[Dixielandjazz] That Ellington Sound

[Bert Brandsma]

Marek,
that is definitly true, and you can also hear that.When Johhny Hodges finally left his American horns (in earlier years he played both Buesher and Conn) and started playing selmer, his sound changed.It might have been neccesairy, since the brass section increased quite a bit in the 1940's and started playing higher.So I guess Hodges almost needed a more penetrating sound, to compete with guys like Cat Anderson.
His most lovely sound was in the 1930's though. And also on his soprano, which he quite when Otto Hardwicke left the band.
Kind regards,
Bert Brandsma

> Date: Wed, 18 May 2011 21:38:26 +0300
> From: marekboym at gmail.com
> Subject: Re: [Dixielandjazz] That Ellington Sound
> CC: dixielandjazz at ml.islandnet.com
> To: mister_bertje at hotmail.com
> 
> One comment: the Duke continued long after the 1940's, so that his
> later bands probably used more modern instruments.
> Cheers
> 
> On 17 May 2011 20:20, Rick Campbell <ricksax at comcast.net> wrote:
> > (Looks like Ellington stromg has turned into something new.)
> >
> > I've tried to play Ellington charts in local "kicks" bands, including
> > Gunther Schuller's very accurate transcription of Take the A Train. But they
> > never sound like Ellington for several reasons:
> >
> > 1. We're mostly semi-pro players who have never lived and worked together on
> > the road for years like Duke's band. We don't have that tight polish, nor
> > that easy, half-loaded sense of swing.
> >
> > 2. We're playing on modern saxophones and mouthpieces, which are much
> > brighter than those of the 30s and 40s.
> >
> > 3. Duke didn't write parts for instruments (Alto I, Alto II, Tenor I,
> > etcetera) but handed out manuscripts headed, "Rabbit", "Barney", "Bubber".
> > He was writing for his guys, and until we have another Harry Carney, Barney
> > Bigard, and Johnny Hodges, that sound and texture is going to elude us, I'm
> > afraid.
> >
> > 4. Tragically, in high school reed sections today, the jazz clarinet is
> > ignored. The required double now is flute, and perhaps soprano sax. So that
> > makes it pretty hard to re-create Mood Indigo, for example.
> >
> > By the way, these same bands can do a very credible job of covering late
> > Basie charts, because that is what they grew up with in high school and
> > college stage band. It is a much more homogenous contemporary sound, without
> > the unique colorations of Ellington.
> >
> > Rick Campbell
> > Milneburg Social Aid and Pleasure Society Jazz Band
> > Portland, Oregon USA
> > (503) 234-9440
> > ricksax at comcast.net
> >
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