific sense of swing and dead-on intonation before illness led to a tragically early death. And what can be said about Johnny Hodges, the silky smooth alto saxophonist who influenced generations of musicians? He was, in a line-up of superstars, a cut above all.
Ellington made use of them all, for their personal styles as well as for his own unique voicings that placed trombones at the apex of their range and clarinets at the bottom, or by putting unusual notes in the baritone instead of giving the instrument the chord’s dominant tone. His compositions, the unique personal style of his players, his innovative arrangements, and his confidence in his soloists to raise any composition to a new level, combined to provide him with a palette unequaled in music.
The Complete Collection
Our set comprises a massive 11 discs featuring well over 100 Ellington compositions. In addition to the above-named musicians, guest stars Bing Crosby, Ethel Waters and the Mills Brothers make notable appearances. Ellington’s female vocalist Ivie Anderson proves she was tailor-made for the band along with other superb band-mates Freddie Jenkins and Wallace Jones on trumpet, Fred Guy on banjo and guitar, Wellman Braud, Billy Taylor and Hayes Alvis on bass, and the unique cornetist Rex Stewart.
The exclusive Mosaic booklet includes a complete discography of the dates, a revealing essay and track by track analysis by Steven Lasker, and a number of rarely seen photographs.
Discography
This discography is informed by the work of Steven Lasker’s extensive research on Ellington recordings. His sources included the American Record Corporation (ARC) engineer logs, ledger books and Columbia’s matrix cards, which he was able to inspect thanks to the gracious help of Tina McCarthy, the longtime archivist for Columbia and then, Sony Music. More recently, Scott Wenzel conducted a supplemental review of the company files courtesy of Michael Panico of Sony Music.
The attributions of who plays what reed instruments on which sessions aren’t noted in any company file but were made by ear, and are thus not necessarily correct in every instance.
All recordings were issued as DUKE ELLINGTON and his FAMOUS ORCHESTRA, DUKE ELLINGTON & HIS FAMOUS ORCHESTRA, Duke Ellington and his (or His) Famous Orchestra or Duke Ellington and his Orchestra, and released on 10” 78s except where noted. For the purposes of this discography, only the first issue number of each matrix is listed. All are American releases except (Au) for Australia, (E) for England, (F) for France, (G) for Germany, (It) for Italy, (J) for Japan and (Sw) for Switzerland.
Label abbreviations for this set are as follows: BD for Blu-Disc, Br for Brunswick, Col for Columbia, Col Mas for Columbia Masterworks, FDC for For Discriminate Collector, Mas for Master, Par for Parlophone, SE for Special Editions, UTD for Up To Date, Voc for Vocalion and Vri for Variety.
Duke Ellington is believed to be the arranger on all titles except where noted. The start and end times shown here for many of the sessions were found in ARC’s ledger books and engineer’s logs. Recording supervisors (producers) are also mentioned where known.
DISCOGRAPHY
(A) Cootie Williams (tp, vcl), Arthur Whetsel, Freddy Jenkins (tp), Joe Nanton (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (as), Harry Carney (cl, as, bari), Duke Ellington (p, cel), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d, vcl), Ivie Anderson (vcl).
American Record Corporation studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
February 2, 1932, 10:45 a.m. to 12:45 p.m. (B11200)
and 5:10 to 7:20 p.m. (B11204-5)
B 11200-A Moon Over Dixie (SG-vcl) Br 6317
B 11204-A It Don’t Mean A Thing (If It Ain’t
Got That Swing) (IA-vcl) Br 6265
B 11205-B Lazy Rhapsody (CW-vcl) Col 35834
B 11205-A Lazy Rhapsody (CW-vcl) Br 6288
Note: Matrices B11201, B11202 and B11203 are recordings by Singin’ Sam.
Some copies of Columbia 35834 substitute the master take (-A), which is misidentified on the label as a previously unreleased “second master”.
Most copies of Brunswick 6288 show Swannee Rhapsody while others (and these are extremely rare) show Lazy Rhapsody.
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(B) Cootie Williams (tp, vcl), Arthur Whetsel, Freddy Jenkins (tp), Joe Nanton (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d, vib).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
February 4, 1932, unknown start time to 2:50 p.m.
B 11223-B Blue Tune Col C3L-27 (LP)
B 11223-A Blue Tune Br 6288
B 11224-A Baby When You Ain’t There (CW-vcl) Br 6317
Note: A sped-up dubbing of B11224A was released on Columbia 35835, erroneously marked B11224B and incorrectly identified as a previously unreleased “second master.”
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(C) Cootie Williams, Arthur Whetsel, Freddy Jenkins (tp), Joe Nanton (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Harry Carney (cl, as, bari), Duke Ellington (p), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d, vib), Bing Crosby (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
February 11-12, 1932, unknown start time to 5:30 a.m.
BX 11263-B St. Louis Blues (BC-vcl) -1 Br 20105 (12”) (-B released 1932)
BX 11263-A St. Louis Blues (BC-vcl) -1 – (-A released 1936)
BX 11264-B Creole Love Call Retrieval (H) 79053 (CD)
BX 11264-A Creole Love Call Br 20105 (12”)
B 11265-A Rose Room (In Sunny Roseland) Br 6265
-1 as BING CROSBY with Duke Ellington and His Famous Orchestra.
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(D) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick, Harry Carney (as), Duke Ellington (p), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d, vibes).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Victor Young
May 16, 1932, 3:00 to 6:55 p.m.
B 11839-A Blue Harlem Br 6374
B 11840-A The Sheik Of Araby Br 6336
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(E) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Otto Hardwick, Johnny Hodges, Harry Carney (as), Barney Bigard (ts), Duke Ellington (p), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d, vib).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
May 17, 1932, 1:30 p.m. to 5:10 p.m.
B 11850-A Swampy River Br 6355
B 11851-A Fast And Furious –
B 11852-B Best Wishes Br 6374
B 11852-A Best Wishes Col 35836
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(F) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d, vib).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
May 18, 1932, 2:00 p.m. to 6:15 p.m.
