Thursday, 29 October 2015

Reed College, Portland. Ellington and Strayhorn a Celebration

Ellington and Strayhorn: A Celebration

Join us for a series of lectures and performances to commemorate the 100th birthday of Billy Strayhorn; celebrate jazz greats Strayhorn and Duke Ellington; and explore a creative partnership unique in the history of music.
Presented by the 23rd International Duke Ellington Study Group Conference in partnership with Reed College. All events are free and open to the public. Registration requested for planning purposes.

Reed College
November 6–8, 2015

Visiting scholars and performers include Walter van de Leur, author of Something to Live For: The Music of Billy Strayhorn; Harvey C. Cohen, author of Duke Ellington's America; jazz horn master Willie Ruff; clarinetist David Shifrin, and, for the first time together, two of Portland's international jazz stars, Rebecca Kilgore (vocals) and Darrell Grant (piano), performing songs by Billy Strayhorn.

Friday, November 6

4 p.m.
Keynote: Walter van de Leur, "'After All': Strayhorn Studies in the 21st Century." Van de Leur is professor of jazz and improvised music at the University of Amsterdam and author of Something to Live For: The Music of Billy Strayhorn
Eliot Hall chapel
7:30 p.m.
Concert: Performances by Darrell Grant (piano) and David Shifrin (clarinet), arranged by David Schiff; Matt Cooper (piano); and Darrell Grant (piano) and Rebecca Kilgore (vocals).
Kaul Auditorium

Saturday, November 7

10–11:45 a.m.
Scholarly Session:
Lisa Barg, "Invisibility Blues: Searching for Strayhorn in the 21st Century”
Luca Bragalini, "Harlem: Sounds from the Big Court"
Walter van de Leur, "People Wrap Their Lunches in Them: Ellington and Notation"
Chair: Mark Burford
Performing Arts Building 320
1–2 p.m.
Willie Ruff, "The Duke Ellington Fellowship at Yale inaugurates The Conservatory Without Walls"
Willie Ruff, professor of music at Yale University School of Music, organized the Duke Ellington Fellowship at Yale that has honored forty legends in the story of African American music. Professor Ruff will discuss that momentous gathering in 1972 and its continuous strivings.
Performing Arts Building 320
2:15–3:30 p.m.
Scholarly Session:
Harvey Cohen, "Ellington in His Own Words"
Carl Woideck, "Pseudo-African or African? Ellington in Dakar, 1966"
David Schiff, "Going South? Re-hearing the Deep South Suite"
Chair: Morgan Luker
Performing Arts Building 320
4 p.m.
Matt Cooper, "Duke Ellington: The Piano Player in the Band." Cooper is professor of music at Eastern Oregon University, a classical pianist, and author of Duke Ellington as Pianist: A Study of Styles
Performing Arts Building 320

Sunday, November 8

10 a.m.
Discussion and Coffee:
International Duke Ellington Study Group, "What might we gain or lose if we viewed Ellington and Strayhorn as individual artists rather than collaborators?"
Steven Lasker: "New Discoveries and Rarities of Early Vintages"
Geoff Smith: "The Stockpile Recordings"
Ken Steiner: "The Goal Was Impact: Duke Ellington's Radio Shows"
David Palmquist: "Recent Discoveries While Chronicling the Duke's Travels"
Chair: Geoff Smith
Performing Arts Building 332

Full details here.

Monday, 28 September 2015

Coming soon...

The sequel to Columbia Studio Albums 1950-58 has a street date of 30 October, 2015.

The good news: first time releases in the US on CD of Unknown Session (something of an anachronism here since the album was not released in Ellington's lifetime)and The Girls' Suite.

Not so good: why finish in 1961 and not 1962 which is when Ellington's contract expired. Two of his original studio albums, Midnight in Paris and All American In Jazz (which could have fit easily on one CD) remain unreleased on CD in the USA - and indeed, unreleased since their original LP incarnations over fifty years ago, virtually.

