6. Duke Ellington | Ellington At Newport 1956 (1956)

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Wikipedia Entry

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Tracks

(1956 version)

1. Festival Junction
2. Blues to Be There
3. Newport Up
4. Jeep's Blues
5. Diminuendo and Crescendo in Blue

(1999 version)

1. The Star Spangled Banner
2. Father Norman O'Connor Introduces Duke & the Orchestra / Duke Introduces Tune & Anderson, Jackson & Procope
3. Black and Tan Fantasy
4. Duke Introduces Cook & Tune
5. Tea for Two
6. Duke & Band Leave Stage / Father Norman Talks About The Festival
7. Take the 'A' Train
8. Duke Announces Strayhorn's A Train & Nance / Duke Introduces Festival Suite, Part I & Hamilton
9. Part I - Festival Junction
10. Duke Announces Soloists; Introduces Part II
11. Part II - Blues to Be There
12. Duke Announces Nance & Procope; Introduces Part III
13. Part III - Newport Up
14. Duke Announces Hamilton, Gonsalves & Terry / Duke Introduces Carney & Tune
15. Sophisticated Lady
16. Duke Announces Grissom & Tune
17. Day In, Day Out
18. Duke Introduces Tune(s) and Paul Gonsalves Interludes
19. Diminuendo In Blue and Crescendo In Blue
20. Announcements, Pandemonium
21. Pause Track
22. Duke Introduces Johnny Hodges
23. I Got It Bad (and That Ain't Good)
24. Jeep's Blues
25. Duke Calms Crowd; Introduces Nance & Tune
26. Tulip or Turnip
27. Riot Prevention
28. Skin Deep
29. Mood Indigo
30. Studio Concert (Excerpts)
31. Father Norman O'Connor Introduces Duke Ellington / Duke Introduces New Work, Part I & Hamilton
32. Part I - Festival Junction
33. Duke Announces Soloists; Introduces Part II
34. Part II - Blues To Be There
35. Duke Announces Nance & Procope; Introduces Part III
36. Part III - Newport Up
37. Duke Announces Hamilton, Gonsalves & Terry / Pause / Duke Introduces Johnny Hodges
38. I Got It Bad (And That Ain't Good)
39. Jeep's Blues
40. Pause Track

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There are two releases of Ellington At Newport 1956: one released in 1956 and another in 1999. After listening to the recording of the band's performance at the Newport Jazz Festival, Duke Ellington didn't feel it was good enough to be released. So, he and the band went into a studio and re-recorded the performance. The studio versions of the live performance are what is heard on the 1956 version, except for Diminuendo and Crescendo in Blue. However, after more than 40 years, a Voice of America recording of the performance was found. That newly found recording was the basis for the 1999 release of Ellington At Newport 1956. The 1999 release contains the complete Duke Ellington performance at the festival and also the studio recordings on the 1956 release.

Duke Ellington and his band are outstanding. They sound tight and they support the soloists really well. As I listened to a solo, I knew the band was there because I was unconsciously tapping my foot, but I was able to concentrate completely on the solo.

During the performance you can hear the musicians lending vocal support other musicians. Duke Ellington can clearly be heard encouraging the band on Festival Junction. He and other members of the band can also be heard encouraging Paul Gonsalves to keep his solo going on Diminuendo In Blue and Crescendo In Blue. It was also really nice to hear, after each piece, Duke Ellington recognizing the key musicians involved.

As the performance drew to a close, the audience seemed to get upset. They didn't want the performance to end. Duke Ellington did a great job keeping the situation under control and keeping the crowd happy by playing a few more pieces before finally ending the show.

Listening to how the crowd react is all the evidence needed to say this was a great performance. All the pieces are enjoyable, but Festival Junction, Blues to Be There, Newport Up and Diminuendo In Blue and Crescendo In Blue are the most memorable ones.

The 1999 release is about 2 hours and 10 minutes long. The Voice of America recording is 1 hour and 40 minutes long and the studio recording, which comprised the majority of the 1956 version, is 32 minutes long. While it's interesting to listen to the complete performance, it's too long. The introductions, especially from Fr. O'Connor, are too long and are unnecessary after one or two listenings. Also, the more interesting pieces are the ones found on the 1956 release. Of course, the actual live versions are better than the studio versions. (What does Duke Ellington know, right?)

So, ideally Duke Ellington should have released an album with the live versions. In fact that solution, I believe, would have worked better for the 1999 version as well. As it is, the 1999 version is a pretty complete historical document of Duke Ellington's performance at the event. But, you'll get the most enjoyment if you only listen to the tracks that were on the original release.

★★★★★★★★☆☆