Thanks, Doug, for reminding us on International Jazz Day. For me, every day is a Jazz Day.
Let’s celebrate it anyway, with Paul Gonsalves, featured in his very special showcase and 35 chorusses + a splendid coda on Diminuendo & Crescendo In Blue (linked with my vintage article on that piece):
— Here he goes with 24 splendid chorusses on the blues:[youtube https://www.youtube.com/watch?v=ZbjzfZSmQMM&w=420&h=315]
— For the completists, here’s the older article about another, not so famous rendition of “Diminuendo & Crescendo In Blue”:
For celebrating this very date, and the really sensational recording, here is a short excerpt from an e-mail I have sent to one of my best friends who is rather an expert for Miles Davis, Charlie Parker & Co.:
I got a quite decent Duke Ellington LP on another, similar bootleg label, with an early full length version of Diminuendo & Crescendo In Blue, with Paul Gonsalves, doing his famous ride —> almost 13 minutes, and already then, at Birdland, on June 30, 1951, 26 chorusses on the Blues in D flat:
It’s funny how often the Duke changes keys during that very number —
— First in E flat, then going over G & C, and a short F minor passage to D flat, remaining rooted there for the 26 chorusses, then a short piano trio interlude from G flat to E major, which is eventually going back to E flat for the 2nd part, and stays there up to the end with Cat Anderson’s screaming high notes.
— The “best” is: The whole LP runs a half-tone too fast, as usual with those bootlegs. — No problem for me, since I can turn a little screw.
— Here it is:
>>>—> DIMINUENDO & CRESCENDO IN BLUE <—<<<
‘Live’ at Birdland, on June 30, 1951.
You may find pleasure in reading this little excerpt from Wikipedia, just in case you are too lazy to go there directly. — It’s such a nice passage that I’m including it here:
Strikingly, though, at Birdland Gonsalves drifts a whole bar ahead during the fourth chorus of his solo in which he attempts a complicated syncopated patter over the first six bars but loses four beats in the process.
It seemingly takes another eight or nine whole choruses before the listener can really be sure that both Duke Ellington and bassist Wendell Marshall having adjusted to regain synch with Gonsalves, who just storms on regardless, in his own world.
Despite this, it could be argued that the solo Gonsalves played at Birdland was considerably more invigorating and both melodically and harmonically inventive than the more famous 1956 Newport Jazz Festival rendition.
Nelson Williams, Cat Anderson, Harold Baker (tp) Ray Nance (tp, vl, v) Britt Woodman, Quentin Jackson, Juan Tizol (tb) Jimmy Hamilton (cl, ts) Russell Procope (cl, as) Willie Smith (as) Paul Gonsalves (ts) Harry Carney (cl, as, bar) Duke Ellington (p) Wendell Marshall (b) Louis Bellson (d)
Blog owner’s note: Even Dukes can be wrong, since Ellington misdates his own composition as being written in 1939. — Some of Paul’s repetitive, very modern sounding phrases remind me strongly on Trane who did similar things at “All Blues” when he was concerting with Miles in Sweden, in March 1960. — The encouraging shouts, and the hand clapping are coming from the Duke.
Blog owner’s recommendation: Click on the cover to enlarge the liners.