DUKE ELLINGTON Blues In Orbit CLASSIC RECORDS 45rpm 180g AUDIOPHILE x 4 disc set
  $   111

 


$ 111 Sold For
Dec 13, 2014 Sold Date
Dec 6, 2014 Start Date
$   50 Start price
12   Number Of Bids
  USA Country Of Seller
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Description

DUKE ELLINGTON Blues In Orbit CLASSIC RECORDS CS 8241 45rpm 180g AUDIOPHILE x 4 disc setMastered by Bernie Grundman - Pressed at RTI

TracklistHide Credits


Three J's BluesComposed By – Jimmy HamiltonTenor Saxophone – Jimmy Hamilton
SmadaAlto Saxophone – Johnnie Hodges*Composed By – Billy StrayhornTrumpet – Ray Nance
Pie Eye's BluesTenor Saxophone – Jimmy HamiltonTrumpet – Ray Nance
Sweet And PungentClarinet – Jimmy HamiltonComposed By – Billy Strayhorn, Duke EllingtonTrombone – Booty Wood
C Jam BluesClarinet – Jimmy HamiltonTenor Saxophone – Paul Gonzalves*Trombone – Booty Wood, Matthew Gee Jr.*Violin – Ray Nance
In A Mellow ToneBaritone Saxophone – Harry CarneyTrumpet – Ray Nance
Blues In BlueprintBass – Jimmy Wood*Clarinet – Harry CarneyTrumpet – Ray Nance
The Swingers Get The Blues TooAlto Saxophone – Johnnie Hodges*Composed By – Duke Ellington, Matthew GeeHorn [Baritone] – Mathew Gee Jr.*Trumpet – Ray Nance
The Swingers' JumpAlto Saxophone – Johnnie Hodges*Clarinet – Jimmy HamiltonComposed By – Matthew Gee Jr.*Tenor Saxophone – Jimmy HamiltonTrombone – Booty WoodTrumpet – Ray Nance
Blues In OrbitComposed By – Billy Strayhorn, Duke Ellington
Villes Ville Is The Place, ManAlto Saxophone – Johnnie Hodges*Baritone Saxophone – Harry CarneyTrumpet – Ray Nance

Notes

Audiophile 180g remaster by Bernie Grundman."Blues In Orbit is an album worth tracking down, if only to hear the band run through a lighter side of its sound — indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. Ellington and company were just back from a European tour when the bulk of this album was recorded, at one after-midnight session in New York on December 2, 1959, to arrangements that had to be hastily written out when the copyist failed to appear for the gig. So on the one hand, the band was kicking back with these shorter pieces; on the other, the group was also improvising freely and intensely at various points. The title track, recorded more than a year before most of the rest, is a slow blues that puts Ellington's piano into a call-and-response setting with the horns, with Ellington getting in the last word." — All Music Guide


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