Although not initially released until 1992, 25 years after composer Billy Strayhorn's death, this is his definitive CD. Strayhorn is heard singing "Lush Life" while backed by the Duke Ellington Orchestra in 1964 (his voice is not strong but his phrasing is quite sincere), jamming on piano with flügelhornist Clark Terry and Bob Wilbur (on clarinet and soprano) in a quintet, backing singer Ozzie Bailey, and taking a pair of piano solos ("Love Came" and "Baby Clementine"). These are very valuable and intriguing recordings, shedding some new light on a nearly invisible genius.
This CD reissues three unusual combo dates by Duke Ellington. Two of the sessions feature Ellington and his longtime musical partner Billy Strayhorn both playing piano (while assisted by either Wendell Marshall or Joe Shulman on bass and sometimes an unidentified drummer). The futuristic "Tonk" is the best-known performance but all eight numbers (which include "Cotton Tail" and "Johnny Come Lately") are quite fascinating. The remaining date has four songs that primarily serve as features for the cello of Oscar Pettiford who is accompanied by Ellington, bassist Lloyd Trotman, drummer Jo Jones and (on two tunes) the celeste of Strayhorn; "Perdido" and "Take the 'A' Train" are most memorable. Intriguing music.
La Maison du Duke is proud to present a collection of unpublished recordings of Duke Ellington, which come from an important stock of Ellington archives (Clavié collection), acquired by the association, which only a few collectors had access to today . The CDs are reserved for members of the Maison du Duke association and are not intended to be marketed.
Here is one of the musical giants of the 20th century, poised on the precipice of greatness. Between the spring of 1957 and the winter of 1958, during which time Lush Life was recorded, the music of tenor saxophonist John Coltrane (1926-1967) was developing in giant steps, thanks in great part to a six-month 1957 stint with Thelonious Monk that had much to do with sharpening Coltrane’s harmonic conception and torrential attack. Lush Life contains Coltrane’s first recordings as sole leader, his initial date fronting a pianoless trio, and one of his first extended readings of a ballad, Billy Strayhorn’s resplendent title track. We also hear him at the helm of a quartet and quintet, featuring pianist Red Garland, with trumpeter Donald Byrd added to “Lush Life.”
This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension.
Nancy Wilson was one of the few jazz-based pop singers of the 1960s who was able to navigate that decade's rock & roll-crazed waters and stay on top of the single and album charts. While her natural physical beauty certainly didn't hurt her career, it was probably her honest feel for soul and the blues, as well as jazz, that had her riding high during a time when so many of her peers were being dropped by the major labels or moving to Europe. Lush Life follows Wilson's winning formula of combining jazz and adult pop, but while individual tracks stand out, a heavy Barbra Streisand influence hurts the disc overall.
“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.” —Rudy Van Gelder.