Customer Reviews

Such Sweet Thunder

5 star:		(12)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

[Update: The 2008 reissue is the same as the previous edition--i.e. the original recording's most memorable moment, Clark Terry's/Puck's vocalized trumpet proclaiming "Oh what fools these mortals be," is omitted, even though the included earlier commentaries by Irving Townsend and Bill Berry both single it out. Instead the purchaser is subjected to Phil Schaap's tedious, all-but-unreadable screed detailing his quest to uncover and preserve every precious detail of the session, including ambient sound! Not even a mention of the unconscionable switcheroo (whatever happened to the original "Up and Down"?). Very discouraging. But give Schaap and company credit for the miraculous restoration (and improvement) of "Ellington at Newport '56." As for "Such Sweet Thunder," keep scouring the auctions for a decent LP version.]

There was a time when the producers of records actually knew something about the music itself. The vinyl Columbia albums, for example, frequently included copious musical analysis supplied by George Avakian and other resident producer-critics. As listeners, we may think we know what we like, then realize we tend to like what we know. Reading liner notes, for some reason, often proved a more effective way of learning things about jazz and its creators than pulling books out of the library.

The point is that the omission of Clark Terry's celebrated Shakespearean quotation/Puck impersonation from this edition of one of Ellington's recorded treasures is more than an oversight. It's a flagrant disregard for the real listener, an insult to the makers and custodians of this music, and a stunning, shameless display of sheer ignorance. It demonstrates the complete "disconnect" between the product and its exploitive marketers.

Music, and especially Ellington's music, represents a considerable challenge to anyone who tries to articulate its non-verbal meanings. By seizing a rare and serendipitous jazz moment, Ellington seemingly insured that "Such Sweet Thunder" would continue to resonate with successive generations of listeners thanks in part to an instrumental statement receptive to precise verbal description. Unfortunately, Duke could not have known about his editors.

Unless you have heard the vinyl cut of Up and Down you will never know how sad it is that it is not on this cd. But...all of that aside This is an amazing creation...a sensuous, beautiful combination of two artforms into a third. This almost stands on its own as a new form, the musical interpretation of art done in the most gut-wrenching impulsive way. This is intellectual, but so soul filled. Here are two of my favorite moments...Up and Down is still awesome, a fugue for 7 voices including Clark Terry who plays puck. Terry is one the distinctive voices of the trumpet, and he alone is worth the listen. But above all, lock me in a room and play me Star Crossed Lovers, the romeo and Juliet piece, After Johnny Hodges first verse as Juliet there is this orchestral cascade which is the heart stoppingly beautiful moment of life, first love, life itself. This is such a stupendous journey. You would be a foolish mortal not to at least check it out.

The sound quality on this album, easily one of Ellington's finest suites, is top-notch -- particularly when compared with the older French import of several years ago.

However, the unlabeled alternate take of "Up and Down" sticks out as an unfortunate, embarrassing oversight on Columbia/Legacy's part. The fact that the new liner notes mention Clark Terry's "famous" musical quotation, which is not even present in this take, is especially glaring.

Ellingtonians beware.

Columbia Legacy has taken one of its greatest treasures, Duke Ellington's "Such Sweet Thunder", and reissued only an alternate take for "Up and Down...", which will undoubtedly leave new listeners wondering just exactly what "famous quotation" referred to in the liner notes Clark Terry actually plays. For their benefit, it is "Lord, what fools these mortals be", and for the time being the phrase can only describe Columbia's engineers and quality control personnel. (It took them three tries to get the reissue of Miles Davis' "Miles Ahead" straight.)

Duke would get five stars if the album consisted of nothing but alternate takes, but Columbia gets no stars for its sloppiness.

As someone who bought the original vinyl of Such Sweet Thunder when it was first released, I looked forward to the specially remastered job with extra cuts to celebrate Duke's centenary. But with all the trouble and technology, all the extra takes and odds and ends, how could the producer manage to leave out the classic, definitive take of a classic movement from the suite - Up and Down ..., where Clark Terry pronounces on trumpet at its conclusion: "Lord, what fools these mortals be!" The liner notes proceed as if this original take were on the CD, but what we have is a vastly inferior take without the end-quote.
I have read numerous reviews from the most learned jazz experts since 1999 and not one has identified this obvious error. And I have read of no apology to collectors from Columbia Legacy for this "capital offence" against the memory of Duke.
Aside from this gripe, this is a magnificent remastering of one of Duke's best extended works which should be in every self-respecting jazz collection.

Be jealous of me - I own CD Col 469140 2, which was an earlier reissue that I bought somewhere in Europe. Needless to say, it has the right take of Up And Down...Look for it! This is Duke and Billy's finest writing together - from the swagger of the title track, with its hidden references to Birmingham Breakdown and Jumpin' Punkins, and its use of Duke's "African" motto theme (check out Dance #5 from Liberian Suite) to the very particular decadent elegance of Lady Mac (note the use of Procope's alto). And then one of Duke's very best usages of Clark Terry in that great piece of musical humor, Up And Down, and his best - ever piece for Cat Anderson, the stunning Madness in Great Ones - one of Duke's most "cutting edge" pieces (though I have to admit I don't love the climax - it feels a little overblown). It seems that no one but myself has ever heard some slight nods towards Gil Evans in this suite. Something in the very particular transparency of the scoring - the lightness of the brass writing. Some sonorities...I could see them feeling it. But whatever, this is a masterpiece. One should expect nothing less from Duke, although now that we're living in the age of Ellington hagiography, where (albeit brilliant) sketches like Afro - Eurasian Eclipse are treated like the second coming of Ko-Ko, I think the critical standard is a little low in general. But put that all aside - this CD is a triumph.

