It was only an easy 1750m drill swim this evening because tomorrow brings forth the suck with the early morning long run and the double run later on in the evening.
Woooooah KENYA DAY!
So I’m hydrating, fueling and hitting the sack early this evening. Time only for a few chapters of the book (‘The Sex Lives of Cannibals: Adrift in Equatorial Pacific‘ by Maarten Troost) and this ‘The Cosmic Scene” Duke Ellington’s Spacemen‘ album by Duke Ellington.
Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed “the Spacemen” in 1958, and recorded this lone project with them for the Columbia label.
Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble’s trombonists Quentin “Butter” Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside.
The classic material presented includes clarinetist Jimmy Hamilton’s features ‘Avalon’ and ‘Early Autumn‘, the slinky stripper pole blues version of ‘St. Louis Blues‘ with Ellington’s piano taking the lead, and two versions of ‘Body & Soul‘, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There’s a modified ‘Perdido‘, an animated and perky ‘Midnight Sun‘ that deviates from any other slow and lugubrious version of the ballad, and two attempts of ‘Jones‘ – the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard.
There are two originals; the blues bass of Jimmy Woode and the ‘bones with plentiful piano from Duke infusing ‘Bass-Ment‘, and one of the more delightful of all of Ellington’s book, the poppin’ and boppin’ ‘Spacemen‘, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period.
While it isn’t likely at the top of any of Ellington’s “must have” album essentials, this is some killer shit and I am left wondering why. But, whatever. For $10 brand-spanking new, I’m pretty happy with it.
Okay, heading off to bed to rest up before “The Big Suck” in the morning.