01. In a Sentimental Mood (Duke Ellington) [04:17]
02. Take The Coltrane (Ellington) [04:45]
03. Big Nick (John Coltrane) [04:31]
04. Stevie (Ellington) [04:25]
05. My Little Brown Book (Billy Strayhorn) [05:22]
06. Angelica (Ellington) [05:59]
07. The Feeling of Jazz (Bobby Troup/Ellington/George T. Simon) [05:30]

Piano – Duke Ellington
Soprano Saxophone, Tenor Saxophone – John Coltrane
Bass – Aaron Bell (tracks: 1, 4, 5, 7), Jimmy Garrison (tracks: 2, 3, 6)
Drums – Elvin Jones (tracks: 1 - 3, 6), Sam Woodyard (tracks: 4, 5, 7)

The classic 1962 album Duke Ellington & John Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer Bob Thiele (who also produced similar albums for Ellington including pairings with Louis Armstrong and Coleman Hawkins) chose to bring in Coltrane's own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist Jimmy Garrison and drummer Elvin Jones, as well as alternates bassist Aaron Bell and drummer Sam Woodyard. The most surprising aspect of the Ellington/Coltrane date is how well suited Coltrane and his group are at playing what largely ends up being Ellington's own material. While he was certainly in the nascency of his more avant-garde period in 1962, Coltrane had a deep understanding of traditional jazz vocabulary, having played in a swing band in the Navy in the 1940s and studied the style of artists like Hawkins and Ben Webster while coming up in Philadelphia. Similarly, though an icon of the big-band era by the 1960s, Ellington had been on the upswing of a career resurgence ever since his dynamic performance at the 1958 Newport Jazz Festival, later released as Ellington at Newport. His meeting with Coltrane was emblematic of his renewed creativity and was one of several albums he recorded in his latter life with theretofore unexpected artists, not the least of which his other 1962 date, Money Jungle with bassist Charles Mingus and drummer Max Roach. Here, Ellington and Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical "In a Sentimental Mood" and a soulful, half-lidded version of Billy Strayhorn's "My Little Brown Book." Ellington even supplied the brisk original "Take the Coltrane," allowing plenty of room for Coltrane to let loose with knotty, angular lines. ---Matt Collar, AllMusic Review

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1.Medley (11:15)

DUKE ELLINGTON AND ELLA FITZGERALD
NBC telecast, “Bell Telephone Hour American Festival”, New York, February 10, 1959

2.Girls (3:46)
3.Sarah (2:00)
4.Lena (3:14)
5.Mahalia (3:53)
6.Dinah (4:26)

DUKE ELLINGTON AND HIS ORCHESTRA
Monterey Jazz Festival, Fair Grounds, Monterey, Cal., September 23, 1961
“The Girls Suite”

7.Spoken Introduction by Duke Ellington (1:24)

DUKE ELLINGTON AND HIS ORCHESTRA
Same date, Dinah Washington out

8.Do Nothing Till You Hear From Me (2:57)
9.Evil Gal Blues (2:39)
10.Jam With Sam (5:37)
11.Red Garter (4:53)
12.Red Shoes (4:46)
13.Red Carpet (parts 1,2,3) (8:30)
14.Ready Go (4:06)

DUKE ELLINGTON AND HIS ORCHESTRA
Sheraton Hotel, French Lick, Ind., August 15, 1958
“Toot Suite”

La Maison du Duke is proud to present a collection of unpublished recordings of Duke Ellington, which come from an important stock of Ellington archives (Clavié collection), acquired by the association, which only a few collectors had access to today . The CDs are reserved for members of the Maison du Duke association and are not intended to be marketed.

La Maison du Duke est fière de vous présenter une collection d’enregistrements inédits de Duke Ellington, qui roviennent d’un important stock d’archives ellingtoniennes (collection Clavié), acquis par l’association, auquel seuls quelques collectionneurs avaient accès à ce jour. Tirés en très faible quantité, les CDs sont réservés aux membres de l’association la Maison du Duke et n’ont pas vocation à être commercialisés.

