DUKE ELLINGTON & HIS ORCHESTRA - Such Sweet Thunder
CBS 52421 Released 1957
"Cat " Anderson, Ray Nance, Clark Terry, Willie Cook (trumpets). John Sanders, Britt Woodman, Quentin Jackson (trombones). Johnny Hodges, Paul Gonsalves, Russell Procope, Jimmy Hamilton, Harry Carney (saxophones). Duke Ellington (piano), Jimmy Wood (bass), Sam Woodyard (drums).
Side 1) Such Sweet Thunder 3m 14s, Sonnet for Caesar 2m 55s, Sonnet for Hank Cinq 1m18s, Lady Mac 3m 36s, Sonnet in Search of a Moor 2m18s, The Telecasters 3m 00s.
Side 2) Up and Down, Up and Down 3m 00s, Sonnet for Sister Kate 2m 20s, The Star Crossed Lovers 3m 55s, Madness in Great Ones 3m 59s, Half the Fun 4m10s, Circle of Fourths 1m 44s.
Conceived at the Shakespearian Festival in Stratford, Ontario, Canada during 1956, Such Sweet Thunder, a tribute to the great English writer, was one of Duke's major masterworks, written alongside his compatriot and co-composer, the highly acclaimed, Billy Strayhorn. Aged 57 at the time, Edward Kennedy Ellington had already experienced the heady days of his time at the Cotton Club in Harlem, the ground breaking "Blanton" years and the famous nineteen forties orchestra, but was still close to the peak of his powers and popularity in America and throughout the world. However, to many the Ellington band at the time of this recording contained the greatest saxophone section in jazz history, a point of view that few could disagree with to this day. The suite of twelve pieces took three weeks to write, (some of the themes being re-workings of Strayhorn's earlier compositions) and made its first entrance to the annals of jazz history at New York's Town Hall on 28th April 1957 before subsequently being recorded at the 30th Street Studios of C. B. S later that same year.
The opener and title cut, inspired by Othello, is full of laid back swing as well as Ellington's normal high level of invention. The saxes are sublime in unison, signalling what was to follow, but leaving enough space for Ray Nance to solo. Jimmy Hamilton is in top form on the first of four sonnets, this one telling the misfortunes of Caeser, before Britt Woodman takes centre stage with a compelling solo on the brief Hank Cinq. Lady Mac soon has her day with both Russell Procope and Duke serenading her majesty. The third sonnet, In Search of a Moor, is a delicate piece featuring the rhythm section and clarinets with some fine bass work from Jimmy Wood. Side 1 closes with a multi genre theme, The Telecasters, portraying three Shakespearian women, played by the three trombones with Harry Carney's sombre baritone taking on the role of Lago. Puck from A Midsummer Night's Dream, opens Side 2 on Up and Down, Up and Down. Clark Terry is featured on this one, supported by Paul Gonsalves and Russell Procope on one of the most compelling segments of the suite. With understated support from the reed section the plunger muted trombonist, Quinton Jackson takes on a Sonnet for Sister "Kate" with a fine solo contribution, before the highlight of the album, and very many live performances to follow, the magnificent Star-Crossed Lovers featuring the un-equalled beauty of Johnny Hodges alto as Juliet with Paul Gonsalves tenor taking up the role of Romeo to form one of the shorter great works of the mighty Duke Ellington's career. Hamlet is featured next, personified by Duke as Madness in Great Ones. This is a looser and more adventurous piece featuring the stratospheric trumpet of "Cat" Anderson over fine section work by all. An exotic journey to the Nile follows with Sam Woodyard's hand drumming providing the perfect backdrop to another soaring adventure from Johnny Hodges entitled rather strangely, Half the Fun. The album closes with one inspired by "The Bard" himself, featuring Paul Gonsalves investigating the subjects of Tragedy, Comedy, History and The Sonnets themselves, on Circle of Fourths with a depth of purpose that epitomises the Ellington orchestra and reinforces a Shakespearian sentiment from Act Four of A Midsummer Night's Dream, "I never heard so musical a discord, Such sweet Thunder".
Reviewed by Jim Burlong
This review refers to the original vinyl album. There have been a number of CD re-issues, and the music can also be found on a limited number of digital platforms.