B 11865-B Slippery Horn Col 37299
B 11866-B Blue Ramble Col 35834
B 11866-A Blue Ramble Br 6336
B 11867-B Clouds In My Heart Col 37299
B 11867-A Clouds In My Heart previously unissued
Note: On Slippery Horn, all copies of Columbia 37299 are B11865-B regardless of the take identification stamped in the 78. This fact is established by reference to the original metal part, which is clearly identified as take B.
Some copies of Columbia 35834 substitute the master take (-A), which is misidentified on the label as a previously unreleased “second master”.
________________________________________________________________________(G) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Harry Carney (as), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
September 19-20, 1932, 8:15 p.m. to 1:40 a.m.
B 12332-C Blue Mood GAPS 040 (LP)
B 12332-B Blue Mood Raretone (It) RTE 23001 (LP)
B 12332-A Blue Mood Col 37298
B 12333-B Ducky Wucky Col 35683
B 12333-A Ducky Wucky Br 6432
Note: The Raretown LP misidentifies B12332-B as -C and the GAPS LP misidentifies B12332-C as -B.
Some copies of Columbia 35683 substitute the master take (-A), which is misidentified on the label as a previously unreleased “second master”.
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(H) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (ss, as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (bjo), Wellman Braud (b), Sonny Greer (d), Benny Carter (arr).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
September 21-22, 1932, 9:30 p.m. to 12:30 a.m.
B 12343-B Jazz Cocktail (BC-arr) GAPS 040 (LP)
B 12343-A Jazz Cocktail (BC-arr) Br 6404
B 12344-B Lightnin’ Col 35835
B 12344-A Lightnin’ Br 6404
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(I) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d, vib), Ray Mitchell (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
September 22, 1932, 11:00 a.m. to 1:40 p.m.
B 12345-B Stars (RM-vcl) CBS (F) 88035 (LP)
B 12345-A Stars (RM-vcl) Br (F) (G) A 9331
B 12346-B Swing Low Col 35683
B 12346-A Swing Low Br 6432
Some copies of Columbia 35683 substitute the master take (-A), which is misidentified on the label as a previously unreleased “second master”.
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(J) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp) Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d), Adelaide Hall, Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Victor Young
December 21-22, 1932, 8:00 p.m. to 2:10 a.m.
B 12773-B I Must Have That Man! (AH-vcl) -1 BD T1001 (LP)
B 12773-A I Must Have That Man! (AH-vcl) -1 –
B 12774-B Baby! (AH-vcl) -1 –
B 12774-A Baby! (AH-vcl) -1 Col Mas OL 6770 (LP)
B 12775-B Any Time, Any Day, Any Where Lucky (J) 5036
B 12775-A Any Time, Any Day, Any Where Br 6467
B 12776-B Delta Bound (IA-vcl) BD T1001 (LP)
B 12776-A Delta Bound (IA-vcl) Col 37298
-1 as Adelaide Hall with Duke Ellington and His Famous Orchestra.
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(K) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d, vibes), Mills Brothers (Herbert, Harry, Donald) (vcl) and John Mills, Jr. (g, vcl), Ethel Waters (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Victor Young
December 22, 1932, 2:00 p.m. to 5:10 p.m. (B12781)
and 8:00 p.m. to midnight (B12783-4)
B 12781-B Diga Diga Do (MB-vcl) -1 Col CK-66372 (CD)
B 12781-A Diga Diga Do (MB-vcl) -1 Br 6519
omit Brown and Hodges.
B 12783-B I Can’t Give You Anything
But Love (EW-vcl) -2 Col CK-66372 (CD)
B 12783-A I Can’t Give You Anything
But Love (EW-vcl) -2 Br 6517
omit Guy.
B 12784-C Porgy (EW-vcl) -2 previously unissued
B 12784-B Porgy (EW-vcl) -2 –
B 12784-A Porgy (EW-vcl) -2 Br 6521
-1 as MILLS BROTHERS with DUKE ELLINGTON and His Famous Orchestra.
-2 as ETHEL WATERS with DUKE ELLINGTON and His Famous Orchestra.
Note: Matrix B12782 are by the Mills Brothers only.
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(L) Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d), Adelaide Hall (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Victor Young
January 7, 1933, 12:30 to 5:40 p.m.
B 12773-D I Must Have That Man! (AH-vcl) -1 Col Mas OL 6770 (LP)
B 12773-C I Must Have That Man! (AH-vcl) -1 Br 6518
B 12774-D Baby! (AH-vcl) -1 BD T1001 (LP)
B 12774-C Baby! (AH-vcl) -1 Br 6518
B 12855-B Eerie Moan Lucky (J) 5036
B 12855-A Eerie Moan Br 6467
-1 as ADELAIDE HALL with DUKE ELLINGTON and His Famous Orchestra.
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(M) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d, vib), Ivie Anderson (vcl).
Columbia studios, 55 Fifth Ave., NYC
Supervised possibly by Irving Mills
February 15, 1933
W 265049-2 Merry-Go-Round Col (J) J 1681
W 265049-3 Merry-Go-Round Col (E) CB 591
W 265050-1 Sophisticated Lady Col (J) J 1681
W 265050-2 Sophisticated Lady Col (E) CB 591
W 265051-2 I’ve Got The World On A String (IA-vcl) Col (E) CB 625
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(N) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Harry Carney (as), Otto Hardwick (bass sax), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d, vib).
Columbia studios, 55 Fifth Ave., NYC
Supervised possibly by Irving Mills
February 16, 1933
W 265052-3 Down A Carolina Lane Col (E) CB 625
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(O) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Otto Hardwick (as), Harry Carney (cl, as, bari), Duke Ellington (p), Fred Guy (bjo, g), Wellman Braud (b), Sonny Greer (d, chimes).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Victor Young
February 17, 1933, 1:30 to 7:00 p.m.