“Les Girls – with Ella Fitzgerald, Dinah Washington, The Girls Suite & Toot Suite Premieres, 1958-1963”

Voici le 4ème volume de la collection Clavié diffusée par la MDD, une compilation inédite de quatre événements vécus par Ellington et ses hommes à la gloire des femmes, invitées ou évoquées. On pourra y découvrir Ella Fitzgerald et le Duke dans l’émission de radio The Bell Telephone Hour (10 février 1959), Dinah Washington en concert à Detroit en 1963 dans une ambiance particulièrement électrique, la première publique de la Girls Suite au Festival de Monterey le 23 septembre 1961, et enfin la création en «live» de la Toot Suite le 15 août 1958, bien avant l’enregistrement officiel réalisé en studio. ---viralvideopk.com

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1.	Overture 	3:19 	
2.	Toot Toot Tootie Toot (Dance Of The Reed-Pipes) 	2:28 	
3.	Peanut Brittle Brigade (March) 	4:36 	
4.	Sugar Rum Cherry (Dance Of The Sugar-Plum Fairy) 	3:04 	
5.	Entr'acte 	1:51 	
6.	The Volga Vouty (Russian Dance) 	2:52 	
7.	Chinoiserie (Chinese Dance) 	2:50 	
8.	Dance Of The Floreadores (Waltz Of The Flowers) 	4:03 	
9.	Arabesque Cookie (Arabian Dance) 	5:43

Musicians:
    Duke Ellington – piano
    Willie Cook, Fats Ford, Ray Nance, Clark Terry - trumpet
    Lawrence Brown, Booty Wood, Britt Woodman - trombone
    Juan Tizol - valve trombone
    Jimmy Hamilton - clarinet, tenor saxophone
    Johnny Hodges - alto saxophone
    Russell Procope - alto saxophone, clarinet
    Paul Gonsalves - tenor saxophone
    Harry Carney - baritone saxophone, clarinet, bass clarinet
    Aaron Bell - bass
    Sam Woodyard – drums

When Ellington signs a record contract in 1960, he teams up with fellow musician Billy Strayhorn, and the two composers create a new spin on Tchaikovsky's Nutcracker Suite. The classical masterpiece is a holiday favorite and tinkering with something so well known is a bit risky. Ellington's band is not keen on tackling it, but he is not dissuaded. Even the record executive is skeptical until he hears the band recording in the studio. This fictionalization of Ellington and Strayhorn's daring collaboration is well told, and the illustrations convery the hip, cool feeling of the time. An author's note provides more information, and a CD of the piece is included. Anyone who pops the CD in for a listen is sure to see Ellington as the jazz giant he was. Music teachers will love this package to compare and contrast versions of the Nutcracker, thereby helping children understand what the classical and jazz genres are. --- charlesbridge.com

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1.  Wabash Blues (Fred Meinken/Dave Ringle) 6:30
2.  Basin Street Blues (Spencer Williams) 8:05
3.  Beale Street Blues (W.C. Handy) 7:39
4.  Weary Blues (Arthur Matthews) 6:58
5.  The St. Louis Blues (W.C. Handy) 5:51
6.  Loveless Love (W.C. Handy)  7:13
7.  Royal Garden Blues (Clarence Williams/Spencer Williams) 5:24

Duke Ellington (Piano)
Johnny Hodges (Alto Saxophone)
Harry "Sweets" Edison (Tenor Saxophone)
Joe Jones (Drums)
Les Spann (Guitar)
Sam Jones (Double Bass) - 2,3,5-7
Al Hall (Double Bass) - 1,4

