|
1
|
I Can't Get Started
|
10
|
Searching
|
|
2
|
Cong-Go
|
11
|
Springtime In Africa
|
|
3
|
Body And Soul
|
12
|
Lotus Blossom
|
|
4
|
Blues For Jerry
|
13
|
All The Things You
Are (Take 1)
|
|
5
|
Fontainbleau Forest
|
14
|
All The Things You
Are (Take 2)
|
|
6
|
Summertime
|
15
|
Piano Improvisation
No. 2
|
|
7
|
It's Bad To be Forgotten
|
16
|
Piano Improvisation
No. 3
|
|
8
|
A Hundred Dreams Ago
|
17
|
Piano improvisation
No. 4
|
|
9
|
So
|
18
|
Piano improvisation
No. 1
|
This compilation can be divided
into two parts even though the musicians,
Duke Elington, piano - Aaron Bell (#1-12)
and Jimmy Woode (#13-18), bass - Sam Woodyard,
drums remain the same throughout. What is
somewhat rare about these recordings is that
they feature Ellington as the main soloist.
At the time they were recorded in the late
50s and early 60s Ellington was usually more
content to oversee the performance of his
great orchestra and leave the keyboard duties
to Billy Strayhorn. So here we have a treat!
The first dozen tracks
are a mix of standards and titles which when
first recorded had never been heard before.
Track 12, 'Lotus Blossom,' composed
by Strayhorn is one of the most moving pieces
and Patricia Willard's comments that the track
is, 'perhaps Ellington's most eloquent and
introspective solo piece, often reflected
his mood, almost a benediction' are spot on.
The rest of the CD involves a couple of versions
of 'All the Things You Are' and four
Piano Improvisations.
Two striking pieces are
'Fontainebleau' and 'Forest and
Spring In Africa' - a complete diversion
from the Ellington's well known trade mark
of stride piano as featured on many of the
other tracks. Both are classics, culturally
inspiring and typical of the innovative style
and different genres he so often introduced
into his compositions. But however classical
a strong melodic line is always present.
The opening bars of 'Blues
For Jerry' could be mistaken for a typical
Garner intro but there the comparison ends
as Duke gradually builds towards a more Monk
style that led Bell to say of the piece, 'It's
not a blues but it is. It's the blues pattern
that everyone listens for. If you don't listen
close, you won't get that because he's throwing
you off.' 'Cong-Go' is an original
and simple head line by Bell and taken up
to become the main theme - developed of course
in sparkling fashion by the pianist. Of the
four 'Improvisations' I preferred No.1
containing nearly ten minutes of fresh improvisation
based round an unusual rhythmic style. This
is a very interesting CD and it gives a fascinating
insight into the massive talent of a great
musician and composer.
Jack
Ashby
CD Reviews
Columbia Legacy 512920 2
