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Duke Ellington Orchestra British Tour – July 1933 010

Duke Ellington Orchestra British Tour – July 1933 010

Pages 18 and 19 of a Duke Ellington concert programme, for Ellington's tour of the United Kingdom presented by Melody Maker, 1933. Page 19 concludes "Mike's" profiles of Ellington's songs to be played, with a photograph of British jazz composer Spike Hughes. Page 18 featuers a large advert for releases from Keith Prowse records.

Image Details

Catalogue Reference Number NJA/PRO/7
Creator Mike
Date Made 1933
Item Format Programme
Title or Caption
Event Date 1933

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19. This arrangement of the famous St. Louis Blues is fairly closely related to the Crosby-Ellington twelve-inch recording issued last year (1932).
20. Black Beauty was originally written as an orchestral piece in 1928 but was later recorded, in 1929, by Ellington himself as a piano solo.
21. Bugle Call Rag was first released in 1932, so it may be assumed that the arrangement dates from the same year.
22. Blue Ramble was composed in 1932 ; of the same vintage as La^j Rhapsody and Blue Tune.
23. Check and Double Check Stomp, one of Duke’s best saxophone tunes, was not written for the moving picture of that name, but dates from the same period of 1932.
24. Records of this altogether charming little tune dating from 1932 have been unaccountably withheld from us in England. It is a very simple affair constructed on the old twelve-bar blues formula ; the song has a few simple words which are usually sung by “ Cooty.”—H.
25. This Ellingtonisation of Old Sian River is a supreme example of how an arrangement can be made without a note of music ever being put to paper. This is obviously just one of those things which evolve for no particular reason. Date uncertain.—H.
26. Ducky Wucky, like its companion piece, Swing Low, was written around Christmas time, 1932.
27. The word “ jive ” in the tide Jive Stomp, which is another of Ellington’s products of 1933, is a Harlem term used to de-
scribe empty, boastful and exaggerated talk. A man who “ jives ”—usually a musician ! —is one who is always telling you about the job he has just turned down.—H.
28. Drop Me Off in Harlem is obviously one of those tunes which suddenly occur to one upon hearing an everyday phrase spoken. This tune (written this year) is one of Duke’s more charming numbers.—H.
29. I had always imagined that Paradise was just another waltz which was more popular than is good for the nerves. I had certainly never imagined that it could ever be so much arranged or disarranged as to become a “ swing ” number. Benny Carter’s arranging will offer an interesting contrast with Duke’s. Carter is a glutton for rich scoring and rich harmonisation, and he has done wonders in the transformation of Paradise into a good piece of music.—H.
30. It Don’t Mean A.
Thing is another song inspired by a chance title ; the other half—
“ if it ain’t got that swing ”—if not actually good grammar is nevertheless good, sound advice where dance music is concerned.
“ It Don’t Mean A Thing ” was written in 1931.
31. Creole Love Call is one of Duke’s earliest compositions, dating from the period when he wrote Black and Tan Fantasy—
I927-
32. Duke himself is vety fond of The Monkey, which is one of his latest compositions for 1933, although the band do not seem to share his affection. Actually, The Monkey is an amusing trifle—an exercise in whole-tone scales, the weaving of rhythmic and melodic patterns—with some ingenious scoring thrown in.—H.
33. This famous Tiger Rag arrangement has, through the passage of time, gathered a few mutes unto itself and is now universally known as the “ Whispering Tiger.” Substantially the arrangement is the same as that which Duke Ellington made in 1929, of course.
19