These distinctive small-group sessions, featuring Duke Ellington as pianist in a blues context, are part of a group of recordings issued under the confusing titles Back to Back and Side by Side, and further reissued under the not particularly distinctive name of Blues Summit. But there should be no confusion about the high quality of music that came out of these sessions -- it is all "cooking with gas" as the expression goes. From the jazz world, it would be difficult to find more profound soloists on traditional blues numbers than the Duke or his longtime collaborator Johnny Hodges, who does some of the most soulful playing of his career here. Also hitting a very high standard for himself is trumpeter Harry Edison and, while musicians are being patted on the back, the Jones boys in the rhythm section should be given a hand. That's Jo Jones (drums) and Sam Jones (bass), so as not to create additional confusion in the Jones-heavy jazz world. The songs all have titles that end in "Blues," with the oddball having "Love" in the title not once but twice. (It's "Loveless Love," what else?) But these songs are just vehicles for playing the blues, a formula that has produced great music many times, and certainly did every time this particular pianist was leading the group. --- Eugene Chadbourne, Rovi

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1.Limbo Jazz
2.Mood Indigo
3.Ray Charles' Place
4.Wanderlust
5.You Dirty Dog             
6.Self Portrait (Of the Bean)
7.Jeep Is Jumpin', The
8.The Ricitic
9.Solitude

Musicians:
* Duke Ellington (piano)
* Coleman Hawkins (tenor saxophone)
* Aaron Bell (bass)
* Lawrence Brown (trombone)
* Harry Carney (bass clarinet, baritone saxophone)
* Johnny Hodges (alto saxophone)
* Ray Nance (violin, cornet)
* Sam Woodyard (drums)

Duke Ellington and Coleman Hawkins were both involved in unusual collaborations in the early 1960s, often with much younger musicians: Ellington with Max Roach and Charles Mingus (Money Jungle) and with John Coltrane; Hawkins with Roach and Sonny Rollins. As surprising as any of those inter-generational sessions, however, is this 1962 meeting between Ellington and Hawkins, if only because it hadn't happened before. With a band of Duke's greatest veterans--alto saxophonist Johnny Hodges, baritone saxophonist Harry Carney, trombonist Lawrence Brown, and Ray Nance on trumpet and violin--it's classic small-group Ellingtonia with one essential difference. "Limbo Jazz" and "The Ricitic," pulled together for the occasion, are playful tunes with touches of lounge Latin. The latter becomes a delightful dialog focused on Nance's violin and Hawkins and Ellington's inspired accompaniment. The finest moments come with "Mood Indigo," a beautiful vehicle for Hawkins's warmly rambunctious tenor, and "Self-Portrait of the Bean," an Ellington-Strayhorn tribute that Ellington only finished in the studio on the day of recording. Rising to the special moment, Hawkins invests the ballad with extraordinary depth and grace. --Stuart Broomer

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1 Announcements/ Take The "A" Train (theme) (0:57) 
2 Rockin' In Rhythm (6:08) 
3 Take The "A" Train (5:43) 
4 Up Jump (3:45) 
5 La Plus Belle Africaine (8:13) 
6 unknown title (drum solo) (2:19) 
7 El Gato (4:04) 
8 Black Butterfly (4:36) 
9 Things Ain't What They Used To Be (3:15) 
10 Don't Get Around Much Anymore (2:42) 
11 Caravan (0:43) 
12 Mood Indigo (4:01) 
13 I'm Beginning To See The Light (1:27) 
14 Solitude (2:11) 
15 It Don't Mean A Thing (If It Ain't Got That Swing) (1:09) 
16 Cool And Groovy (2:32) 
17 Sophisticated Lady (4:16) 
18 April In Paris (2:43) 
19 Satin Doll (6:11) 
20 Diminuendo And Crescendo In Blue (8:14) 
21 Wild Bill BLues (6:33) 
22 unknown title (p, b, dr only) (&:01) 
23 A Little Square (fl, p, b, dr only) (4:06) 
24 I Can't Get Started (4:32) 
25 C Jam Blues (9:55) 
26 Meditation (p-solo) (5:09)

Duke Ellington Orchestra: 
Cat Anderson, Cootie Williams, Willie Cook, Harold Johnson, 
Mercer Ellington, Benny Bailey (tp), Lawrence Brown, Chuck Connors, 
Buster Cooper (tb), Johnny Hodges, Russell Procope, Paul Gonsalves, 
Harold Ashby, Harry Carney (sax), Norris Turney (fl), Duke Ellington (p), 
Wild Bill Davis (org), Victor Gaskin (b), Rufus Jones (dr), Tony Watkins (voc).

