Blue Light

Blue Light | Index to Issues | Sample Article

Blue Light is the quarterly newsletter of DESUK and is sent to Members free of charge. A substantial publication (24pp), the content is wide ranging and we are fortunate to have amongst our members jazz authors, journalists and critics, and equally fortunate to have many enthusiastic members who, because of their own deep interest, have become expert in particular niches of Ellingtonia.

As with any artistic field, there can be as much controversy as there is agreement, and on occasions the exchanges can be lively, and sometimes heated.

ON RECORD ~ Reviews of CD and DVD releases, by experts and ordinary members.

IN PERFORMANCE ~ Reviews of live performances.

IN PRINT ~ The latest Ellington publications reviewed.

Blue Light | Index to Issues | Sample Article

Index to Issues

Those of us who are not founder members of the Society may be interested to know that back issues of Blue Light are available as follows. Over 50 publications in all.

Alternatively, you may pay by UK Sterling cheque made payable to DESUK. Please remit to:-

DESUK Treasurer

38 Thurlestone Avenue

London

N12 0LP

As well as containing many record and book reviews each edition features letters, notes and queries, photographs, details of live performances and articles. We would like to give you an indication of some of the articles that have appeared in these publications as follows. This is not a complete index.

Special Offers:-

The following years are available for £3 per set of four issues:-

Priced at £2 per copy, 1994 - 1995:-

Priced at £1 per copy, 1996 - 2007:-

Priced at £2 per copy, 2008 - 2010:-

Blue Light | Index to Issues | Sample Article

From Blue Light 3/2

Encounters with Ellingtonia

David Redshaw recalls his first experience of hearing the Elliington orchestra live - and meeting one of its trumpet players with a taste for practical jokes.

Prior to 1963 Ellington was to me no more than the name of a composer of tunes sometimes played by the Trad bands of the time. I had also heard one or two Ellington numbers played by such bands as the Temperance Seven who performed note-for-note recreations of early recordings. I noticed however that Ellington themes were always unusual, attractive and had a certain intriguing quality. My interest in jazz had grown mainly through exposure to the British Trad bands that were then so popular but I had listened to some more modern jazz and found little that attracted me at the time.

When I found that the Duke Ellington orchestra was to appear at the Colston Hall in Bristol that year, it appeared to be an opportunity too good to miss although I did have my reservations. The question was. How would I find the Ellington band? Would they still be playing the numbers I was slightly familiar with such as Rockin' In Rhythm and Shout 'Em Aunt Tillie or would they have moved on to play music which was too obscure for my ears?

At the time the Colston Hall regularly offered seats in the choir stalls. Whilst these were to the side of or behind the musicians, they were also inexpensive. I arrived well before the concert was due to start and settled into my seat only to decide that a visit to the Gents was necessary. The usual facilities were at the front of the Hall and I was a long way from them. The passages behind and underneath the Hall were narrow with concrete floors and bare plaster walls. With nothing to absorb sound they were more like tunnels.

In trying to find my way I wandered past the artists' changing rooms, not quite knowing where I was. At one point a smallish but very thick-set man asked me where I was going and gave me some general directions. On my way back he was still there with trumpet in hand and he spoke to me briefly as I passed. I had moved on no more than a few yards when I was hit squarely on the back of the head by the loudest and most piercing notes I had ever experienced - greatly enhanced by the tunnel acoustics of course. I use the word 'hit' because that is how it felt. I turned to see pure delight on the face of the unknown musician whose wide grin showed that he had enjoyed seeing me jump. It was my first heart-stopping moment listening to an Ellingtonian. The power of those few notes was incredible. I soon found out why.

Yes, the band did still play Rockin' In Rhythm and towards the end of that number I found out why those trumpet notes had been so devastating. The musician who had played them was Cat Anderson. He filled the Hall with his high notes without amplification and over the top of the entire orchestra in full flight. Cat seems to have acquired a reputation for being a little difficult to deal with but I had found him to be affable and possessed of a sense of humour - for practical jokes at least.

I have two further memories of that first concert from my seat which was nicely situated behind, but overlooking, the piano keyboard. Firstly one of Duke himself as he swayed at the piano or padded around in his stage slippers, while having a deal of trouble adjusting his trousers, chewing and watching the band and the audience with those worldly eyes. As so many others did, I found him to be one of those people who capture your attention and hold you fascinated. I still remember his piano part on Asphalt Jungle which so amazed me at the time.

Secondly I recall vividly the look on the faces of one section of the audience whenever Johnny Hodges played a solo: fanatical enthusiasm is an inadequate description. On that occasion I only saw Hodges from behind but I later discovered that the look on his own face contrasted greatly with the animated expressions of his fans. I can still see t?em in my mind's eye...