[Dixielandjazz] Ellington - was scheduling.

[Marek Boym]

As did D.r Michael White in Eilat a few years back.
But the Buddy Tate session I mentioned was followed by another act, as
was the 1972 Giants of Jazz one.
cheers

On 16/09/2007, Stan Brager <sbrager at socal.rr.com> wrote:
> Steve;
>
> At many jazz festivals, the last band for the night often extends their set.
> At Newport, in 1956, Duke Ellington was the last band for that night.
>
> Stan
> Stan Brager
> ----- Original Message -----
> From: "Steve Barbone" <barbonestreet at earthlink.net>
> To: <dixielandjazz at ml.islandnet.com>
> Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Sent: Saturday, September 15, 2007 8:47 AM
> Subject: [Dixielandjazz] Ellington - was scheduling.
>
>
> > tduncan <tduncan at bellatlantic.net>
> >
> > > I am reading George Wein's autobiography . .. Lots of good stuff in
> there
> > > about some OKOM people like Wild Bill, Vic Dickinson, etc. Wein talks
> about
> > > the Newport Jazz Festival that was the big breakthrough for that event
> when
> > > Duke Ellington totally ignored Wein's frantic attempts to get him to end
> the
> > > finale set and went on to higher and greater musical heights until the
> > > audience almost exploded. Then, he brought it back down and finally
> closed
> > > the set in his own good time . . . creating a memorable musical event.
> >
> > Hi Tom:
> >
> > That was probably when Duke played Diminuendo & Crescendo in Blue in July
> > 1956. The number was full of energy. Paul Gonsalves took his famous 27
> > chorus solo. A blonde in the audience started a gyrating dance to it. The
> > audience went nuts. Then the younger people in the audience started
> > jitterbugging. Another gal did a solo dance around the edge of the crowd.
> > It was an incredible scene with everyone hollering "GO", some rushing the
> > stage, others climbing on their chairs screaming and clapping.
> >
> > The band played louder and louder to be heard over the ambient noise.
> >
> > Wein, who was just in front of me at near the front edge of the stage
> > started hollering at Duke. "That's enough, end it" etc. Later it was
> > reported that Wein was nervous that a riot might start. That's how raucous
> > the crowd was. But Ellington was not to be denied.
> >
> > Ellington grinned at Wein, wagged a finger at him and said something like
> > "Don't mess with the artists." and just kept going, basking in the moment
> > because his career, at that point had been in decline. He kept urging the
> > band on, as did Jo Jones who was at the edge of the stage, banging it and
> > keeping time with a folded up newspaper. All the while Ellington exhorted
> > the band on, with his "Ah Ha", "Yeah, "Come On" etc.
> >
> > It was like what we see today in Rock & Roll performances, band was really
> > screaming, crowd was screaming and dancing around. As I remember it, the
> > band took at three or four encores. Not because of their wanting to run
> > overtime, but because the audience would not let them leave.
> >
> > The performance was recorded and you can hear all of it including Duke
> > exhorting the band, and the incredible crowd response.
> >
> > It re-ignited Ellington's career.
> >
> > It was also the last set of the evening, ran about 40 minutes over etc.,
> but
> > as Ellington must have guessed, it was the beginning of a new life for him
> > and his music.
> >
> > Such incredible energy. Such stage presence. Such audience participation.
> > Moments like that in jazz are very rare today and to be savored.
> >
> > It should have been a lesson to us all that this music should be danced
> and
> > gyrated to. Should be high energy, and that every performance should a
> show.
> > We went the "artsy" route instead while the rockers took our places.
> <grin>
> >
> > Cheers,
> > Steve Barbone
> >
> >
> >
> >
> >
> >
>
>
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