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Duke Ellington Orchestra British Tour – July 1933 005

Duke Ellington Orchestra British Tour – July 1933 005

Pages 8 and 9 of a Duke Ellington concert programme, for Ellington's tour of the United Kingdom presented by Melody Maker, 1933. Page 9 features profiles of each member of Duke Ellington's reed section, with an advert for Selmer's instruments on page 8.

Image Details

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

This text has been generated by computer from the image and may contain typographical and/or grammatical errors.

V/Hi** „
are ^'"g
are proud to announce that the world famous instruments, exclusively handled by them in Gt. Britain, are prominently represented in the kit brought over from America and used by
DUKE ELLINGTON’S ORCHESTRA at the London Palladium,
ASelmer Super Sax Alto, used by the Solo Saxophonist OTTO HARDWICK.
Hear his glorious solos, particularly in “ Black and Tan Fantasy ” and “ Sophisticated Lady.”
An Olds Trombone, used by that phenomenal solo trombonist LAWRENCE BROWN. Note his beautiful tone and dazzling style throughout the whole Ellington show.
A Quartet of Selmer Clarinets, used by the Whole Sax Team including that supreme artist BARNEY BIGARD, and JOHNNY HODGES, OTTO HARDWICK and HARRY CARNEY.
Davis Big., 12, Moor Street, London, W.l. Phones: Gerrard 2575/6
SAXOPHONE. — Harry Carney, who was born in 1910 in Boston, Mass., plays the first alto parts as a rule. His other instruments are baritone, upon which he plays the majority of his solo passages, clarinet, and, when the atmosphere is congenial, also the flute. Carney’s baritone playing needs no introduction, for he has recorded consistently with this instrument since Ellington first went to the Cotton Club in 1927. He is a baritone-player sans pareil. (Left centre.)
SAXOPHONE.—Cornelius Hodges —Johnny Hodges to most of us— is also a native of Boston, Mass., where he was born in 1907. Johnny Hodges takes over the lead of the saxophone quartet when he turns to the soprano, an instrument much neglected of recent years, for some reason. He also plays alto and clarinet of course. Johnny Hodges’ impro-■ upon the alto are his
most important contributions to the Ellington solo sequences. His quiet, nostalgic interjections in The Mooche, Creole Rhapsody and Echoes Of The Jungle, for instance, are things which have no equal in Jazz. Hodges again is a player who is effective in the very simplicity of his solo work ; melodically it seems to be founded upon three intervals : the fifth,
the fourth, and the minor seventh. Even in the faster numbers these intervals play a great part in his inventions. Johnny Hodges, like every other member of the band, is a typical mouthpiece tor the ideas of Duke Ellington. (Right.)
SAXOPHONE. — Otto Hardwick (alto, clarinet, bass saxophone) was born in Ellington’s hometown, Washington, D.C., twenty-eight years ago. Was formerly with Elmer Snowden, his own band, Noble Sissle and again with Elmer Snowden, whom he left to join Duke in ¡1932. Hardwick,
whose first name, incidentally, must be pronounced “ Oto,” is the reed counterpart of Lawrence Brown, for hjs particular gift lies in his sweet tone ; his improvised solo work is very like Johnny Hodges’—or perhaps one should say that Hardwick, like Hodges, is a typical Ellington soloist. (Left.)
SAXOPHONE. —Barney Bigard is twenty-seven years old, having been born in 1906 in New Orleans. His name, as well as his birthplace, suggests that he comes of French-Negro stock known as Creole. His instruments are clarinet and tenor saxophone. The latter he plays in the saxophone quartet, very rarely taking any solo passages thereon, but confining his improvisations to the clarinet. Bigard’s clarinet playing is another thing that has characterised Ellington’s recordings since the earliest days ; like “ Tricky Sam,” Carney', and Hodges, every note can be recognised at once ; one can conceive of no other clarinet player in I ELlington’s orchestra. (Right