B 13078-B Slippery Horn BD T1001 (LP)
B 13078-A Slippery Horn Br 6527
B 13079-B Blackbird Medley Pt. I
I Can’t Give You Anything But Love
Doin’ The New Low Down
I Must Have That Man
Baby! Col Mas OL 6770 (LP)
B 13079-A Blackbird Medley Pt. I
I Can’t Give You Anything But Love
Doin’ The New Low Down
I Must Have That Man!
Baby! Br 6516
B 13080-C Blackbird Medley Pt. II
Dixie
Diga Diga Do
Porgy
I Can’t Give You
Anything But Love UTD 2009 (LP)
B 13080-B Blackbird Medley Pt. II
Dixie
Diga Diga Do
Porgy
I Can’t Give You
Anything But Love Col Mas OL 6770 (LP)
B 13080-A Blackbird Medley Pt. II
Dixie
Diga Diga Do
Porgy
I Can’t Give You
Anything But Love Br 6516
B 13081-B Drop Me Off At Harlem Col 35837
B 13081-A Drop Me Off At Harlem Br 6527
Note: The labels for Columbia 35837 and Brunswick 6527 show “Drop Me Off At Harlem.
Some copies of Columbia 35837 substitute the master take (-A), which is misidentified on the label as a previously unreleased “second master”. ________________________________________________________________________
(P) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Johnny Hodges (ss, as), Otto Hardwick (as), Joe Garland (ts), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
May 9, 1933, 2:00 to 6:30 p.m.
B 13306-A Happy As The Day Is Long (IA-vcl) Br 6571
Add Harry Carney (as, bari).
B 13307-A Raisin’ The Rent (IA-vcl) –
B 13308-A Get Yourself A New Broom
(And Sweep The Blues Away) (IA-vcl) Br (E) 01527
Note: Matrix B13308-A was initially issued in Britain (sometime in early June) while the U.S. release (Brunswick 6607) came out on July 15th.
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(Q) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Sonny Greer (d, vib).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
May 16, 1933, 2:00 to 6:45 p.m.
B 13337-B Bundle Of Blues Col 35836
B 13337-A Bundle Of Blues Br 6607
B 13338-A Sophisticated Lady Br 6600
B 13339-A Stormy Weather
(Keeps Rainin’ All The Time) –
Note: Some copies of Columbia 35836 substitute the master take (-A), which is misidentified on the label as a previously unreleased “second master”. ________________________________________________________________________
(R) Same as (Q) except Hardwick doubles on bass sax, Greer (d) only and add Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Jack Kapp or Victor Young
August 15, 1933, 6:00 to 11:30 p.m.
B 13800-A I’m Satisfied (IA-vcl) Br 6638
B 13801-B Jive Stomp previously unissued
B 13801-A Jive Stomp Br 6638
B 13802-A Harlem Speaks Br 6646
B 13803-A In The Shade Of The Old Apple Tree –
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(S) Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (a-cl, as, bari), Duke Ellington (p, sp), Fred Guy (g), Wellman Braud (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
September 13, 1934, 1:00 to 5:00 a.m.
B 15910-A Solitude Br 6987
B 15911-A Saddest Tale (DE-sp) Br 7310
B 15912-A Moonglow Br 6987
B 15913-A Sump’n ‘Bout Rhythm Br 7310
Note: The ledgers show the date as September 12, 1934, but it is technically September 13th since this was recorded after midnight on the night of the 12th.
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(T) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (as), Otto Hardwick (as, bass sax), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Wellman Braud (b), Billy Taylor (tu) -1, Sonny Greer (d), Ivie Anderson (vcl).
Brunswick studios, 952 N. Michigan Ave., Chicago
January 9, 1935
C 883-2 Admiration FDC (It) 1003 (LP)
C 884-2 Farewell Blues –
C 885-3 Let’s Have A Jubilee (IA-vcl) -1 –
Stewart, Williams, Tizol, Carney (bari), Ellington, Guy, Braud and Greer (d, maracas) only.
C 886-2 Porto Rican Chaos previously unissued
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(U) Rex Stewart (cor), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Johnny Hodges (ss), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Wellman Braud, Billy Taylor (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
Supervised by Harry Grey
March 5-6, 1935, 11:00 p.m. to 5:30 a.m.
B 16973-1 Margie Br 7526
Rex Stewart (cor), Cootie Williams (tp), Juan Tizol (v-tb), Johnny Hodges (ss), Harry Carney (bari), Duke Ellington (p), Wellman Braud, Billy Taylor (b), Sonny Greer (d).
Same session
B 16974-2 Porto Rican Chaos -1 FDC (It) 1022 (LP)
B 16974-1 Porto Rican Chaos -1 SE 5007-S
-1 Two unidentified persons play claves and maracas (possible candidates being Nanton, Brown and Hardwick) and an unidentified person adds vocal interjections. As <SC>moonlight fiesta<XC> on the Special Editions 78.
Note: For Discriminate Collector (LP) misidentifies matrix B16974-2 as C886-1 (from the January 9, 1935 session).
The rest of this session can be found in Mosaic MD7-235, Duke Ellington: The Complete 1936-1940 Variety, Vocalion And OKeh Small Group Sessions.
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(V) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (as), Otto Hardwick (ss, as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
April 30, 1935, 9:00 a.m. to 3:00 p.m.
B 17406-1 In A Sentimental Mood Br 7461
B 17407-1 Showboat Shuffle –
B 17408-1 Merry-Go-Round Br 7440
B 17409-1 Admiration –
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(W) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Ben Webster (ts), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl). American Record Corp. studios, 1776 Broadway, NYC
August 19, 1935, 10:00 a.m. to 7:30 p.m.
B 17974-1 Cotton (IA-vcl) Br 7526
B 17975-1 Truckin’ (IA-vcl) Br 7514
B 17976-1 Accent On Youth –
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(X) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Otto Hardwick (cl, ss, as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
September 12, 1935, 12:30 p.m. start.
B 18072-1 Reminiscing In Tempo (Part 1) Br 7546
B 18073-1 Reminiscing In Tempo (Part 2) –
B 18074-2 Reminiscing In Tempo (Part 3) Br 7547
B 18075-1 Reminiscing In Tempo (Part 4) –
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(Y) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Lawrence Brown, Joe Nanton (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Ivie Anderson (vcl).