European jazz DVDs are always a risky purchase. While some labels make an effort to acquire master copies of professionally shot videos, others like Impro-Jazz have a tendency to make due with deteriorated copies generations removed from the original source. That is the case with this disappointing DVD, most of which comes from a 1969 Berlin concert. While Ellington's band was still fairly strong and there are plenty of excellent solos, especially a trio of features for alto saxophonist Johnny Hodges highlighted by a rousing "Things Ain't What They Used to Be," the fairly recent "La Plus Belle Africaine" (showcasing clarinetist Russell Procope, bassist Victor Gaskin, and baritone saxophonist Harry Carney), plus the usual "Take the 'A' Train" featuring the leader and Cootie Williams' blistering trumpet, the video quality is a bit murky, the audio just a little better. The bonus tracks excerpted from a 1958 Amsterdam concert are essentially worthless; not only is the video quality poor, but these selections were issued by Naxos in their Jazz Icons in 2007 from far better sources, along with additional songs. Skip this disappointing DVD. ---Ken Dryden, Rovi

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1. Blue In Orbit            play
2. Track 360                play
3. Villes Ville Is The Place, Man
4. Brown Penny
5. Three J's Blues
6. Smada
7. Pie Eye's Blues
8. C Jam Blues
9. Sweet & Pungent
10. In A Mellotone
11. Sentimental Lady
12. Blues In Blueprint
13. The Swingers Get The Blues, Too
14. The Swinger's Jump

Cat Anderson - Trumpet
Shorty Baker - Trumpet
Harry Carney - Reeds, Sax (Baritone)
Duke Ellington - Composer, Piano
Matthew Gee - Composer, Horn (Baritone), Trombone
Paul Gonsalves 	- Reeds
Bill Graham - Reeds
Jimmy Hamilton - Reeds
Johnny Hodges - Reeds, Sax (Alto)
Quentin Jackson - Trombone
Ray Nance - Trumpet, Violin
Russell Procope - Reeds
John Sanders - Trombone
Billy Strayhorn 	- Composer, Piano
Clark Terry - Trumpet
Michael Booty Wood - Trombone
Jimmy Woode - Bass
Britt Woodman - Trombone
Sam Woodyard - Drums

The atmospheric, floating quality (see title) of the production and the mysterious, airy, and sparse arrangements make this record an overlooked gem. The first three tracks, recorded in February 1958, include the slow-moving blues of the title track, on which Duke Ellington's eerie piano fills answer the statements of the full band. "Track 360" is a dramatic aural representation of a train wreck. The remainder of the album was recorded at two midnight sessions in December of the following year. Ray Nance (the only trumpet because of band restructuring) and especially Johnny Hodges offer the most rewarding solo contributions of the date, many of which stand alongside their best ever. Hodges's magnificently fragile and seductive alto graces "Brown Penny" and handles both delicate and driving passages with aplomb on Billy Strayhorn's "Smada" (with the composer in the piano chair) while Nance belts out the bridge. The band also revisits classics from the Ellington songbook: Nance shows his violin prowess on "C Jam Blues" before growling through "In a Mellotone"; "Sentimental Lady" is in Hodges's capable caress. --Marc Greilsamer

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1. Tourist Point of View - 5:09
2. Bluebird of Delhi (Mynah) - 3:18 
3. Isfahan - 4:02 
4. Depk - 2:38 
5. Mount Harissa - 7:40 
6. Blue Pepper (Far East of the Blues) - 3:00 
7. Agra - 2:35 
8. Amad - 4:26 
9. Ad Lib on Nippon - 11:34