Here is a listing of the contents of the 10 disc box:

Disc: 1

  1. Malletoba Spank - Duke Ellington feat. The Percussion Section
  2. Medley: Toot Suite - Duke Ellington feat. Britt Woodman, Jimmy Hamilton, Shorty Baker, Russell Procope, Quentin Jackson, and Paul Gonsalves
  3. Satin Doll
  4. U.M.M.G. - Duke Ellington feat. Dizzy Gillespie
  5. All of Me - Duke Ellington feat. Johnny Hodges
  6. Tymperturbably Blue - Duke Ellington feat. The Percussion Section
  7. Fillie Trillie
  8. Hello Little Girl - Duke Ellington feat. Jimmy Jones, Jimmy Rushing, Dizzy Gillespie

Disc: 2

  1. Main Title and Anatomy of a Murder
  2. Flirtibird
  3. Way Early Subtone
  4. Hero to Zero
  5. Low Key Lightly
  6. Happy Anatomy
  7. Midnight Indigo
  8. Almost Cried
  9. Sunswept Sunday
  10. Grace Valse
  11. Happy Anatomy
  12. Haupe
  13. Upper and Outest
  14. Anatomy of a Murder
  15. Merrily Rolling Along
  16. Beer Garden
  17. Happy Anatomy
  18. Polly
  19. Polly
  20. Happy Anatomy
  21. More Blues
  22. Almost Cried
  23. Sound Track Music: Anatomy of a Murder
  24. Anatomy of a Murder
  25. The Grand Finale

Disc: 3

  1. Perdido
  2. Copout Extension
  3. Duael Fuel, Pt. I
  4. Duael Fuel, Pt. II
  5. Duael Fuel, Pt. III
  6. Idiom '59, Pt. I
  7. Idiom '59, Pt. II
  8. Idiom '59, Pt. III
  9. Things Ain't What They Used to Be
  10. Launching Pad
  11. V.I.P.'s Boogie
  12. Jam with Sam

Disc: 4

  1. Three J's Blues
  2. Smada
  3. Pie Eye's Blues
  4. Sweet & Pungent
  5. C Jam Blues
  6. In a Mellow Tone
  7. Blues In Blueprint
  8. The Swingers Get the Blues, Too
  9. The Swinger's Jump
  10. Blues In Orbit
  11. Villes Ville Is the Place, Man
  12. Track 360
  13. Sentimental Lady
  14. Brown Penny
  15. Pie Eye's Blues
  16. Sweet & Pungent
  17. The Swinger's Jump
  18. Blues In Orbit
  19. Track 360

Disc: 5

  1. Overture
  2. Toot Toot Tootie Toot (Dance of the Reed-Pipes)
  3. Peanut Brittle Brigade (March)
  4. Sugar Rum Cherry (Dance of the Sugar-Plum Fairy)
  5. Entr'acte
  6. The Volga Vouty (Russian Dance)
  7. Chinoiserie (Chinese Dance)
  8. Dance of the Floreadores (Waltz of the Flowers)
  9. Arabesque Cookie (Arabian Dance)
  10. Girls
  11. Mahalia
  12. Peg O' My Heart
  13. Sweet Adeline
  14. Juanita
  15. Sylvia
  16. Lena
  17. Dinah
  18. Clementine
  19. Diane

Disc: 6

  1. Happy Go Lucky Local
  2. What Am I Here For
  3. Kinda Dukish / Rockin' In Rhythm
  4. Perdido
  5. I'm Beginning to See the Light
  6. Mid-Riff
  7. It Don't Mean a Thing (If It Ain't Got That Swing)
  8. Main Stem
  9. Take the "A" Train
  10. Lullaby of Birdland
  11. The Wailer
  12. Dreamy Sort of Thing
  13. Lullaby of Birdland
  14. Harlem Air Shaft

Disc: 7

  1. Morning Mood
  2. In the Hall of the Mountain King 
  3. Solvejg's Song 
  4. Ase's Death
  5. Anitra's Dance 
  6. Misfit Blues 
  7. Schwiphti 
  8. Zweet Zurzday 
  9. Lay-By 

Disc: 8

  1. Everything but You
  2. Black Beauty
  3. All Too Soon
  4. Something to Live For
  5. Mood Indigo
  6. Creole Blues
  7. Don't You Know I Care (Or Don't You Care to Know)
  8. A Flower Is a Lovesome Thing
  9. Mighty Like the Blues
  10. Tonight I Shall Sleep
  11. Dual Highway
  12. Blues