Brunswick studios, 952 N. Michigan Ave., Chicago
January 20, 1936
C 1199-2 I Don’t Know Why I Love You So Raretone (It) RTE 23001 (LP)
C 1199-1 I Don’t Know Why I Love You So Col 37296
C 1200-3 Dinah Lou (IA-vcl) FDC (It) 1003 (LP)
C 1200-1 Dinah Lou (IA-vcl) Raretone (It) RTE 23001 (LP)
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(Z) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (ss, as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
February 27, 1936, 11:15 a.m. to 3:15 p.m.
B 18734-1 Isn’t Love The Strangest Thing? (IA-vcl) Br 7625
B 18735-1 (There Is) No Greater Love –
B 18736-1 Clarinet Lament Br 7650
Add: Joe Nanton (tb).
B 18737-1 Echoes Of Harlem –
________________________________________________________________________
(AA) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Pete Clarke (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
February 28, 1936, 11:45 a.m. to 3:45 p.m.
B 18738-1 Love Is Like A Cigarette (IA-vcl) Br 7627
B 18739-2 Kissin’ My Baby Good-Night (IA-vcl) –
B 18740-1 Oh, Babe! Maybe Someday (IA-vcl) Br 7667
Note: The flip side of Brunswick 7667 is by the Hudson-DeLange Orchestra.
The 78 RPM release of matrix 18739 on the Japanese Lucky label (catalog # S1), although stamped as -1 is actually a dub of -2 and some West Coast pressings of Brunswick 7627 also bear a -1 but are in fact, -2.
________________________________________________________________________
(BB) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (tu, b), Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
July 17, 1936, probably morning session.
B 19562-2 Shoe Shine Boy (IA-vcl) Br 7710
B 19563-1 It Was A Sad Night In Harlem (IA-vcl) –
B 19564-1 Trumpet In Spades Br 7752
B 19565-2 Yearning For Love –
Note: This was probably a morning and / or early afternoon session as the next entry in the ledgers are Vincent Lopez and Orchestra starting at 2:15 p.m.
According to Brian Rust’s Jazz Records 1897-1942, Helmy Kresa, co-composer of It Was A Sad Night In Harlem is also the arranger of this title. However, no confirmation of this has so far been made.
________________________________________________________________________
(CC) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Ben Webster (ts), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
July 29, 1936
B 19626-1 In A Jam Br 7734
B 19627-2 Exposition Swing Col C3L-39 (LP)
B 19627-1 Exposition Swing Voc (E) S.50
B 19628-1 Uptown Downbeat Br 7734
________________________________________________________________________
(DD) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d).
Associated Cinema Studios, 1357 Gordon St., Hollywood
December 21, 1936
L 0375-1 Scattin’ At The Cotton Club FDC (It) 1022 (LP)
L 0376-2 Black Butterfly previously unissued
L 0376-1 Black Butterfly Br m8044
________________________________________________________________________
(EE) Rex Stewart (cor, vcl), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Otto Hardwick (as, bass sax), Harry Carney (cl, bari, vcl), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d, chimes), Ivie Anderson (vcl).
Master Record Co. studios, 1780 Broadway, NYC
Supervised probably by Al Brackman
March 5-6, 1937, 7:00 p.m. to 2:10 a.m.
M 177-2 The New Birmingham Breakdown Raretone (It) RTE 23001 (LP)
M 177-1 The New Birmingham Breakdown Mas MA 123
add Hayes Alvis (b, vcl)
M 178-2 Scattin’ At The Kit Kat Raretone (It) RTE 23001 (LP)
M 178-1 Scattin’ At The Kit Kat Mas MA 123
M 179-2 I’ve Got To Be A
Rug Cutter (IA, RS, HC, HA-vcl) Raretone (It) RTE 23001 (LP)
M 179-1 I’ve Got To Be A
Rug Cutter (IA, RS, HC, HA-vcl) Mas MA 101
omit Taylor.
M 180-2 The New East St. Louis Toodle-O Raretone (It) RTE 23001 (LP)
M 180-1 The New East St. Louis Toodle-O Mas MA 101
Note: Scattin’ At The Kit Kat is a retitled remake of Scattin’ At The Cotton Club from the previous session.
________________________________________________________________________
(FF) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor or Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
Master Record Co. studios, 1780 Broadway, NYC
Supervised probably by Al Brackman
April 9, 1937, 2:00 p.m. start
M 379-2 There’s A
Lull In My Life (IA-vcl) Raretone (It) RTE 23002 (LP)
M 379-1 There’s A
Lull In My Life (IA-vcl) Mas MA 117
M 380-2 It’s Swell Of You (IA-vcl) Raretone (It) RTE 23002 (LP)
M 380-1 It’s Swell Of You (IA-vcl) Mas MA 117
M 381-2 You Can’t Run Away
From Love Tonight (IA-vcl) Raretone (It) RTE 23002 (LP)
M 381-1 You Can’t Run Away
From Love Tonight (IA-vcl) Mas MA 124
________________________________________________________________________
(GG) Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor or Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
Master Record Co. studios, 1780 Broadway, NYC
Supervised probably by Al Brackman
April 22, 1937, 3:30 to 6:45 p.m.
M 416-2 Azure FDC (It) 1022 (LP)
M 416-1 Azure –
add Rex Stewart (cor) and Cootie Williams (tp).
M 417-1 The Lady Who
Couldn’t Be Kissed Mas MA 124
M 418-2 Old Plantation (IA-vcl) -1 Raretone (It) RTE 23002 (LP)
M 418-1 Old Plantation (IA-vcl) -1 Vri VA 591
-1 as IVIE ANDERSON and her BOYS FROM DIXIE.
________________________________________________________________________
(HH) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (as), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor or Hayes Alvis (b), Sonny Greer (d).
Master Record Co. studios, 1780 Broadway, NYC
Supervised probably by Al Brackman
May 14, 1937, 2:00 to 6:00 p.m.
