Oclupaca

Composed and arranged by Duke Ellington, transcribed by David Berger

Oclupaca, Duke Ellington (1968)

Oclupaca is "an exotic opener showcasing Paul Gonsalves' robust tenor," from Ellington's 1972 album Latin American Suite (Fantasy 8419).

Duke Ellington & His Orchestra: Cat Anderson, Willie Cook, Mercer Ellington, Cootie Williams, t; Lawrence Brown, Buster Cooper, tb; Chuck Connors, btb; ts; Johnny Hodges, as; Russell Procope, as, cl; Paul Gonsalves, ts; Harold Ashby, ts, cl; Harry Carney, bs; Duke Ellington, p; Jeff Castleman, b; Rufus Jones, d. November 5, 1968, National Recording Studio, New York.

Journal Square

Composed and arranged by David Berger

Journal Square (publisher's sample), composed and arranged by David Berger

Journal Square is an original composition and arrangement by David Berger. This straight ahead shuffle is in the tradition of Duke Ellington's train songs. Berger used it as his band's opener for many years. Conceived by the composer while riding home on the Journal Square train, it features a 12-bar minor form and has plenty of opportunities to open things up for solos. Published by Kendor Music Inc (KN.61385).

Jazz composer, arranger and conductor David Berger is recognized internationally as a leading authority on the music of Duke Ellington and the Swing Era. Conductor and arranger for the Lincoln Center Jazz Orchestra from its inception in 1988 through 1994, Berger has transcribed more than 700 full scores of classic recordings including nearly 500 works by Duke Ellington and Billy Strayhorn.

Oop Bop Sh'Bam

Composed by Dizzy Gillespie, arranged by Gil Fuller

Oop Bop Sh'Bam, Billy Eckstine (1946)

Our chart is a David Berger transcription, based on a Gil Fuller arrangement recorded in 1946 by the Billy Eckstine Orchestra. Notice a young Miles Davis in the trumpet section. And Sonny Stitt, who was on the original recording with Dizzy earlier that year.

Miles Davis, Hobart Dotson, Leonard Hawkins, King Kolax (trumpet) Water Knox, Chippy Outcalt, Gerald Velentine (trombone) John Cobbs, Sonny Stitt (alto saxophone) Gene Ammons, Arthur Sammons (tenor saxophone) Cecil Payne (baritone saxophone) Linton Garner (piano) Connie Wainwright (guitar) Tommy Potter (bass) Art Blakey (drums) Billy Eckstine (vocals, valve trombone); Radio Recorders, Hollywood, CA, October 5, 1946

Here's the original sextet version, from 1946:

Oop Bop Sh'Bam, Dizzy Gillespie Sextet (1946)

Dizzy Gillespie (trumpet, vocals) Sonny Stitt (alto saxophone) Milt Jackson (vibraphone) Al Haig (piano) Ray Brown (bass) Kenny Clarke (drums); NYC, May 15, 1946

And here's an interesting tidbit on Kenny Clarke's influence on the lyric.

Clarke wrote a series of exercises for himself to develop the independence of the bass drum and snare drum, while maintaining the time on the ride cymbal. One of these passages, a combination of a rim shot on the snare followed directly by a bass drum accent, earned Clarke his nickname, "Klook", which was short for "Klook-mop", in imitation of the sound this combination produced. This nickname was enshrined in "Oop Bop Sh'Bam," recorded by Dizzy Gillespie in 1946 with Clarke on drums, where the scat lyric to the bebop tune goes "oop bop sh'bam a klook a mop."

Of course, Dizzy did his own take on it with his big band in 1947, albeit at a brisker tempo:

Oop Bop Sh'Bam, Dizzy Gillespie Orchestra (1947, from the short Jivin' in Be-Bop)

Black and Tan Fantasy

Composed by Duke Ellington and Bubber Miley, arranged by Duke Ellington

Black and Tan Fantasy,
original recording May 11, 1945

Duke recorded Black and Tan Fantasy many times over the years. The version we play was transcribed by David Berger and Mark Lopeman for the Jazz at Lincoln Center series, taken from Duke's 1945 recording for RCA-Victor.

Shelton Hemphill,  Rex Stewart, Taft Jordan, Cat Anderson(t); Ray Nance(t,vn,v); Lawrence Brown, Joe Nanton, Claude Jones(tb); Jimmy Hamilton(cl,ts); Otto Hardwicke(cl,as); Johnny Hodges(as); Al Sears(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Junior Raglin(sb); Sonny Greer(d,ch). New York City, May 11, 1945.

And here's one of the best of the three original 1927 recordings, the year Black and Tan Fantasy debuted.

Black and Tan Fantasy, Duke Ellington (1927)

Duke Ellington (piano), Bubber Miley (trumpet), Joe "Tricky Sam" Nanton (trombone), Otto Hardwick (alto sax), Harry Carney (clarinet, baritone sax), Sonny Greer (drums), Louis Metcalf (trumpet), Rudy Jackson (clarinet, tenor sax), Fred Guy (banjo), Wellman Braud (bass). Recorded: Camden, NJ, October 26, 1927 

Soloists: Duke Ellington (piano), Bubber Miley (trumpet), Joe "Tricky Sam" Nanton (trombone), and Otto Hardwick (alto sax)

Take the "A" Train

Composed and arranged by Billy Strayhorn

Take the "A" Train on YouTube

David Berger's transcription of the Ellington signature theme song Take the "A" Train, composed by the great Billy Strayhorn, is from the famous February 15th 1941 take recorded in the Hollywood RCA-Victor recording studios.