CBS 52421 Released 1957
"Cat " Anderson, Ray Nance, Clark Terry, Willie Cook (trumpets). John Sanders, Britt Woodman, Quentin Jackson (trombones). Johnny Hodges, Paul Gonsalves, Russell Procope, Jimmy Hamilton, Harry Carney (saxophones). Duke Ellington (piano), Jimmy Wood (bass), Sam Woodyard (drums).
Side 1) Such Sweet Thunder 3m 14s, Sonnet for Caesar 2m 55s, Sonnet for Hank Cinq 1m18s, Lady Mac 3m 36s, Sonnet in Search of a Moor 2m18s, The Telecasters 3m 00s.
Side 2) Up and Down, Up and Down 3m 00s, Sonnet for Sister Kate 2m 20s, The Star Crossed Lovers 3m 55s, Madness in Great Ones 3m 59s, Half the Fun 4m10s, Circle of Fourths 1m 44s.
Conceived at the Shakespearian Festival in Stratford, Ontario, Canada during 1956, Such Sweet Thunder, a tribute to the great English writer, was one of Duke's major masterworks, written alongside his compatriot and co-composer, the highly acclaimed, Billy Strayhorn. Aged 57 at the time, Edward Kennedy Ellington had already experienced the heady days of his time at the Cotton Club in Harlem, the ground breaking "Blanton" years and the famous nineteen forties orchestra, but was still close to the peak of his powers and popularity in America and throughout the world. However, to many the Ellington band at the time of this recording contained the greatest saxophone section in jazz history, a point of view that few could disagree with to this day. The suite of twelve pieces took three weeks to write, (some of the themes being re-workings of Strayhorn's earlier compositions) and made its first entrance to the annals of jazz history at New York's Town Hall on 28th April 1957 before subsequently being recorded at the 30th Street Studios of C. B. S later that same year.
The opener and title cut, inspired by Othello, is full of laid back swing as well as Ellington's normal high level of invention. The saxes are sublime in unison, signalling what was to follow, but leaving enough space for Ray Nance to solo. Jimmy Hamilton is in top form on the first of four sonnets, this one telling the misfortunes of Caeser, before Britt Woodman takes centre stage with a compelling solo on the brief Hank Cinq. Lady Mac soon has her day with both Russell Procope and Duke serenading her majesty. The third sonnet, In Search of a Moor, is a delicate piece featuring the rhythm section and clarinets with some fine bass work from Jimmy Wood. Side 1 closes with a multi genre theme, The Telecasters, portraying three Shakespearian women, played by the three trombones with Harry Carney's sombre baritone taking on the role of Lago. Puck from A Midsummer Night's Dream, opens Side 2 on Up and Down, Up and Down. Clark Terry is featured on this one, supported by Paul Gonsalves and Russell Procope on one of the most compelling segments of the suite. With understated support from the reed section the plunger muted trombonist, Quinton Jackson takes on a Sonnet for Sister "Kate" with a fine solo contribution, before the highlight of the album, and very many live performances to follow, the magnificent Star-Crossed Lovers featuring the un-equalled beauty of Johnny Hodges alto as Juliet with Paul Gonsalves tenor taking up the role of Romeo to form one of the shorter great works of the mighty Duke Ellington's career. Hamlet is featured next, personified by Duke as Madness in Great Ones. This is a looser and more adventurous piece featuring the stratospheric trumpet of "Cat" Anderson over fine section work by all. An exotic journey to the Nile follows with Sam Woodyard's hand drumming providing the perfect backdrop to another soaring adventure from Johnny Hodges entitled rather strangely, Half the Fun. The album closes with one inspired by "The Bard" himself, featuring Paul Gonsalves investigating the subjects of Tragedy, Comedy, History and The Sonnets themselves, on Circle of Fourths with a depth of purpose that epitomises the Ellington orchestra and reinforces a Shakespearian sentiment from Act Four of A Midsummer Night's Dream, "I never heard so musical a discord, Such sweet Thunder".
Reviewed by Jim Burlong
This review refers to the original vinyl album. There have been a number of CD re-issues, and the music can also be found on a limited number of digital platforms.