M 470-2 Caravan Mas MA 131
M 471-1 Azure –
________________________________________________________________________
(II) Rex Stewart (cor), Cootie Williams, Arthur Whetsel (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d), Ivie Anderson, band (vcl).
Master Record Co. studios, 1780 Broadway, NYC
Supervised probably by Al Brackman
June 8, 1937, 3:30 to 6:30 p.m.
M 519-2 All God’s Chillun Got Rhythm Raretone (It) RTE 23002 (LP)
M 519-1 All God’s Chillun Got Rhythm Mas MA 137
M 520-2 All God’s Chillun Got Rhythm
(IA, band-vcl) -1 Col C3L-39 (LP)
M 520-1 All God’s Chillun Got Rhythm
(IA, band-vcl) -1 Vri VA 591
M 521-2 Alabamy Home (IA-vcl) Raretone (It) RTE 23002 (LP)
M 521-1 Alabamy Home (IA-vcl) Mas MA 137
-1 as IVIE ANDERSON and her BOYS FROM DIXIE.
________________________________________________________________________
(JJ) Rex Stewart (cor), Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, ss, as), Otto Hardwick (cl, as), Harry Carney (cl, as, bari), Duke Ellington (p), Fred Guy (g), prob. Billy Taylor (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
Supervised probably by Al Brackman
September 20, 1937, 10:00 a.m. to 8:00 p.m.
M 646-1 Chatter-Box Br m8029
M 647-2 Emperor Jones -1 SE 5007-S
M 648-2 Diminuendo In Blue Raretone (It) RTE 23002 (LP)
M 648-1 Diminuendo In Blue Br m8004
M 649-2 Crescendo In Blue Raretone (It) RTE 23002 (LP)
M 649-1 Crescendo In Blue Br m8004
M 650-x Harmony In Harlem (rehearsal take) Raretone (It) RTE 23002 (LP)
M 650-2 Harmony In Harlem Br m8044
M 650-1 Harmony In Harlem previously unissued
M 651-2 Dusk On The Desert Br m8029
M 651-1 Dusk On The Desert previously unissued
-1 add maracas played by unknown (not Greer) and as Jubilesta on the Special Editions 78.
Note: There are variations of tempo with matrix M 647-2 as it is believed the recording cutter was not running at the proper speed during the recording.
What we have designated in this discography as matrix M 650-x is misidentified on the Raretone LP as M650-1. The short silent section at the end of Hodges’ first solo in Harmony In Harlem (at 1:16) corresponds to the music portion left out due to an unavoidable skip of the original recording.
While the Brunswick 78 shows Dusk In The Desert, the copyright application and sheet music both show Dusk On The Desert.
________________________________________________________________________
(KK) Rex Stewart (cor), Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
January 13, 1938, 2:00 to 8:00 p.m.
M 713-1 Stepping Into Swing Society Br m8063
M 714-1 Prologue To Black And Tan Fantasy Br m8256
M 715-1 The New Black And Tan Fantasy Br m8063
________________________________________________________________________
(LL) Rex Stewart (cor), Cootie Williams, Arthur Whetsel, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Otto Hardwick (ss, as), Johnny Hodges (as), Barney Bigard (ts), Harry Carney (as, bari), Duke Ellington (p), Billy Taylor, Hayes Alvis (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
February 2, 1938, 9:30 a.m. to 1:00 p.m.
M 751-2 Riding On A Blue Note Raretone (It) RTE 23003 (LP)
M 751-1 Riding On A Blue Note Br m8083
M 752-1 Lost In Meditation –
M 753-2 The Gal From Joe’s Col C3L-27 (LP)
M 753-1 The Gal From Joe’s Br m8108
________________________________________________________________________
(MM) Wallace Jones, Cootie Williams, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
February 24-25, 1938, 6:30 to 11:30 p.m. (M 770)
and 11:30 to 2:00 a.m. (M 771)
M 770-2 If You Were In My Place
(What Would You Do) (IA-vcl) Br m8093
M 770-1 If You Were In My Place
(What Would You Do) (IA-vcl) Raretone (It) RTE 23003 (LP)
M 771-1 The Skrontch (Scrounch) (IA-vcl) –
M 771-2 The Skrontch (Scrounch) (IA-vcl) Br m8093
Note: On the Raretone release of matrix M 770-1 the first portion of this take (up to measure 10 of Hodges’ solo) was taken from the issued -2. The remainder of the track was previously unissued.
Scrounch was initially released on Brunswick m8093 as Skrontch.
________________________________________________________________________
(NN) Rex Stewart (cor), Wallace Jones, Cootie Williams, Freddie Jenkins (tp), Joe Nanton, Lawrence Brown, Herb Fleming (tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor, Hayes Alvis (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
March 3, 1938, 2:00 to 7:00 p.m.
M 772-2 I Let A Song Go Out Of My Heart Br m8108
M 772-1 I Let A Song Go Out Of My Heart Col (Au) DO-2137
M 773-2 Braggin’ In Brass -1 Par (E) D.P. 266
M 773-1 Braggin’ In Brass -1 Br m8099
M 774-1 Carnival In Caroline (IA-vcl) –
-1 omit Ellington at the piano.
________________________________________________________________________
(OO) Rex Stewart (cor), Wallace Jones, Freddie Jenkins, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Ivie Anderson (vcl), Chappie Willett (arr).
American Record Corp. studios, 1776 Broadway, NYC
April 11, 1938, 2:30 to 6:10 p.m.
M 809-1 Swingtime In Honolulu (IA-vcl) Br m8131
Ray Nance (tp) replaces Williams.
M 810-1 I’m Slappin’ Seventh Avenue
(With The Sole Of My Shoe) (CW-arr) –
M 811-1 Dinah’s In A Jam Br m8169
________________________________________________________________________
(PP) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Ivie Anderson (vcl).
American Record Corp. studios, 1776 Broadway, NYC
June 7, 1938, 6:00 to 11:20 p.m.
