Yale University Library

 

OHAM: Art Baron on Ellington

OHAM Info

Art Baron

With: Mark Tucker

New York, NY

December 18, 1986

TABLE OF CONTENTS

Side a:                                                                                                                                                                        P. 1

Playing conch‑‑family background‑‑first music lessons and instruments‑‑jug band playing‑first jazz groups‑‑The DoctorsBand‑‑Sonny Costanza‑‑early jazz tastes: Winding, Johnson, Kenton‑‑Dick Fenno‑‑hearing Ellington's Sacred Concert in Bridgeport, CT‑‑Ellington's conducting style‑‑the trombone section in the late '60s‑personnel in the band at that time‑‑Ellingtonia‑‑work and school before meeting Ellington‑‑Dave Berger‑‑Jimmy Maxwell‑‑Stevie Wonder‑‑playing recorder‑‑ substituting in the Ellington band‑‑playing as a dance band‑‑stage etiquette‑‑mutes and the Ellington sound—learning the Ellington book‑‑help from Vince Prudente‑‑arrangement of "Mood Indigo"‑‑ Duke makes four guys sound like a big band‑‑camaraderie in the 'bone section‑‑Murray McEachern‑‑ rearranging tunes for different‑sized bands‑‑offered a full‑time job with the band‑‑tour of U.S.‑‑ Europe, fall of '73‑Sacred Concert‑‑Ray Nance and protocol—Mr. Kelly's‑‑Duke hears him play recorder‑band plays "out of tune"‑‑white and black musicians‑‑Duke writes recorder part for Sacred Concert‑‑playing Harry Carney's book

Side b:                                                                                                                                                                        P. 27

Rehearsals‑‑being with Duke on the road‑‑recorder solo on "The Lord's Prayer”‑Duke's creative process‑‑"One More Once"‑‑arrangers: Connors, Benjamin, Whaley‑Harry Carney‑‑Duke, Gonsalves, and 2nd Sacred Concert‑‑the Ellington magic‑‑learning on the road‑‑Cootie's friends at the track‑‑European tour‑‑more of life on the road‑‑the H.B.P. Club—being cool on the bandstand‑‑ drinking‑‑Duke messin’, with his players‑‑"Azure‑Te"‑‑"So So" and "Woods”‑‑repertory‑‑ Black and Tan Fantasy‑-Creole Love Call‑‑Duke and Gonsalves—Gonsalves explains his method of playing‑-meeting people on the road‑‑proper seat on the bus‑‑money‑‑Jimmy Hamilton‑‑Far East Suite‑‑the Ellington trombone tradition‑‑Duke getting ill‑‑Benjamin, Gonsalves, and Logan dying‑‑working with Mercer‑‑ other personnel after Duke's death‑‑Sophisticated Ladies and other Ellington related projects‑‑ carrying on the tradition‑putting together The Duke's Men‑‑The Duke's Men repertory and personnel‑‑ Turney, Temperley, Nance, Grayson, Byard ‑‑"All Too Soon"‑‑ "Checkered Hat"‑‑Haywood Henry‑ personnel in The Duke's Men

Side c:                                                                                                                                                             P. 51

Demonstrating plunger‑mute techniques‑‑Jackson and Nanton‑‑"Symphony in Black"--"Ko‑Ko"‑‑Jimmy Maxwell‑‑"Cotton Club"‑‑"Harlem Speaks"‑‑Tyree Glenn‑‑Lawrence Brown‑‑soundtrack for the film "Brighton Beach Memoirs"‑‑"Harlem Airshaft"‑Smithsonian Jazz Repertory Ensemble‑‑ "Old Man Blues" and "Old Man River"‑‑"Ramona"‑Japanese flute‑‑teaching‑‑music with the body‑‑playing Duke's repertory now that he's gone‑‑more on Sophisticated Ladies‑‑orchestrations of Duke's tunes‑‑Gunther Schuller‑‑"American Lullaby"‑‑"it's all personality music"‑‑Duke's commitment‑-command performance for the Queen‑‑Cootie Williams, personality and playing—“Round 'Bout Midnight" (Monk)‑‑keeping in touch with the band members‑‑recognizing various trombone parts in the Ellington book