Disc: 9

  1. I Can't Get Started
  2. Cong-Go
  3. Body and Soul
  4. Blues for Jerry
  5. Fontainebleau Forest
  6. Summertime
  7. It's Bad to Be Forgotten
  8. A Hundred Dreams Ago
  9. So
  10. Searching (Pleading for Love)
  11. Springtime In Africa
  12. Lotus Blossom
  13. All The Things You Are
  14. All The Things You Are
  15. Piano Improvisation No. 2
  16. Piano Improvisation No. 3
  17. Piano Improvisation No. 4
  18. Piano Improvisation No. 1

Disc: 10

  1. Battle Royal 
  2. To You 
  3. Take the 'A' Train 
  4. Corner Pocket (aka Until I Met You) 
  5. Wild Man 
  6. Segue In C
  7. B D B 
  8. Jumpin' at the Woodside 
  9. One More Once 
  10. Take the 'A' Train
  11. Jumpin' at the Woodside 
  12. B D B
  13. Blues In Hoss' Flat 
  14. Wild Man
  15. Battle Royal


Saturday, 15 August 2015

Festival Update

Saturday, Nov. 21 at 8PM
Auditorium Theatre, 50 E. Congress Pkwy.
Tickets: $29 – $68
Individual tickets to Lush Life go on sale Friday, Aug. 7 at 10AM.
The three-month centennial celebration of Billy Strayhorn concludes at the Auditorium Theatre with Lush Life: The Music of Billy Strayhorn. Under the musical direction of Bruce Mayhall Rastrelli, this fully staged salute to Strayhorn features Broadway star Darius de Haas and local favorite Joan Curto with Alan Broadbent on piano, the Auditorium’s “Too Hot to Handel” Orchestra, the Joel Hall Dancers and a 30-voice-all-male choir arranged by conductor Bill Chin.
In addition to the music, the Auditorium Theatre will also be naming the  inaugural recipient of its “Eighth Wonder Award” during the evening. The “Eighth Wonder Award” is so named because  the Auditorium Theatre was proclaimed to be “The Eighth Wonder of the World” when it opened in 1889.  The award will be presented annually to a notable individual in the fields of music, theatre, dance or architecture.
Gala Benefit Celebrating The Billy Strayhorn Festival
Saturday, Nov. 21 at 5PM
Hilton Chicago, 720 S. Michigan Ave. and Auditorium Theatre, 50 E. Congress Pkwy.
Cocktails and dinner in the Grand Ballroom of the Hilton Chicago followed by a performance of Lush LifeThe Music of Billy Strayhorn at the Auditorium Theatre.
Tickets:  Gala tickets are $500 and tables start at $5,000
For further information, contact Amanda Byrne at 312.341.2364 or 
Programming for The Billy Strayhorn Festival includes:* 
The Jazz Institute of Chicago’s 30th Annual Jazz Club Tour
Wednesday, Sept. 2 (Pre-Festival Event) from 6PM – Midnight
Starts at Reggie’s Chicago, 2109 S. State St.
Tickets are $30 at
The Jazz Institute of Chicago leads a tour of Chicago’s jazz clubs with this club crawl, allowing participants to enjoy the great variety of clubs that call Chicago home.  Billy Strayhorn’s image is featured on the badge that allows access to the clubs.
Chicago Jazz Orchestra at the Chicago Jazz Festival
Friday, Sept. 4 at 8:30PM
Pritzker Pavilion in Millennium Park, 201 E. Randolph Street
Tickets: FREE
The City of Chicago Department of Cultural Affairs and Special Events and Jazz Institute of Chicago join the Auditorium Theatre to throw a FREE 100th birthday for Strayhorn in the heart of Chicago at Millennium Park. The Chicago Jazz Orchestra performs many of Strayhorn’s classic works.
Andy’s Jazz Club featuring the Mike Smith Quartet with Jordan Baskin on Piano
Wednesday, Sept. 23 at 9:30 p.m., 11:00 p.m., and midnight
11 E Hubbard Street
Tickets: $10 at the door
The longest-running “steady”  (aka as a regular jazz engagement at the same club) in Chicago belongs to alto saxist Mike Smith celebrating his 33rd anniversary at Andy’s Jazz Club. Join the Mike Smith Quartet, and pianist Jordan Baskin, for an evening of Strayhorn at this regular Wednesday gig.