M 835-1 When My Sugar Walks Down The
Street (All The Little Birdies Go
Tweet-Tweet-Tweet) (IA-vcl) Br m8168
M 832-1 You Gave Me The Gate
(And I’m Swingin’) (IA-vcl) Br m8169
M 833-2 Rose Of The Rio Grande (IA-vcl) Swing (F) S.W.327
M 833-1 Rose Of The Rio Grande (IA-vcl) Br m8186
omit Hardwick.
M 834-2 Pyramid -1 Col 36105
M 834-1 Pyramid -1 Br m8168
-1 Ellington plays a hand drum instead of piano.
Note: When My Sugar Walks Down The Street was initially allocated matrix M 831, however, this number had already been assigned to Why’d Ya Make Me Fall In Love by Allan Fielding and his Tic Toc Music.
________________________________________________________________________
(QQ) Same as (PP) except Hodges doubles on (ss) and add Lou Singer (arr).
American Record Corp. studios, 1776 Broadway, NYC
June 20, 1938, 7:00 p.m. to midnight
M 846-1 The Stevedore’s Serenade Br m8174
M 847-2 La De Doody Doo (IA-vcl) –
M 844-1 Watermelon Man (IA-vcl) Br m8200
M 845-1 (A) Gypsy Without A Song (LS-arr) Br m8186
Note: The Stevedore’s Serenade was originally matrix M 842 and La De Doody Doo originally matrix M 843 but were changed when it was discovered that both of the matrices had already been assigned to Will Hudson sides.
________________________________________________________________________(RR) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Scat Powell (vcl).
American Record Corp. studios, 1776 Broadway, NYC
August 4, 1938, 2:00 to 7:00 p.m.
M 880-1 A Blues Serenade Br m8221
M 881-1 Love In Swingtime (SP-vcl) Br m8200
M 882-1 Please Forgive Me Br m8256
________________________________________________________________________
(SS) Same as (RR) except Carney does not double on alto and omit Powell.
American Record Corp. studios, 1776 Broadway, NYC
August 9, 1938, 1:30 to 7:40 p.m.
M 883-1 Lambeth Walk Br m8204
M 884-2 Prelude To A Kiss Col 36279
M 884-1 Prelude To A Kiss Br m8204
M 885-1 Hip Chic Br m8221
M 886-1 Buffet Flat –
________________________________________________________________________
(TT) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (as), Otto Hardwick (ss, as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYC
September 2, 1938, 2:30 to 6:00 p.m.
M 898-2 Twits And Twerps -1 FDC (It) 1003 (LP)
M 898-1 Twits And Twerps -1 R/V 1001 (CD)
M 899-2 Mighty Like The Blues Br m8231
M 899-1 Mighty Like The Blues Raretone (It) RTE 23003 (LP)
-1 omit Ellington at the piano.
Note: Twits And Twerps (more commonly known as Boy Meets Horn) is shown as Stew Burp on the R/V issue.
________________________________________________________________________
(UU) Same as (TT).
American Record Corp. studios, 1776 Broadway, NYC or Master Record Co. studios, 1780 Broadway, NYC
December 19, 1938, 3:30 p.m. start
M 947-1 Jazz Potpurri Br m8293
M 948-2 T.T. On Toast Col 37296 (released 6/23/47 or later)
M 948-1 T.T. On Toast – (released 6/23/47)
M 949-2 Battle Of Swing Br m8293
M 949-1 Battle Of Swing Raretone (It) RTE 23003 (LP)
________________________________________________________________________
(VV) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Otto Hardwick, Johnny Hodges (cl, as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
American Record Corp. studios, 1776 Broadway, NYCor Master Record Co. studios, 1780 Broadway, NYC
December 22, 1938
M 959-1 Old King Dooji Br m8306
M 960-1 Boy Meets Horn -1 –
M 961-2 Slap Happy Par (Sw) PZ 11304
M 961-1 Slap Happy -2 Br m8297
-1 omit Ellington at the piano.
-2 unknown band members hand clap on the first take only of Slap Happy.
The rest of this session can be found in Mosaic MD7-235, Duke Ellington: The Complete 1936-1940 Variety, Vocalion And OKeh Small Group Sessions.
________________________________________________________________________
(WW) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Barney Bigard (cl, ts), Johnny Hodges (cl, ss, as), Otto Hardwick (cl, as), Harry Carney (cl, as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Brick Fleagle (arr).
World Broadcasting System studios, 711 Fifth Ave., NYC
March 20, 1939, 6:00 to 8:30 p.m.
WM 997-1 Pussy Willow Br m8344
WM 998-x Subtle Lament (rehearsal) Smithsonian P2 14273 (LP)
WM 998-1 Subtle Lament Br m8344
WM 999-x Lady In Blue (rehearsal) UTD 2002 (LP)
WM 999-1 Lady In Blue Col 35291
WM 1000-1 Smorgasbord And Schnapps (BF-arr) Br m8380
Note: What we have designated in this discography as matrix M 998-x is misidentified on the Smithsonian LP as M 998-1. And what we have designated in this discography as matrix M 999-x is misidentified on the Up-to-Date LP as M 999-2.
________________________________________________________________________
(XX) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Barney Bigard (ts), Johnny Hodges (as), Otto Hardwick (ss, as), Harry Carney (bari), Duke Ellington (p-1), Billy Strayhorn (p-2), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Jean Eldridge (vcl).
World Broadcasting System studios, 711 Fifth Ave., NYC
March 21, 1939, 5:30 to 9:00 p.m.
WM 1006-2 Portrait Of The Lion -1 Par (E) D.P. 288
WM 1006-1 Portrait Of The Lion -1 Br m8365
WM 1007-1 Something To Live For (JE-vcl) -2 –
WM 1008-1 Solid Old Man -1 Br m8380
Note: While the Brunswick 78 shows (I Want) Something To Live For, the
copyright application and sheet music both show Something To Live For.
________________________________________________________________________
(YY) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges, Otto Hardwick (ss, as), Harry Carney (bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d).
World Broadcasting System studios, 711 Fifth Ave., NYC
Supervised by John Hammond
June 6, 1939, 2:45 to 6:45 p.m.
