Duke Ellington: Hot Summer Dance, Tape
Duke Ellington: Hot Summer Dance, Tape
€11.90
Net price (incl. 19% VAT) excl. shipping costs
Duke Ellington
Hot Summer Dance
  • Compact Cassette
  • United States
  • Red Baron
  • (AT 48631)
  • 16 Tracks
  • UPC 074644863147
  • EX+ / EX
  • virgin
  • still sealed, cut-out slit in spine

tracks

A1

Take The A Train

A2

Paris Blues

A3

The Nutcracker Suite Overture

A4

Tenderly

A5

Such Sweet Thunder

A6

Black And Tan Fantasy / Creole Love Call / The Mooche

A7

Satin Doll

B1

All Of Me

B2

Jeep's Blues

B3

Laura

B4

Danse Of The Floreadores

B5

I Got It Bad And That Ain't Good

B6

Just Squeeze Me

B7

It Don't Mean A Thing If It Ain't Got That Swing

B8

Pretty And The Wolf

B9

Diminuendo And Crescendo In Blue

Credits

Alto saxophone
  • Johnny Hodges
  • Russell Procope
Arranged by
  • Duke Ellington
Leader
  • Duke Ellington
Piano
  • Duke Ellington
Baritone saxophone
  • Harry Carney
Bass
  • Aaron Bell
Clarinet
  • Russell Procope
Drums
  • Sam Woodyard
Tenor saxophone
  • Jimmy Hamilton
  • Paul Gonsalves
Trombone
  • Booty Wood
  • Britt Woodman
  • Lawrence Brown
Trumpet
  • Ed Mullens
  • Fast Ford
  • Willie Cock
  • Ray Nance
Vocals
  • Ray Nance

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.