Cat Anderson - Trumpet
Lawrence Brown - Trombone
Harry Carney -Clarinet, Reeds, Sax (Baritone), Saxophone
Chuck Connors - Trombone
Buster Cooper - Trombone
Duke Ellington - Composer, Piano
Mercer Ellington - Flugelhorn, Trumpet
Paul Gonsalves 	- Clarinet, Reeds, Sax (Tenor), Saxophone
Jimmy Hamilton - Clarinet, Reeds, Sax (Tenor), Saxophone
Johnny Hodges 	- Clarinet, Reeds, Sax (Alto), Saxophone
Herb Jones - Trumpet
Herbie Jones - Flugelhorn, Trumpet
Rufus "Speedy" Jones - Drums
John Lamb - Bass
Russell Procope - Clarinet, Reeds, Sax (Alto), Saxophone
Cootie Williams - Trumpet

Duke Ellington could have been forgiven if, by the time he was 67, he had gradually lost his creative desire not to mention his writing skills. But his genius never dimmed as witness the new music ("The Far East Suite" and "Ad Lib on Nippon") on this superb set. "The Far East Suite" is in reality eight separate compositions of which the beautiful "Isfahan" (a memorable Johnny Hodges feature) became the best-known melody; Paul Gonsalves and Jimmy Hamilton are also among the main stars with the clarinetist being showcased throughout "Ad Lib on Nippon." But it is the writing of Ellington and Strayhorn in their late prime that makes this one of his more memorable recordings. ---Scott Yanow, Rovi

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1.	Oclupaca
2.	Chico Cuadradino
3.	Eque
4.	Tina
5.	The Sleeping Lady And The Giant Who Watches Over Her
6.	Latin American Sunshine
7.	Brasilliance

Duke Ellington & His Orchestra
Duke Ellington – Producer and Piano
+
Lawrence Brown - Trombone
Harry Carney – Saxophone
Paul Gonsalves 	- Sax (Tenor)
Johnny Hodges - Saxophone

Duke Ellington always absorbed influences from the music he heard as he toured the world, and The Latin American Suite is no exception. Written during his first tour of Central and South America in 1968, Ellington premiered several of the pieces during concerts in the Southern hemisphere, though he didn't record it until returning to the U.S., with one piece ("Tina") being recorded separately over a year after the other tracks. "Oclupaca" is an exotic opener showcasing Paul Gonsalves' robust tenor, while Ellington gets in an Oriental kick during his driving blues "Chico Cuadradino" (jointly written with his son Mercer). Ellington is in a jaunty mood in his bossa nova "Eque," which spotlights both Johnny Hodges and Gonsalves. The infectious "Latin American Sunshine" is buoyed by Harry Carney's sonorous baritone sax and trombonist Lawrence Brown's solo. It's a shame that Ellington chose not to keep any of these originals in his repertoire once work was completed on this album. ---Ken Dryden, Rovi

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CD 1
01. Star Spangled Banner 
02. Introduction by Father Norman O'Connor 
03. Black and Tan Fantasy 
04. Introduction by Duke 
05. Tea for Two		play 
06. Duke & Band Leave Stage 
07. Take the "A" Train 
08. Announcement by Duke 
09. Festival Junction, Pt. 1 
10. Announcement by Duke 
11. Blues to Be There, Pt. 2 
12. Announcement by Duke 
13. Newport Up, Pt. 3 
14. Announcement by Duke 
15. Sophisticated Lady 
16. Announcement by Duke 
17. Day In - Day Out 
18. Introduction by Duke/Paul Gonsalves Interlude 
19. Diminuendo and Crescendo in Blue 
20. Announcements, Pandemonium 
21. [Six Second Pause Track]

CD 2
01. Introduction by Duke 
02. I Got It Bad (And That Ain't Good) 
03. Jeep's Blues 
04. Duke Calms Crowd 
05. Tulip or Turnip 		play
06. Riot Prevention 
07. Skin Deep 
08. Mood Indigo 
09. Tuning up/Studio Concert Begins 
10. Introduction by Father Norman O'Connor 
11. Festival Junction, Pt. 1 
12. Announcement by Duke 
13. Blues to Be There, Pt. 
14. Announcement by Duke 
15. Newport Up, Pt. 3 
16. Announcement by Duke 
17. I Got It Bad (And That Ain't Good)
18. Jeep's Blues 
19. [Six Second Pause Track]