This is another classic from the Blanton-Webster band. The personnel included Rex Stewart (cornet), Wallace Jones, Ray Nance (trumpet), Lawrence Brown and Joe Nanton (trombone), Juan Tizol (valve trombone), Barney Bigard (clarinet), Johnny Hodges (soprano sax, alto sax, clarinet), Otto Hardwick (alto sax, bass sax), Ben Webster (tenor sax), Harry Carney (clarinet, alto sax, baritone sax), Duke Ellington (piano), Fred Guy (guitar), Jimmy Blanton (bass), Sonny Greer (drums), and Billy Strayhorn (piano, replacing Ellington on “After All.”)

Ray Nance’s trumpet solo would become the best known of his career.

If your browser handles Flash, here's a nice dynamic analysis of the arrangement by Ralph Russell of Grinnell College.

Never No Lament

Composed and arranged by Duke Ellington

Never No Lament on YouTube

Never No Lament (later, Don't Get Around Much Anymore) is another great Duke Ellington transcription by David Berger from the quintessential version by the 1940 Blanton-Webster band.

Wallace Jones, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwicke(cl,as); Ben Webster(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Jimmy Blanton(sb); Sonny Greer(d,ch)

Highly recommended: Never No Lament: The Blanton-Webster Band, a three-disc compilation combining the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942.

Never No Lament: The Blanton-Webster Band on amazon.com

Second Line

Composed by Duke Ellington

http://youtu.be/FdL5h5vWeTk

Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Second Line is from Duke’s 1970 Grammy winner, New Oreans Suite. 

The lineup is: Cootie Williams, Al Rubin, Harold "Money" Johnson, Fred Stone (t); Booty Wood, Julian Priester, Malcolm Taylor (tb); Russell Procope (cl,as); Norris Turney (fl,cl,as,ts); Johnny Hodge s(as); Harold Ashby (ts,cl); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Joe Benjamin (sb); Rufus Jones (d).

Royal Garden Blues

Composed by Clarence Williams and Spencer Williams, arranged by Billy Strayhorn

http://youtu.be/CoT3HxoN79M

Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, this Royal Garden Blues chart is from Duke's 1946 band (although the tune is almost as old as recorded jazz itself!)

Lineup on this recording: Shelton Hemphill, Taft Jordan, Cat Anderson, Francis Williams, Harold Baker (t); Ray Nance (t,vl,v); Lawrence Brown, Wilbur De Paris, Claude Jones (tb); Jimmy Hamilton (cl,ts); Russell Procope (cl,as); Johnny Hodges (as); Al Sears (ts); Harry Carney (cl,as,bar); Duke Ellington (p); Fred Guy (g); Oscar Pettiford (sb); Sonny Greer (d,ch); Marion Cox(v).

Also, check out the Jazz at Lincoln Center Orchestra rehearsing and recording the transcription we have.

Other famous versions of this tune:

• Original Dixieland Jazz Band’s version (1921)
• Bix Beiderbecke’s 1927 version

Echoes of Harlem

Composed and arranged by Duke Ellington

http://youtu.be/7H3IS0XOjYc

Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Echoes Of Harlem (a.k.a. Cootie's Concerto) is from 1936 and was a showcase for the great Cootie Williams.

Lineup on this recording: Arthur Whetsel, Cootie Williams, Rex Stewart (t); Lawrence Brown, Joe Nanton, Juan Tizol (tb); Barney Bigard (cl,ts); Johnny Hodges (ss,as); Harry Carney (cl,as,bar); Duke Ellington (p); Fred Guy (g); Hayes Alvis (sb); Sonny Greer (d,ch).

Interestingly, Cootie redid it in 1945 with his own band, and so did Roy Eldridge in 1950--but our transcription is Duke's 1936 version! Also, check out Wynton's Jazz At Lincoln Center Orchestra rehearsing our very same arrangement.

Bonga (Empty Town Blues)

Composed and arranged by Duke Ellington

http://youtu.be/d0x-uZE_sbc

Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Bonga (Empty Town Blues) is from Duke’s 1963 Afro-Bossa album. (Check out that tempo!)

The lineup: Cootie Williams, Roy Burrowes, Cat Anderson (t); Ray Nance (t,vl,v); Lawrence Brown, Buster Cooper (tb); Chuck Connors (btb); Jimmy Hamilton (cl,ts); Russell Procope (cl,as); Johnny Hodges (as); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Ernie Shepherd (sb); Sam Woodyard (d).

Blood Count

Composed and arranged by Billy Strayhorn

http://youtu.be/7Ckls62nZHw

Transcribed by David Berger as part of the Jazz at Lincoln Center Essentially Ellington series, Strayhorn’s Blood Count (one of my favorites) is from 1967, and has a heavy backstory. Strayhorn was hospitalized in 1967 due to cancer and finished the composition while in the hospital. He died on 31 May and Blood Count was his last finished composition. I want to cry whenever I hear this one. It's such a Hodges classic, and includes some of the most emotional playing ever! It's on Ellington's tribute album to Strayhorn, And His Mother Called Him Bill (this should be in every jazzer's collection, IMHO).

Lineup on this recording: Cootie Williams, Cat Anderson, Herbie Jones, Mercer Ellington (t); Clark Terry (flh); Lawrence Brown, Buster Cooper (tb); Chuck Connors (btb); Jimmy Hamilton (cl,ts); Russell Procope (cl,as); Johnny Hodges (as); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Aaron Bell (sb); Steve Little (d).

Also, Stan Getz is famous for his version of this tune (it became one of his signature pieces); so is Phil Woods for his version.