 Исполнитель: The Ron Collier Orchestra, Duke Ellington Название альбома:North Of The Border: Duke Ellington In Canada Год выпуска: 1968, Decca Формат файлов: Mp3, 320 Размер архива: 92 Mb Скачать с: turbobit
The Allmusic review by Scott Yanow stated: "None of the complex suitelike originals are particularly memorable, and the arrangements for the orchestra (two of the pieces utilize a string section) are reasonably colorful, but not too distinctive. Purely for Duke Ellington completists".
Duke Ellington recorded this album in Toronto on July 24th and 25th, 1967, with two hand-picked groups of Canadian musicians. It was an altogether unusual event, another “first” in a career distinguished by firsts.
The sessions were part of an extensive project fostered by a
committee jointly representative of the Composers, Authors and Publishers Association of Canada (CAPAC) and the Canadian Association of Broadcasters (CAB), the primary objective being to make the work of Canadian musicians better known. Ellington’s participation derived from his appearance at the Stratford (Ontario) Festival, which originally inspired his famous Shakespearian suite, Such Sweet Thunder. The musical director at Stratford for many years, Louis Applebaum, was responsible for initiating this international alliance.
“When I first presented the idea to Duke,” he hold Helen
McNamara of the Toronto Telegram, “I asked him if he would be willing to have us exploit him on behalf of our Canadian composers.
“ ‘Sure,’ said Duke, without any hesitation. ‘What do you want me to do?’”
When Ellington eventually arrived in Toronto, between concerts in Chicago and Kalamazoo, he explained his presence with typical wit and charm at a well-attended press conference.
“I’m always partial to Canada and Canadians,” he was reported as saying by John Norris in The Globe and Mail. “The public shows a keen ear and a spirit of independence. Canadians are hard people to brainwash en masse; they listen with sensitivity and are a good audience to play to.”
In Toronto, neither composition nor arrangement nor orchestra was his. He came as a guest, to function solely as a pianist.
The works of three composers had been chosen for the occasion.
“Working with Duke,” he said, ‘was a memorable experience.
I had always respected him, but I had completely underestimated him. He’s a musician who has never stopped growing. He utilizes the knowledge and experience of 50 years to build fresh ideas and approaches. He’s a virtuoso musician.”
To Ellington’s legion of admirers, the album should prove fascinating for its presentation of his piano in an unprecedented context, and for the personal memento—his informal sketch—that adorns the liner. In addition, it provides a handsome introduction to three gifted composer-arrangers, and to the brilliant talents of some of Canada’s best players.
STANLEY DANCE, from liner notes
Side 1
A1. Aurora Borealis 10:13
A2. Nameless Hour 8:26
Side 2
B1. Collage #3 2:47
B2. Fair Wind 3:35
B3. Silent Night, Lonely Night 2:57
B4. Song And Dance 9:27
Recorded at the Hallmark Studio, Toronto, Canada, July 24 and 25, 1967
Duke Ellington – piano
The Ron Collier Orchestra:
Dick Van Evera (track 1), Eric Traugott (tracks 1 & 3-6) – trumpet
Guido Basso – trumpet, flugelhorn (tracks 1 & 3-6)
Fred Stone – flugelhorn (tracks 1 & 3-6)
Ray Sikora, Butch Watanabe - trombone (tracks 1 & 3-6)
Ron Hughes – bass trombone (tracks 1 & 3-6)
Mary Barrow - French horn (track 1)
Moe Koffman – alto saxophone, flute (track 1)
Bernard Piltch – clarinet, alto saxophone, flute (tracks 1 & 3-6)
Eugene Amaro, Rick Wilkins – tenor saxophone (track 1)
Gary Morgan – baritone saxophone, bass clarinet (tracks 1 & 3-6)
Ed Bickert – guitar (tracks 1 & 3-6)
Lenny Boyd, Sam Levine (track 2) – bass
Jerry Fuller – drums (tracks 1 & 3-6)
Peter Appleyard – percussion, vibraphone (track 1)
Andrew Benac, Berul Sugarman, Bill Richards, David Zafer, Harold Sumberg, John Dembeck, Joseph Zera, Samuel Hersenhoren – violin (tracks 1 & 2)
Jack Neilson (tracks 1 & 2), Stanley Soloman (tracks 1 & 2), Robert Warburton (track 2) – viola (tracks 1 & 2)
George Horvath (track 2), C. G. Ysselstein (tracks 1 & 2), Don Whitton (tracks 1 & 2) – cello
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