WM 1030-A Cotton Club Stomp Br m8405
WM 1031-A Doin’ The Voom Voom Col 35208
WM 1032-A Way Low -1 Br m8411
WM 1033-A Serenade To Sweden Col 35214
-1 omit Ellington at the piano.
________________________________________________________________________
(ZZ) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Ivie Anderson (vcl).
World Broadcasting System studios, 711 Fifth Ave., NYC
June 12, 1939, 4:00 to 8:40 p.m.
WM 1038-A In A Mizz (IA-vcl) Br m8405
WM 1039-A I’m Checkin’ Out –
Go’om Bye (IA-vcl) (BS-arr) Col 35208
WM 1040-A A Lonely Co-Ed (IA-vcl) Col 35240
WM 1041-A You Can Count On Me (IA-vcl) Br m8411
________________________________________________________________________
(AAA) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (cl, as), Otto Hardwick (cl, as), Harry Carney (cl, as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Billy Strayhorn (arr).
World Broadcasting System studios, 711 Fifth Ave., NYC
August 28, 1939, 3:00 to 5:40 p.m.
WM 1062-A Bouncing Buoyancy Col 35240
WM 1063-A The Sergeant Was Shy Col 35214
WM 1064-A Grievin’ (BS-arr) Raretone (It) RTE 23004 (LP)
Note: The Smithsonian LP Duke Ellington 1939 misidentifies matrix WM 1064-A as “no previous issue”.
________________________________________________________________________
(BBB) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Johnny Hodges (ss, as), Otto Hardwick (as), Harry Carney (as, bari), Duke Ellington (p), Fred Guy (g), Billy Taylor (b), Sonny Greer (d), Billy Strayhorn (arr).
Probably World Broadcasting System studios, 301 E. Eire St., Chicago
October 14, 1939, 11:00 a.m. start
WM 1091-A Little Posey Col 35291
WM 1092-B I Never Felt This Way Before Raretone (It) RTE 23004 (LP)
WM 1092-A I Never Felt This Way Before Col 35353
WM 1093-A Grievin’ (DE, BS-arr) Col 35310
WM 1094-B Tootin’ Through The Roof Raretone (It) RTE 23004 (LP)
WM 1094-A Tootin’ Through The Roof Col 35310
WM 1095-A Weely -1 Col 35353
-1 Billy Strayhorn (p) replaces Ellington.
Note: Matrix numbers WM 1091 through WM 1095 were originally assigned WC 2802 thru WC 2806 respectively.
The Smithsonian LP Duke Ellington 1939 misidentifies matrix WM 1094-B as a V-Disc release which actually originates from a 1939 CBS program called Young Man With A Band.
________________________________________________________________________
(CCC) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-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), Billy Strayhorn (arr).
Probably World Broadcasting System studios, 301 E. Eire St., Chicago October 16, 1939
WM 1107-A Your Love Has Faded (IA-vcl) -1 Col 35640
WM 1106-A Killin’ Myself (IA-vcl) -1, -2 –
WM 1108-A Country Gal -3 Col 35776
-1 omit Ellington and add Billy Strayhorn (p)
-2 omit Ellington and add Billy Strayhorn (p, speech)
-3 omit Strayhorn and add Duke Ellington (p).
Note: The original matrix numbers for this session were WC 2813 for Your Love Has Faded, WC 2814 for Killin’ Myself and WC 2815 for Country Gal. Since these WC matrices represent the actual order of performance, that is why the WM numbers shown above are out of sequence.
The flip side of Columbia 35776 is a re-issue of Ellington’s Jubilee Stomp recorded in 1928 on OKeh and therefore is not included in this package.
________________________________________________________________________
(DDD) Rex Stewart (cor), Wallace Jones, Cootie Williams (tp), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v-tb), Barney Bigard (cl, ts), Otto Hardwick (cl, as), Johnny Hodges (as), Ben Webster (ts), Harry Carney (cl, as, bari), Duke Ellington (p), Fred Guy (g), Jimmie Blanton (b), Sonny Greer (d), Ivie Anderson (vcl).
poss. World Broadcasting System studios, 301 E. Eire St., Chicago February 14, 1940, 1:00 to 4:00 p.m.
WM 1135-A Solitude (IA-vcl) Col 35427
WM 1136-A Stormy Weather (IA-vcl) Col 35556
WM 1137-A Mood Indigo (IA-vcl) Col 35427
WM 1138-A Sophisticated Lady Col 35556
Note: No take letter is stamped in the run-off groove for matrix WM 1136 on Columbia 35556.
