Duke Ellington and his band participated in numerous weekly broadcasts during a good part of the 1940s; this two-CD compilation features three complete programs as they were originally aired. Although these performances fall short of groundbreaking, they have their moments. The two U.S. Treasury Department-sponsored broadcasts, created to promote the sale of war bonds, find
Ellington mixing compositions both old and new with current
pop songs and an occasional cover of a song associated with other bands.
By far the most interesting tracks are
Ellington's newest works. The
ballad "Teardrops in the Rain," co-written with trumpeter
Cat Anderson, had only been added to the book a few months earlier and was gone by the following year. Rather than high-note theatrics,
Anderson sticks to muted trumpet.
"Frustration" was first performed in 1944 and was played from time to time through 1960, a great feature for
Harry Carney's powerful baritone sax, though this version has a new meaning since it is interrupted by a news flash about the U.S. Senate's approval of membership in the newly created U.N. A revival of the 1936 composition
"Trumpet in Spades" (also known as
"Rex's Concerto") marks the final performance of the tune by the extraordinary trumpeter
Rex Stewart.
"Moon Mist" showcases
Ray Nance's lyrical violin and the magical
Johnny Hodges on alto sax, as well as the mellow trombone of
Lawrence Brown. One oddity is
"Time's A-Wastin'," which is credited to
Johnny Hodges,
Taft Jordan, and
Lawrence Brown, but is actually an alternate name for
Mercer Ellington's well-known
blues "Things Ain't What They Used to Be." "Downbeat Shuffle" showcases
Carney's bass clarinet,
Jimmy Hamilton's clarinet, and the matchless trombonist
Tricky Sam Nanton in a swinging arrangement. There are also several vocal numbers, featuring either
Joya Sherrill,
Kay Davis, or
Al Hibbler, though the ladies outshine
Hibbler easily. The only reservations are minor. One announcer attempts to introduce a number with several bad puns instead of getting out of the band's way, while another introduces
Lawrence Brown as "Larry." It is unfortunate that
Ellington was stuck reading bond promo scripts cold several times during each show; no one doubts his patriotism, but he is clearly nervous and uncomfortable. Although this volume has excellent sound considering the vintage of the transcription discs that served as the source material, this compilation will be of most interest to veteran
jazz collectors rather than new
jazz fans or those with a passing interest in
Duke Ellington. ~ Ken Dryden
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