Duke Ellington, a restless experimenter, flirted occasionally with the traditional symphony orchestra, most memorably in 1963 when he recorded his band with three different European classical orchestras. This new development of those experiments is lent authenticity by the involvement of Lena Horne, who sang with Ellington in 1940, and Clark Terry, who worked with Ellington through the 1950s (and performs a hilarious vocal and trumpet duet with himself in the final blues here). The orchestration is by Luther Henderson and he too worked with Ellington, shortly before the latter's death in 1974. Along with these veterans seven younger jazz musicians, including Joshua Redman, Regina Carter, Geri Allen and Lewis Nash, are heard in excellent form. Although this CD is released by EMI Classics the jazz contribution dominates, despite some out-of-tempo passages in "Solitude" and "Sophisticated Lady". Henderson's eclectic integration of traditionally separate elements works well and Rattle's lively conducting of the Birmingham Symphony Orchestra demonstrates his commitment. Most of this material (some by Billy Strayhorn) didn't receive symphonic treatment from Ellington himself and is there...
Jazz masterworks re-interpreted, 2000-09-25
Having heard excerpts from this on the radio before it was released whetted my appetite,and I rushed out and bought the disc on day one.Why,you may ask,should you purchase this in preference to the Orchestra(s) of the Duke himself? Well,for one thing it's an album featuring a host of the best players from today(Lovano,Redman,Watson),players whom the Duke himself would surely have welcomed into his ranks (and who could complain about the compositions chosen?)For another,although this is'nt a priority for me(my own record collection ranging from the dawn of recording history to now),there's a very good quality of recording throughout in,but the real question is--to whom would this release be aimed at primarily...the classical enthusiast,the jazz enthusiast,which? Which particular pigeon hole should the marketing men slot this into?Answer--I don't know,because this a delight that really crosses categories, transcending mere factionalism, and suceeding in the same way that the "Third Stream" music of a few years ago was supposed to do,but conspicuously failed to deliver.Of course,Rattle has crossed musical divides before,mostly garnering praise,and I can't help but feel that his all-encompassing approach is the only sensible path,as so much can be lost to those whose loyalties are unwaveringly tied to one type of music or another(Gil Evans and his Hendrix tributes are another good example of broadening horizons for an audience of mainly jazz fans). So,let's hope that this real alternative to the Ducal catalogue has the success it deserves,and some more of the same would be nice...the music of Mingus would especially be suitable to this revisionist treatment,as this was concieved(if only in the head of the man himself)for a more classical interpretation.Try this,you'll think it money well spent.

Artist: Duke Ellington/Billy Strayhorn

Artist: Johnny Hodges, Billy Strayhorn

This album is virtually a showcase for the alto saxophone of Johnny Hodges. The only other soloist on most of the numbers is trombonist Lawrence Brown who is wonderful on "Stardust". He's accompanied by the Duke Ellington band with Billy Strayhorn replacing Ellington at the piano and the crisp drumming throughout is by Sam Woodyard. But half a dozen of the Ellingtonians including Harry Carney and Paul Gonsalves solo on Hodges's own tune, "Tailor Made". All the arrangements were written by Strayhorn and most of the tunes are his or Ellington's, including fine lesser-played pieces like "The Gal From Joe's" and "Azure". Hodges always contrived to be impeccable and inspired at the same time. He was one of the great originals, instantly identifiable by his superb sound, impeccable poise and instinctive feeling for jazz. He was remarkable for many things, not least his ability to play romantic music without ever sounding sentimental or banal. A perfect example of this is on "Your Love Has Faded" where the listener is treated to the sort of playing that caused Charlie Parker to speak of "Johnny Lily Pons Hodges". --Steve Voce--
The Finest Possible Showpiece for a Legend, 2002-11-13
The more snide critic that this album barely qualifies as jazz, but it is the firm framework of Billy Strayhorn's specially commissioned new arrangements (ranging from the reworking of the 1940's hit 'Azure' to the tweaking of the introduction and ensemble passages on 'Jeep's Blues'), that allows Hodges to shine as a soloist comletely unhindered.
The results are spectacular - no man in history has achieved such liquid purity, such languid poise and elegance as Hodges on this album. From the falling first notes of 'Don't Get Around Much Anymore' he is at his best, glissing, bending and swelling as only he could.
He may be superb, but he is run close by the majesty of his old compatriot in the Ellington Band, Laurence Brown, whose trombone lights up Hoagy Carmichael's classic 'Stardust'.
It is the very quality of Strayhorns arrangements that make this album so approachable - many of the classic Ellingtonian discords have disappeared, and the modern idioms that interested Hodges in the mid 1960's have yet to appear. The result is perfect, easy-listening Jazz majesty - this album is certainly one of the jewels of the known World.

Artist: Billy Strayhorn

Artist: Billy Strayhorn

Artist: Billy Strayhorn

Artist: London Philharmonic Orchestra

Americana is a razzle-dazzle selection of American music culled from a few of Sir Simon Rattle's previously released recordings. Two excerpts from Porgy and Bess--"Summertime" and "It Ain't Necessarily So"--come near the CD's close, and they're reminders of what a great composer Gershwin was. Earlier, his "Rhapsody in Blue" is played in the orchestration by Grofé, and while it makes a good option, the more familiar version is preferable. Leonard Bernstein's "Prelude, Fugue and Riffs" is not an easy, tuneful work, but it's fascinating and another side of a composer you may only be familiar with from West Side Story. "Take the A Train" really swings, and "Makin' Whoopee" is a joy. In fact, there's plenty here to revel in. It's a great sampler of American "classical" music. If you've either kept away from 20th-century or American music or simply were unfamiliar with it (or both), this will be a fine ear-opener. If you already appreciate the idiom, this offers a fine cross-section. --Robert Levine, Amazon.com

Artist: Billy Strayhorn

lush life, 2009-07-26
It's hard to describe the sensuous, lush, moody qualities of the wonderful Billy Strayhorn's compositions. A Flower is a Lovesome Thing is languid and indulgent, Chelsea Bridge is gloomy and evocative, Day Dream full of tenderness. Lush Life and Something To Live For are gorgeous songs of longing and desire. I couldn't stop playing this cd for days. Like other Proper Introduction cds, it is attractively packaged with detailed notes, and is a delicious listen.

Artist: Calefax Reed Quintet