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Album Index:
78 albums
Brunswick (6516-9, 6521) Brunswick Record Corporation Presents Blackbirds
Columbia C-38 (35834-7) The Duke
Columbia C-127 (37296, 37298, 37299) The Ellington Special
LP
Blu-Disc T1001 Unheard And Seldom Heard Ellington, Vol.1
Blu-Disc T1003 Unheard And Seldom Heard Ellington, Vol.2
CBS (F) 88035 The Complete Duke Ellington vol. 4 1932
Columbia C3L-27 The Ellington Era 1927-40 Volume One
Columbia C3L-39 The Ellington Era 1927-40 Volume Two
Columbia Masterworks OL 6770 Various Artists – Blackbirds of 1928
For Discriminate Collector (It) 1003 Duke’s Rare and Unissued Masters
For Discriminate Collector (It) 1022 Duke’s Unissued Masters Vol.2
GAPS 040 Duke Ellington and His Orchestra 1932-1933
Raretone (It) RTE 23001 A Study in Ellingtonia – Duke Ellington
Raretone (It) RTE 23002 A Study in Ellingtonia – Duke Ellington 1937
Raretone (It) RTE 23003 A Study in Ellingtonia – Duke Ellington 1938
Raretone (It) RTE 23004 A Study in Ellingtonia – Duke Ellington 1939
Smithsonian P2 14273 Duke Ellington 1939
Up-To-Date 2002 The Studio Recordings Volume One
Up-To-Date 2009 Duke Ellington – The Studio Series, Volume Eight
CD
Columbia CK-66372 Duke Ellington & His Great Vocalists
R/V 1001 Stew Burp: Small Groups and Big Band 1936-1959
Retrieval (H) 79053 Swing Is The Thing: A Decade of Classic Recording
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RELEASE DATES OF ORIGINAL ISSUES
78 RPM singles (the contents of 78 rpm albums are listed by their singles numbers):
Brunswick: 6265: 2/18/32 Special San Francisco release, 3/24/32 national release; 6288: 5/5/32; 20105: 5/14/32; 6317: 6/2/32; 6336: 7/9/32; 6355: 8/13/32; 6374: 9/17/32; 6404: 10/22/32; 6432: 12/3/32; 6467: 1/21/33; 6516, 6517, 6518, 6519, 6521: March 1933; 6527: 3/14/33; 6571: 5/20/33; 6600: 6/3/33; 6607: 7/15/33; 6638: 9/2/33; 6646: 9/16/33; 6987: 10/13/34: 7310: 11/17/34; 7440: 6/1/35; 7461: 6/29/35; 7514: 9/7/35; 7526: 9/28/35; 7546, 7547: 11/2/35; 7625: 3/14/36; 7627: 3/21/36; 7650: 4/22/36; 7667: 5/23/36; 7670: 5/30/36; 7710: 8/8/36; 7734: 9/19/36; 7752: 10/17/36; m8004: 11/13/37; m8029: 12/18/37; m8044: 1/8/38; m8063: 2/5/38; m8083: 3/5/38; m8093: 3/19/38; m8099: 3/26/38; m8108: 4/8/38; m8131: 5/12/38; m8168: 6/30/38; m8169: 7/7/38; m8174: 7/14/38; m8186: 7/28/38; m8200: 8/25/38; m8204: 9/1/38; m8221: 9/22/38; m8231: 10/6/38; m8256: 11/10/38; m8293: 1/12/39; m8297: 1/19/39; m8306: 2/2/39; m8344: 4/6/39; m8365: 5/4/39; m8380: 5/25/39; m8405: 6/6/39; m8411: 7/13/39; (E)01527: early June 1933; (F, G) A9331: late 1932; Columbia: 35208: 9/8/39; 35214: 9/15/39; 35240: 10/13/39; 35291: 11/16/39; 35310: 12/7/39; 35353: 1/25/40; 35427: 4/11/40; 35556: 7/12/40; 35640: 8/30/40; 35683: 10/4/40; 35834, 35835, 35836, 35837: 11/29/40; 36105: 5/16/41; 36279: 9/19/41; 37296, 37297, 37298, 37299: 6/23/47; (Au) DO-2137: 11/12/40; (E)CB 591: circa April 1933; (E)CB 625: mid-June 1933; (J)J1681: October 1933; Lucky (J) 5036: 1935; Master: MA 101: 4/1/37; MA 117: 5/7/37; MA 123: 5/6/33; MA 124: 5/6/37; MA 131: 6/18/37; MA 137: 7/1/37; Parlophone (E): D.P. 266: circa 1948; D.P. 288: circa 1949; Parlophone (Sw) PZ 11304: circa 1952; Special Editions 5007-S: 6/14/48; Swing S.W.327; Variety VA 591: 7/9/37; Vocalion (E) S.50: circa January 1937.
LP:
Blu-Disc: T1001, T1003: circa 1979; CBS (F) 88035: summer 1974; Columbia C3L-27: 9/16/33; Columbia C3L-39: 3/21/66; Columbia Masterworks OL 6770: 6/5/68; FDC (It): 1003: circa 1965; 1022: circa 1969; GAPS 040: circa 1970; Raretone (It): 23001, 23002: spring 1973; 23003, 23004: fall 1973; Smithsonian P2 14273: 1977; Up-to-Date: 2002: fall 1980; 2009: early 1987.
CD: Columbia CK-66372: May 1995; R/V 1001: circa May 2000; Retrieval (H) 79053: 2007.
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Produced for release by Steven Lasker and Scott Wenzel
Excutive Producer: Michael Cuscuna
24 bit disc to digital transfer and CEDAR restoration: Steven Lasker
Metal part transfer, digital editing and CD master preperation: Andreas Meyer (www.meyer-media.com)
Design direction: Richard Mantel
Design production: InkWell, Inc.
Special thanks to Michael Brooks, Matt Cavaluzzo and The Institute of Jazz Studies.
The bulk of the source material used for this set came from the original 78s provided by Steven Lasker. However, we would like to thank Michael Brooks who provided us with a clean test pressing of matrix B 12773-D and The Institute of Jazz Studies with the Brunswick release of matrix WM 1000-1. Metal parts from the Sony Archives were used for matrices M 519-2, M 521-2, M 833-2, M 882-2, WM 1006-2 and WM 1008-1, and in the case where either a metal part or test pressing no longer exists, the following alternate takes were taken from LP issues: C 1199-2, M 648-2, M 649-2 and M 650-x. Special thanks for supplying sources also go to George Avakian for the only known master-pressed tests of session (T) and Jack Towers for the 16″ safety disc of tracks from session (WW).
This compilation (p) 2010 SONY BMG MUSIC ENTERTAINMENT /Manufactured by SONY BMG
MUSIC ENTERTAINMENT, 550 Madison Avenue, New York, NY 10022-3211/WARNING All Rights Reserved. Unauthorized duplication is a violation of applicable laws.
Producers’ Note:
This set gathers together all the big band sessions led by Duke Ellington during the years 1932-40 for labels now owned by the Sony half of Sony-BMG.
As noted in other Mosaic boxed sets that contain sources from single metal parts, the master take is seldom the first but instead usually the last take recorded. The majority of sessions from the American Record Corporation (or ARC, the original parent company of the recordings contained herein) chose for initial release the -A or -1 takes and a –B or -2 for the second choice, etc. Since there is no surviving company file that shows the original recording sequence, it was decided that for the sake of comparison within this discography, it would be best if most of the takes of a given master were grouped together in descending alphabetical or numerical order. This is not an exact science but we believe this approach most closely approximates the original recording sequence.
