Duke Ellington And His Orchestra - January 1946 (2xLP, Album, Mono)

Condition:
Media:  Near Mint (NM or M-)
Sleeve:  Very Good Plus (VG+)

Check our condition explanation here.

What does the record grading mean?

We grade each record using the Goldmine Standard. Full explanation can be found here.

M (Mint) – Unplayed, still sealed in original packaging.

NM (Near Mint) – Played a few times, no defects; cover almost like new.

VG+ (Very Good Plus) – Light signs of use, plays excellent; minimal cover wear.

VG (Very Good) – Clearly used, audible noise or clicks; worn cover.

G (Good) – Heavily played, noise likely; cover with visible damage.

Generic – Original cover missing, record comes in a generic sleeve.

Comments:
nice copy
€8,99

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Genre: Jazz
Style: Big Band, Swing

Tracklist:
A1. Caravan 3:50
A2. In A Mellotone 3:08
A3. Solid Old Man 3:45
. Selections From Black, Brown And Beige
B2. Rugged Romeo 4:12
B3. Sono 5:30
B4. Air-Conditioned Jungle 6:20
B5. Pitter Panther Patter 2:45
C1. Take The "A" Train 3:35
. A Tonal Group
C5. Magenta Haze 5:26
. Diminuendo In Blue / Transblucency 8:06
D2. Crescendo In Blue 3:59
D3. Suburbanite 4:35
D4. I'm Just A Lucky So And So 4:55
D5. Riffin' Drill 3:14



 



General notes about this release (please note: our version may differ a little. see the comments above):

At this 1946 edition of the Duke's historic 1940's concert series, the emphasis was on expansiveness, with selections from the previously-presented Black, Brown and Beige; a brand new "tonal group"; and a reshaping of one of his earliest longer works, the 1930's pairing of Diminuendo and Crescendo in Blue.

Recorded in concert at Carnegie Hall, New York City, on January 4, 1946

Issued by arrangement with Mercer Records and Mercer Ellington.
Reprocessed, from original source material, by Jerry Valburn and Jack Towers.
Mastered, 1977, by David Turner (Fantasy Studios, Berkeley)

(NOTE: The total length of this concert has made it impossible to include in this two-record set every selection performed on this
occasion. The omissions were necessarily arbitrarily decided on, and there was no simple system used. My tendency was to do without vocal and pop-song numbers and some very-frequently recorded Ellington standards, and to retain pieces rarely or never to be heard elsewhere - even if the performance was less than perfect. - Orrin Keepnews)

 

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