| | Duke Ellington 16 Most Requested Songs CD Duke Ellington Discography of CDs
Recorded between 1932 and 1957. Includes liner notes by Didier C. Deutsch.
Now, here's a gem! MOST REQUESTED SONGS could be subtitled "The Duke's Greatest Hits"--and it'd be no lie. Spanning the years 1932 through 1960, this compiles all the songs most associated with the Duke. These songs rank among the finest America has produced, each covered by dozens of singers and instrumentalists. The versions here feature performances by some of the greatest soloists jazz has ever produced--Johnny Hodges, Harry Carney and Clark Terry. Ellington wrote for the individual strengths of his bandmembers, and it shows: no one else ever got such distinctive textures out of a jazz orchestra. For the history of big band jazz, or jazz, or American music in general, this is an essential purchase.
This is part of Legacy's "16 Most Requested Songs" series.
Personnel includes: Duke Ellington (piano); Ivie Anderson, Al Hibbler, Yvonne Lanauze (vocals); Johnny Hodges (soprano & alto saxophones, clarinet); Harry Carney (alto, tenor & baritone saxophones, clarinet); Otto Hardwicke (alto & bass saxophones, clarinet); Russell Procope (alto saxophone); Barney Bigard (tenor saxophone, clarinet); Paul Gonsalves, James Hamilton (tenor saxophones); Arthur Whetsol, Cootie Williams, Clark Terry, William Anderson (trumpet); Juan Tizol, Joe Nanton, Lawrence Brown (trombone); Billy Strayhorn (piano); Fred Guy (guitar, banjo); Wellman Braud, Billy Taylor, Edgar Brown, Jimmy Woode, Oscar Pettiford (bass); Sonny Greer, Sam Woodyard (drums).
Compilation producer: Didier C. Deutsch.
16 Most Requested Songs Music Duke Ellington 16 Most Requested Songs Songs 16 Most Requested Songs Review
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John Coltrane's maiden voyage for Atlantic Records was the fulfillment of all the potential he'd demonstrated with Miles, Monk and on his own Prestige recordings. Recorded in May 1959 (one month after completing Davis' KIND OF BLUE), GIANT STEPS is Coltrane's first recital to feature nothing but his own original compositions, and is the culmination of his obsessive foray into harmony. By taking all of the notes in a chord--and trying to find every possible inversion and relevant substitution--the saxophonist was forced to develop a complex new form of melodic phrasing that enabled him to rhythmically crowd every permutation into a single phrase.
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