Duke Ellington receives a telegram reminding him of his forthcoming concert in two weeks’ time—not a terribly long notice for finishing an extended composition that seemingly hasn’t been touched before, but most probably accurate, since Ellington was one of the greatest procrastinators in jazz, often writing right up until the curtain rose.
Like Forough Farrokhzad and Jean Genet, the Albanian-born Djon Mili belongs to that small group of artists who, when counted officially (theatrical release of a completed film), might have directed only one short film. Yet that short, entitled Jammin' the Blues (1944), remains a touchstone of jazz on film.
Early this year a group of U.S. longhair composers, including Ulysses Kaye, a nephew of King Oliver, visited Russia as part of a cultural exchange deal.
This, fall, a group of five Russian composers, headed by Dmitri Shostakovich and including Dmitri Kabalevsky, Tikhon Khrennikov, Konstantin Dankevich and Firket Amirov, visited the United States.
They were flown around the country, and included in their itinerary a three-day visit to the San Francisco area.
At their San Francisco press conference, the Russians were asked what they thought of jazz. It was obvious from their answers that they knew nothing of it (despite the fact that Kaye and his companions reported they were constantly asked about jazz by Soviet composers when they were in Russia). Jazz, to the visiting Russians, seemed to mean nothing more than hotel dance music.
So far Steve Kuhn has primarily been heard in two contexts—as a sideman and as leader of a trio. This album, however, focuses on him as solo pianist in settings written specifically for him by Gary McFarland. For Gary the assignment was stimulating because, as he observed, he didn’t have to restrict himself to any particular idiom. Knowing the broad scope of Kuhn’s capacities, Gary felt free to try any approach he wanted in the confidence that Kuhn would respond resourcefully—and with individuality.
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The brand-new restoration of Cecil Taylor à Paris, courtesy of INA, will be premiered at the 2025 edition of Il Cinema Ritrovato. – EK
“He doesn’t come from my community,” replies avant-garde jazz pianist Cecil Taylor, hidden deep behind dark glasses, when asked by the interviewer about Stockhausen. The same response follows for questions about Bach and John Cage. In a style characteristic of 1968, the African-American musician, filmed for Cecil Taylor à Paris in an old French palace with oversized chimneys, dismisses European traditions in favour of “across the track” culture – the lived experiences of African-Americans.
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I delved into the 27-CD set between September 2024 and April 2025, and these tracks — roughly amounting to a double LP — are my picks among the 431 tracks. I took the following factors into consideration:
So, in the order of recording, here is my list:
Date, Venue, Location
Disc number of 27 | Song's name | Duration
Jazz on Screen: Symphonies in Black: Duke Ellington Shorts
Tue 19 Nov 2024, 18:30, Location: Barbican Cinema 3
Introduction to the screening by Ehsan Khoshbakht
Join us at the Barbican for a special screening event featuring 16 captivating short films that highlight the extraordinary musical legacy of Duke Ellington and his Orchestra. Spanning nearly a quarter of a century (1929-1953), these films showcase Ellington’s performances in a variety of settings, often accompanied by dancers and singers, including the legendary Billie Holiday in Symphony in Black: A Rhapsody of Negro Life. This particular film fluidly transitions between Ellington composing in solitude, leading his band in a tuxedo at a concert, and artistic depictions of African American life, including a moving sequence with Billie Holiday portraying heartbreak similar to Bessie Smith's iconic film appearance six years prior.
Bert Dahlander | Skål: Bert Dahlander And His Swedish Jazz—Verve MG V-8253
Tracks: How Do You Do; Johnson’s Wax; When Lights Are Low; Hip Soup; But Not For Me; Room 608; Medley—Everything Happens To Me, Moonlight In Vermont, Flamingo.
Personnel: Bert Dahlander, drums; Howard Roberts, guitar; Curtis Counce, bass; Victor Feldman, vibes.
Rating: ★★★1/2
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| Black & Tan |
Symphonies in Black: Duke Ellington Shorts
A programme by Jonathan Rosenbaum and Ehsan Khoshbakht (Il Cinema Ritrovato, Bologna, June 2024)
Introductory note by Jonathan Rosenbaum
In 16 shorts made over a stretch of almost a quarter of a century (1929-1953), Duke Ellington and his Orchestra perform in a variety of settings, often with dancers and singers – including Billie Holiday in Symphony in Black: A Rhapsody of Negro Life. The latter cuts freely between Ellington alone in thoughtful composing mode, Ellington in a tux performing the same extended composition with his band at a concert, arty images of men engaged in heavy labour, a wordless church sermon, a nightclub floorshow, and even a short stretch of story showing Holiday being pushed to the ground by an ungrateful lover before singing there about her misery – a near replica of the musical setup accorded to Bessie Smith in her only film appearance six years earlier.
Indeed, although the pleasures to be found here are chiefly musical, the narrative pretexts for these performances offer a fascinating look at how both jazz and Black musicians were perceived and expected to behave during the first three decades of talkies. At least half of the films are Soundies made for sound-and-image jukeboxes in the 40s, but even these often trade on narrative details such as the adoring women digging the solos by Ray Nance, Rex Stewart, Ben Webster, and others at an “eatery” after hours in Jam Session (1942), or the spectacular dancing by athletic jitterbugging couples in Hot Chocolate (Cottontail) from the same year.