Fundraiser and Performance for Strayhorn’s Plaque on North Halsted’s Legacy Project
Saturday, Oct. 3 at 6PM
Private Event
An evening  of live performance, original recordings and speakers to raise funds to include Strayhorn as part of North Halsted’s Legacy Project, an outdoor public display that celebrates LGBTQ history and people.  Hosted by E. Patrick Johnson, Department of Performance Studies and African American Studies at Northwestern University, with Kim Hunt, Johari Jabir and Cedric Brown.
The Life and Music of Billy Strayhorn
Sunday, Oct. 4 at 4PM
Tickets: FREE
Center on Halsted, 3656 N. Halsted St.
A tribute to Billy Strayhorn’s life and music with live music, original recordings and a chronicle of his career and personal history. Hosted by E. Patrick Johnson, Department of Performance Studies and African American Studies at Northwestern University, with Kim Hunt, Johari Jabir and Cedric Brown.
Jazz’n on the Southside featuring Dee Alexander
Wednesday, Oct. 7 at 7PM
Caribbean Cove, 8020 S. King Dr.
Charles Heath’s Wednesday night series Jazz’n on the South Side dedicates this evening to the music of Strayhorn with singer Dee Alexander whom the Chicago Tribune says is “the definition of great jazz singing.”
Miguel de la Cerna and Friends
Wednesday, October 28 :: Time TBD
Green Mill Chicago
Chicago pianist Miguel de la Cerna hosts and leads the line up of the hottest performers in a salute to Strayhorn’s legacy.
Performance at T & JJ’s with D’Erania
Friday, Oct. 30, time TBD
T & JJ’s Banquet Hall, 718 S. 5th Ave., Maywood
Larry Shapiro, Maywood’s senior services coordinator and an avid Jazz enthusiast, curates a night of music at the Maywood location known for its soul food and music.  Featuring musician D’Erania, who calls “delightful” and “a distinctive voice.”
Jazz Showcase 
Tuesday, Nov. 3, time TBD
Jazz Showcase, 806 S. Plymouth Ct.
Joe Siegel and Wayne Siegel host a night of Strayhorn at their venue that has been presenting Jazz since 1947.  Artist TBD.
This Is Love –  NDIGO Night of Music with an Evening of Billy Strayhorn by Zemrah
Friday, September 11 at 7:30 p.m.
The Promontory  Chicago, 5311 S Lake Park Ave West
Tickets:  $20 at the door
N’Digo’s publisher Hermene Hartman creates a night of Strayhorn music featuring Chicago jazz songstress Zemrah.  Blessed with a smooth and sultry sound, Zemrah has been singing, performing and perfecting her music style since her early childhood in Chicago, and has been a fixture on the city’s jazz scene ever since.
Chicago Human Rhythm Project
Jazz Showcase, 806 S. Plymouth Ct.
Lane Alexander and Chicago Human Rhythm Project mix Strayhorn’s music with dance in this special production at Jazz Showcase. Date and time TBD.
Billy Strayhorn Centenary Celebration 
Throughout November
For the duration of his entire 100th birthday month, WDCB, the radio station of the College of DuPage, schedules Strayhorn music and hosts programs on the legendary man, his career and his influence on music and society.
Educational Panel Discussions on the State of Gay Black America
In addition, the Auditorium Theatre presents three different panels to discuss the state of Gay Black America today and in relation to Strayhorn’s experiences.  Dates, times, and other locations TBD.
* More programming to be added. Performances, dates, venues and content may change.

Saturday, 8 August 2015

Me is the Trouble: Time Runs, Paris, 1950

2015 sees not only the centenary of Billy Strayhorn, but also of Orson Welles.

In the course of researching Strayhorn's involvement with musical theatre (surely the new frontier of research into the musician's work), I discovered, courtesy of Google Books the following extract from America’s Mistress: EarthaKitt, Her Life and Times by John L. Williams:

Othello had been a huge strain to make – at one point Welles had resorted literally to throwing himself at the feet of the movie producer Darryl Zanuck to beg for funding – and most of the actors had yet to be paid. So, as something of a relaxation (and a way of generating some quick cash), he had decided to debut two short plays at a theatre in Paris and then tour them around Europe. The project would be relatively low-key and a chance to focus on acting for a change. At least that was the idea.
    The two plays were an anti-Hollywood satirical squib called The Unthinking Lobster with Suzanne Cloutier starring opposite Welles, and an extremely loos e adaptation of Christopher Marlowe’s Dr Faustus entitled Time Runs. This would feature Orson again, plus Hilton Edwards (Micháel MacLiammóir’s partner in both life and work) in the role of Mephistopheles. Duke Ellington had agreed to provide the music. The play also required an actress to play the part of Helen of Troy, a timeless embodiment of feminine beauty. Welles had trouble deciding whom to cast for this part. He’d tentatively offered it to several different actresses before he had the notion of asking the young woman he’d seen dance with Katherine Dunham and perform in cabaret at Carroll’s club: Eartha Kitt. He’d done his best to get hold of Eartha, but had been told she was still in New York. So he’d found another potential Helen instead, the Anglo-American singer and actress Annie Ross.
    But Orson was a capricious employer and when Eartha showed up at the theatre he decided that she was after all his perfect Helen of Troy. She was in and Annie Ross was out. Annie duly received the bad news:

“I realised I hadn’t been given a rehearsal call, so I rang the theatre a couple of days later. This voice said, ‘I’m his secretary’. I said, ‘Can you tell me when my call is?’ and he said, ‘Mr Welles last night rewrote the whole play and he’s cast somebody else,’ so I said, ‘Oh what a drag.’ I was really disappointed. And that person turned out to be Eartha.”

Not only did Eartha have the part, but it was now a rather bigger one than originally planned. Orson rewrote the play overnight, prompted by his enthusiasm for his new Helen. As he told his biographer: “Eartha Kitt was obviously a star. You could tell that.”
    Rehearsals were to start the following day, a Tuesday. According to Eartha, the show was due to open the following Saturday. However, an examination of Micheál Mac Liammóir’s published diary suggests this to be an exaggeration. His entry of 28 may reveals that Eartha had already been cast and the opening night was not until 19 June. So there was probably something closer to a month’s preparation. Meanwhile there was scenery to be painted and costumes to be sewn. Some of this, Eartha was used to, thanks to her time with the Dunhams, but the acting was a whole new challenge for her. Orson Welles recognised this and would stay late at the theatre with her helping her with her lines.

Mac Liammóir’s diary offers a vivid picture of Time Runs’ genesis:

[Time Runs] is based on the legend of Dr Faustus … it is as strangely moving in its way as one expects from Orson; it also has a dark malevolent glitter that causes the flesh to creep. The stage is populated by actors in the role of students of the Jean-Paul Sartre order conducting brisk debate on damnation with a young coloured girl (her name is Eartha Kitt, discovered by Hilton and orson in some nightclub in the rue du Colisée, a tiny, curious, bitterly-smiling fascinating creature), who at given moments flashes an electric torch on the audience as she sings in a husky amber voice about Satan, Hell and eternal Damnation (swing). Music, however, not yet written, so at present eartha K strings notes together herself, often with lovely haphazard effect. Who’s going to write it?

The answer to this last question was meant to be Duke Ellington, who had met Welles in 1941 and was currently touring Europe. Unfortunatley the demands of touring meant that Ellington himself was unable to devote much time to the project. However he was able to send his regular co-writer, the wonderfully talented Billy Strayhorn, to Paris. Strayhorn was happy about this as his long-term lover Aaron Bridgers had recently moved to the city and just been hired as the pianist at eartha’s favourite hangout, the Mars Club. Strayhorn was given four Orson Welles song titles (though no actual lyrics)to work with: Me is the Trouble, Zing, Zing, In the Dungeon of Guilt and Song of the Fool.
    Close to show-time Welles still hadn’t written any lyrics and was considering cutting the songs altogether. At one point he sent Hilton Edwards to Stockholm to meet Ellington and ask for a number of pieces of incidental music. Nothing appears to have come of that mission, however, at elast for the show. Instead Welles went out with Strayhorn to the Café de la Paix and over several drinks came up with the odd, haunting words for Me is the Trouble (words surely inspired by his enigmatic new star): Hungry little trouble, bound in a bubble, yearning to be, be or be free/ All that you see, is all about me/ Hungry me.
Strayhorn gave them a mournful blues setting and hoped for the best.

Here are a couple of pictures of the Ellington band (with vocalist Betty Roché) on that tour, performing at the Palais de Chaillot, Paris, 1950.