This is Duke Ellington's suite in tribute to Shakespeare. Most of the selections are inspired by a particular character (Othello, Caesar, Henry V, for example), and most feature the work of a particular band member. SONNET TO HAND CINQ features Britt Woodman's trombone to good effect; LADY MAC, a waltz and one of the best tunes in the suite, has excellent Clark Terry work; CIRCLE OF FOURTHS, the only track that is taken up-tempo, has a good Paul Gonsalves solo. The most famous selection is STAR-CROSSED LOVERS and features Johnny Hodges on alto in a beautiful solo. Other musicians featured are Harry Carney on THE TELECASTERS and Quentin Jackson on trombone in SONNET FOR SISTER KATE. The music in this suite is introspective for the most part and highly personal; how connected it is to anything Shakespearean is up for debate. The better pieces are quite attractive; it's the kind of music Ellington hoped to be remembered for.

[The pictured Spanish edition finally arrived. Despite the advertising, it's not the Columbia LP version with CT/Puck's famous quotation at the end. The pressing otherwise is first-rate, with fuller-sounding piano in the mix than the Sony/Columbia reissue. Still, it's enough to make you want to strangle someone. Duke's discography is served so poorly in the first place, but here the crime is compounded because of all the self-congratulatory hype surrounding the release, a lot of tech talk (a stereo take was discovered and used instead of the original, different mono version) that fails to mention the damage inflicted upon the music itself by this unfortunate, counterproductive decision. At least in this European import we're spared Phil Schaap's essay along with the reminders (no fewer than three!) of a musical moment that the purchaser of either CD will discover is not present on the disc.]

I've ordered two copies of the Columbia/Sony CD and been disheartened in both instances. Arguably Duke's greatest work, "Such Sweet Thunder" is also especially useful for illustrating the essence of Ellington's genius, especially his writing for individual "tonal personalities," or instrumental "voices," as much as generic saxes, brass, rhythm. No where is the emphasis on the individual voice of the musician more striking than on "Up and Down," the piece inspired by "Midsummer Night's Dream." On the original LP, Duke assigns the role of Puck to Clark Terry, who literally makes his flugelhorn "speak" the words "Lord, what fools these mortals be." It's the most memorable moment on a recording rich with nuanced, subtle characterizations and complex ensembles of interacting dramatis personae.

Unfortunately, the Sony/Columbia reissue, despite lavish production values, numerous extra tracks, lots of scholarship, essays, archival research, etc., manages to preserve the "wrong" version of "Up and Down." Terry plays a respectable-sounding lick at the end of the tune, but nothing resembling the Puck-specific statement of the original. To make matters worse, the producers of the album show no awareness of their colossal gaffe, despite including two earlier essays (one from the original album) that single out Terry's Puck quote as a highlight. Instead the album makers seem so impressed with their discovery of stereo vs. monaural tapes, of tracks recorded with or without "ambient" sound, that the musical "content" all but eludes them.

Spanish reissues have come to the rescue on many occasions. Whether or not they do so again, I'll report back. If they fail, and if you no longer play LPs, you still must have some version of this essential Ellington work and may as well go with the Columbia/Sony edition (though because of the defect, I'd put ahead of it: "Three Suites" (including the priceless Ellington "Nutcracker") and "Ellington at Newport '56" (the most impressive job of digital restoration I've ever come across).

In the meantime, consider getting the old turntable back in shape. This is one of those rare examples of a vinyl recording that could go up in value. (Duke's "A Drum Is a Woman" is another.")

<Reference the LP version> I've argued this is the greatest jazz album while conceding there are many perfect works - Miles Davis' "Kind of Blue" at the top.

Simply, if there's one album I'd put in a time capsule that could teach distant generations what jazz is and how to play it - this is it. Power, tenderness, bravado and swing. Each instrument is showcased by virtuoso artists. How do you play jazz violin? Trumpet? And Muted? Sax? Clarinet? Baritone sax? Drums? Bass? Piano (well, Ellington)? Compositions of genius. From this seed, the entire artform could be reborn. So if greatness serves these virtues as well as pleasure, I'm sure Miles would be okay with the silver medal.

This review is an excerpt from my "So You'd Like To..." guide called, "Explore the Music of Duke Ellington: Part I."

Classically inspired, Such Sweet Thunder, also known as The Shakespearean Suite, is an intriguing work for those who have affinity toward classical music. The songs are dedicated to the characters from Shakesphere's plays, and some of the outstanding pieces are the solemn "Sonnet for Caesar" with its tragic ending, the delightful "Lady Mac" who enjoys a bit of ragtime, and Clark Terry's trumpet goes "Up and Down, Up and Down" as Puck who laughs at the world. Billy Strayhorn's "Pretty Girl" was adopted into the suite and entitled, "The Star-Crossed Lovers." With its fluttering notes, the sudden opening by Ellington on the piano lifts the mind right up to the state of high drama and romantic tragedy. Paul Gonzalves plays the part of Romeo. Known for his sensuous phrases and the purest of tone, the peerless Johnny Hodges plays with all the love and heartache that Juliet feels. Ellington ends on the very same notes as the opening and, as Bill Berry in the liner notes put it perfectly, "It leaves one suspended."