[ARSCLIST] Ellington, wasRe: [ARSCLIST] Harry Carney

[phillip holmes <insuranceman@xxxxxxxxxx>]

Ellington does sound stuffy at first, but once your ear has adjusted, 
it's the coolest thing in jazz.  Cool in a "we've been there 100 times, 
and done it 1,000 times, so just be cool daddy" way.  There are other 
musicians that take repeated listening to appreciate.  I hated Coltrane 
the first time I heard him.  After getting past some of the superficial 
stuff, I was able to listen to the music.  Mozart sounds deceptively 
simple.  Great playing makes Mozart sound easy, but it sure isn't easy 
to play.  I digress.  The way Ellington used Cat Anderson is genius.  
Most band leaders would have Anderson screeching and wailing all night 
long.  Duke holds him in reserve till it's time for the coup de grace!  
I can vividly remember the "OH, holy crap!" moment I had when I listened 
to "Anatomy of a Murder".  On the last cut, "Upper and Outest", it 
starts so cooool with a funky figure in the sax section, and you can 
really hear Carney too, then it just switches gears and here comes Cat 
Anderson.  And it's not some gauche Maynard Ferguson-esque, 
hey-look-me-over, spectacle.  Just so tasty and so right.  I find myself 
holding my breath at the end of that.  The little staccato squeaks and 
the oh-so-soft sustained chord under Anderson, all perfectly balanced.  
It just dissipates into some other part of the universe.  Just amazing.  
Carney is featured on "Hero to Zero" with Gonsalves.  That band had so 
many good musicians, it was like one of these basketball teams where you 
can't find enough playing time for everyone.  The movie is good.  And 
great art work by Saul Bass.  They don't make them like that any more, 
and they never will.  Where was Anatomy of a Murder recorded?
Phillip

Tom Fine wrote:
> Some jazz fans find his music too stuffy or dated, but then I can't 
> get into the disorganized non-melody-based stuff of later on (later on 
> to me is the stuff after bebop and before fusion, all the stuff that 
> led to dead ends and killed off jazz for most people). All that stuff 
> is mostly forgotten, except among critics, but you can play Duke 
> Ellington for almost anyone and they'll soon be smiling and feet 
> tapping. If they're a musician, they'll still understand how hard it 
> is to write and play what Duke was up to and they'll be impressed.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "phillip holmes" 
> <insuranceman@xxxxxxxxxx>
> To: <ARSCLIST@xxxxxxxxxxxxxxxx>
> Sent: Sunday, February 04, 2007 2:45 PM
> Subject: Re: [ARSCLIST] Harry Carney
>
>
> > Thanks for the leads.  I'll start searching.  I'm amazed by the 
> > number of Ellington dates/sides/albums.  I've got quite a few, but 
> > they tend to be from the late '50s and on. "Festival Junction" is 
> > amazing.  It was so good my wife took notice.  That whole album is 
> > amazing.
> > Michael Fitzgerald wrote:
> > > At 11:18 PM 2/3/2007, you wrote:
> > > > Someone on this list probably has encyclopedic knowledge of Duke 
> > > > Ellington.  In all my Ellington stuff, I can only think of two 
> > > > records with solos by Harry Carney.  Any recommendations?
> > >
> > > There are a bunch - some briefer than others. The following is by no 
> > > means complete.
> > >
> > > Sophisticated Lady (many - but not all - recordings)
> > > Frustration (many recordings)
> > > Got Everything But You (1928)
> > > I Must Have That Man (1928)
> > > Stepping Into Swing Society (1938)
> > > Jack The Bear (1940)
> > > So Far, So Good (1940)
> > > Cotton Tail (1940)
> > > Blue Goose (1940)
> > > At A Dixie Roadside Diner (1940)
> > > My Greatest Mistake (1940)
> > > Sepia Panorama (1940)
> > > Five O'Clock Whistle (1940)
> > > Sidewalks Of New York (1940)
> > > Jumpin' Punkins (1941)
> > > John Hardy's Wife (1941)
> > > Chocolate Shake (1941)
> > > The Brown-Skinned Gal (1941)
> > > I Don't Know What Kind Of Blues I Got (1941)
> > > Perdido (1942)
> > > I Don't Mind (1942)
> > > Work Song (from Black, Brown, & Beige) (1944)
> > > Prelude To A Kiss (1945)
> > > Black And Tan Fantasy (1945)
> > > In A Sentimental Mood (1945)
> > > Blues Is The Night (1946)
> > > Just You, Just Me (1946)
> > > My Honey's Lovin' Arms (1946)
> > > Memphis Blues (1946)
> > > Royal Garden Blues (1946)
> > > Golden Feather (1946)
> > > Progressive Gavotte (1947)
> > > Ultra Deluxe (1953)
> > > Falling Like A Raindrop (1954)
> > > Festival Junction (1956)
> > > Prima Bara Dubla (1958, with Gerry Mulligan)
> > > Villes Ville Is The Place, Man (1959)
> > > In A Mellotone (1959)
> > > Stay Awake (from Mary Poppins) (1964)
> > > Agra (from Far East Suite) (1966)
> > > A Chromatic Love Affair (1967)
> > >
> > > Carney also was featured clarinet soloist on Rockin' In Rhythm. He 
> > > can be heard on bass clarinet on I Let A Song Go Out Of My Heart and 
> > > Black Beauty (both 1945). Early on he played alto and soprano as 
> > > well and solos on alto on What Can A Poor Fellow Do and on soprano 
> > > on Blue Bubbles (both 1927). Be careful in this early period since 
> > > Otto Hardwick also played baritone (and bass sax) and some baritone 
> > > solos are by him.
> > >
> > > I believe the DESOR discography - Duke Ellington's Story On Records 
> > > - by Massagli, Pusateri and Volonte indicates soloists, so if you 
> > > really want a comprehensive list, it should be able to supply the 
> > > information.
> > >
> > > Lastly, FWIW, Carney led a few dates - 1946 for HRS (now on a Mosaic 
> > > boxed set); 1947 for WAX (now on a Storyville CD); 1947 for Clef (on 
> > > the Verve CD The Jazz Scene); 1954 for Clef (now on a Ben Webster 
> > > Verve CD); and 1960 for Columbia.
> > >
> > > Mike
> > >
> > >
> > > mike at jazzdiscography.com
> > > www.jazzdiscography.com