Personnel: 
Duke Ellington (piano); 
Ray Nance (vocals, trumpet); 
Jimmy Grisson (vocals); 
Russell Procope (alto saxophone, clarinet); 
Johnny Hodges (alto saxophone); 
Paul Gonsalves (tenor saxophone); 
Jimmy Hamilton (tenor saxophone, clarinet); 
Harry Carney (baritone saxophone); 
John Cook, Clark Terry, William "Cat" Anderson (trumpet); 
John Sanders, Quentin Jackson, Britt Woodman (trombone); 
Jimmy Woode (bass); 
Sam Woodyard (drums).

A significant addition to Ellington's latter day recordings, this double-disc release presents for the first time in true stereo every note that the band played at Newport over that famous weekend of July 7/8, 1956. Moreover, it also includes the performances recorded in studio on July 9, with dubbed-in canned applause, simulated live ambiance, reverb, and recreated announcements, that the world was led to believe was the true Ellington at Newport. Indeed, the mono LP that many of us grew up on was only in part an accurate documentation of the live event, the entire three-part "Newport Jazz Festival Suite" and Johnny Hodges' feature on "I Got It Bad" having been either studio performances masqueraded as the real thing or the result of post-production patchwork. The true story of this 43-year-long deceit can now be pieced together, however contradictorily, by comparing reissue producer/annotator Phil Schaap's explanation with the personal account told this writer by George Avakian, who was present at both the concert and the studio in his capacity as Columbia's jazz A&R man and producer of the original LP. To Avakian's clear recall, it was not Columbia that decided to re-record these selections because of faulty recording balance. Rather, it was Duke himself who wanted the band to have another chance at presenting itself in the best possible light. Certainly, anyone hearing Johnny Hodges' twice-flawed attempts at executing his famous ascending scoops on "I Got It Bad" would understand why both the altoist and Duke would have wanted the live version corrected for release.

The best news about this new release is that, owing to the synchronization of the simultaneously recorded, and only recently discovered, Voice of America tapes with those in Columbia's vaults, we now have the complete concert in properly balanced stereo (or, more accurately, spatially separated alternative mono), inclusive of the previously unreleased "Star Spangled Banner," a wonderful "Black and Tan Fantasy" (with Cat Anderson, Russell Procope, and Quentin Jackson), "Tea for Two" (a jam feature for trumpeter Willie Cook), and Ray Nance's "Take the 'A' Train." Disc One continues with the live version of "Newport Jazz Festival Suite" ("Festival Junction," "Blues to Be There," and "Newport Up"), Harry Carney's "Sophisticated Lady," a vocal by Jimmy Grissom on "Day In, Day Out," and the one and only Paul Gonsalves marathon treatment of the solo "interval" on "Diminuendo and Crescendo in Blue." To hear this classic performance in stereo, with Duke's and the band members' shouts of encouragement, Jo Jones' offstage rhythmic promptings, and the rising enthusiasm of the audience, is alone worth the price of admission. Also note the contrast between the audience's indifferent response to Gonsalves' name during the opening credits and their reaction to him after his breathtaking 27-chorus solo.

Disc Two picks up with Hodges' "feet of clay" glissandos on "I Got It Bad" and then proceeds into his masterful performance on "Jeep's Blues." (A previously unused but excellent studio take of this number appears as the final track.) Other concert performances included here are Ray Nance's "Tulip or Turnip," Sam Woodyard's drum feature on "Skin Deep," and a closing "Mood Indigo," all of which precede the reissue of the studio tracks used for the original LP, including Hodges' "improvements" on "I Got It Bad." For longtime Ellington collectors this is a must-buy, while for newcomers this concert will serve as a dramatic example of how, in this one moment of time, the band pulled itself out of a ten-year slump to once again resume its rightful position as the world's greatest jazz orchestra. –Jack Sohmer, jazztimes.com

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ziddu: CD1 CD2

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