11 tracks of Duke and his orchestra at their live best! This 1965 release finds them playing Jungle Kitty; Things Ain't What They Used to Be; Chelsea Bridge; Barefoot Stomper; Virgin Jungle; Fade Up, and more.
エリントンがこのコンサートのために準備した曲は、どれもエキゾチックといおうか相変わらずリズムの妙とホーンセクションの甘い音色とが織り成す正真正銘のエリンントンサウンズ。しかし、それ以上に“THings ain't what they used to be”や“Chelsea Bridge”のようなおなじみのエリントンナンバーがすばらしい。特に後者でのゴンザルベスのテナーは聞きもの。モンク・プレイズ・エリントンを想起させるジャケットも秀逸。
This 1965 masterpiece has typically peerless writing and playing by Duke and the orchestra. Every track is a highlight, but at the end of Jimmy Hamilton’s cadenza on Virgin Jungle, I realized I had been holding my breath. Cat Anderson is in especially inspired form here, his solos featuring not only his stunning high notes, but echoes of fellow Ellington trumpeters like Rex Stewart and Clark Terry. One complaint: no Harry Carney solos. There is so much immortal Ellington that it would be easy to overlook this. Don’t make that mistake.
Masterful performances and an incredibly clear early stereo recording make this an essential Ellington record. The title is a misnomer though - this is not a live concert but a studio recording of tunes inspired by Duke's trip to the Virgin Islands plus other songs. If you like Duke this one will not disappoint.
When Duke Ellington returned from his 1965 tour he wrote the Virgin Islands Suite, consisting of the four compositions opening the set. Studio recordings of other music the orchestra performed on location make up the remainder. The album cover presents a lush, tropical panorama through textured nuances of the color green and vivid floral display. The resplendent composer at its center, providing a glimpse of what is to come. The suite is happy and relaxed, the easy gait established by Ray Nance's violin on "Fiddler on the Diddle" and Cat Anderson's range on "Jungle Kitty." There is a Broadway flavor present, Mr. Ellington using word play in titling the tunes to reinforce the "unique, independent" flavor he found in the Islands. He takes this a step further by placing "The Opener" near the end of the program. I enjoyed the thirty-seven minutes immensely. If I had to pick a starting point for anyone interested in this giant's music, this is it.