{"id":5895,"date":"2014-07-21T21:37:56","date_gmt":"2014-07-22T04:37:56","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5895"},"modified":"2014-07-21T21:37:56","modified_gmt":"2014-07-22T04:37:56","slug":"monday-recommendation-duke-ellington","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/07\/monday-recommendation-duke-ellington\/","title":{"rendered":"Monday Recommendation: Duke Ellington"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;rX0NZDW3WB3FoR9ZMlHHgguyjYZCw2nD&#8221;]<\/p>\n<p><strong>Duke Ellington<\/strong>, <a href=\"http:\/\/www.amazon.com\/gp\/product\/B0064UJSRQ\/?ie=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;qid=1405903490&#038;s=music&#038;sr=1-1&#038;tag=rifftidougram-20\"target=\"_blank\">BigBands Live<\/a> (Jazz Haus)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Ellington-Jazz-Haus.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Ellington-Jazz-Haus.jpg\" alt=\"Ellington Jazz Haus\" width=\"220\" height=\"197\" class=\"alignleft size-full wp-image-5896\" \/><\/a>Watching the Ellington band perform in the late 1960s and early \u00e2\u20ac\u02dc70s, the listener was likely to be struck by the contrast between the sidemens\u00e2\u20ac\u2122 laconic demeanor and&#151;on a good night&#151;the joy of their performances. March 6, 1967 was a good night at the Liederhalle in Stuttgart, Germany. Beautifully recorded, the concert combines famous and barely known pieces. Good humor reigns in the ensemble performances, passion in the solos. Trumpet star Cootie Williams of the great 1940\u00e2\u20ac\u201c\u00e2\u20ac\u02dc41 band, back in the fold, soars, slides and growls through \u00e2\u20ac\u0153Tutti for Cootie\u00e2\u20ac\u009d and \u00e2\u20ac\u0153The Shepherd.\u00e2\u20ac\u009d Harry Carney\u00e2\u20ac\u2122s baritone saxophone solo on \u00e2\u20ac\u0153La Plus Belle Africaine\u00e2\u20ac\u009d is a highlight. There is impressive work by Paul Gonsalves, Russell Procope, bassist John Lamb and Ellington. Alto saxophonist Johnny Hodges is magnificent on Billy Strayhorn\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Blood Count,\u00e2\u20ac\u009d for unexplained reasons retitled \u00e2\u20ac\u0153Freakish Lights.\u00e2\u20ac\u009d This is a jewel in the impressive Jazz Haus catalog of live recordings.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;rX0NZDW3WB3FoR9ZMlHHgguyjYZCw2nD&#8221;] Duke Ellington, BigBands Live (Jazz Haus) Watching the Ellington band perform in the late 1960s and early \u00e2\u20ac\u02dc70s, the listener was likely to be struck by the contrast between the sidemens\u00e2\u20ac\u2122 laconic demeanor and&#151;on a good night&#151;the joy of their performances. March 6, 1967 was a good night at the Liederhalle in Stuttgart, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-5895","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5895","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5895"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5895\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5895"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5895"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}