Find out the value of a Vinyl Record, CD, or Cassette, etc. Search within our Price Guide of Sold Auctions
Reel-to-reel: DUKE ELLINGTON - MIDNIGHT IN PARIS - 7.5 ips 4-track reel to reel tape ReelHifi
89.00 USD
0.01 USD
26 Jul 2021
19 Jul 2021
20 bids
1206
155
United States
Very Good
COLUMBIA CQ 503
Jazz
Is this information accurate?
Is this Item a Fake or Counterfeit?
REELHIFI
Check us out on
Scott Yanow says this album “far from essential” Duke Ellington. I suppose that’s true, but this Columbia release is a more-than-worthy recording and very good listening whether it’s essential or not.
The sound quality is very very high. Crisp and clear, dynamic, but smooth and mellow. Realistic!
Unusually for pre-recorded tapes it was duped at higher-than-usual levels; the VU meters on my Otari deck swung into the red quite often when I tested the tape, but that’s a good thing… there’s no clipping or any other sort of distortion.
Both sides of this 4-track tape play from start to finish with no issues of any sort.
The tape still looks fresh, it’s flat, supple and shiny, packed evenly on the original reel (even though the opaque plastic Columbia reel only has two small openings you can easily see that the pack is flat).
Please see the photos to check the condition of the box and reel.
Midnight in Paris is an album by American pianist, composer and bandleader Duke Ellington recorded in 1962 for the Columbia label. The album features performances of compositions inspired by or associated with Paris .
The AllMusic review by Scott Yanow awarded the album 1½ stars and stated "One of the odder Duke Ellington collections... Pretty music but far from essential".
- "Under Paris Skies” (Hubert Giraud) – 2:41
- “I Wish You Love” (Charles Trenet) – 3:50
- "Mademoiselle de Paris" (Paul Durand) – 3:20
- "Comme Çi Comme Ça” (Bruno Coquatrix) – 3:03
- “Speak to Me of Love” (Jean Lenoir) – 2:02
- "A Midnight in Paris” (Billy Strayhorn) – 3:33
- "(All of a Sudden) My Heart Sings” (Harold Rome, Jean Marie Blanvillain, Henry Herpin) – 2:03
- "Guitar Amour" (Duke Ellington) – 4:57
- "The Petite Waltz" (Joe Heyne) – 4:14
- "Paris Blues" (Ellington) – 4:21
- "Javapachacha (Apache)" (adapted by Ellington) – 3:56
- “No Regrets” (Charles Dumont) – 2:12
- "The River Seine" (Guy Lafarge) – 2:14
- Recorded at Columbia Studio A, New York on January 30, 1962 (tracks 5, 8 & 10), January 31, 1962 (tracks 4, 9 & 11), February 27, 1962 (track 1), June 21, 1962 (tracks 3 & 6), and June 26, 1962 (tracks 2, 7, 12 & 13).
- Duke Ellington - piano (tracks 1-3, 6, 7, 12 & 13)
- Billy Strayhorn - piano (tracks 4, 5 & 8-11)
- Ray Nance - cornet
- Cat Anderson, Shorty Baker (tracks 1, 4, 5 & 8-11), Bill Berry (tracks 2, 5, 7, 8, & 11-13), Roy Burrowes (tracks 1-3, 6, 7, 12 & 13), Howard McGhee (tracks 4, 9 & 11) - trumpet
- Lawrence Brown, Buster Cooper (tracks 1-3, 6, 7, 12 & 13), Lyle Cox (tracks 4, 5 & 8-11) - trombone
- Chuck Connors - bass trombone
- Jimmy Hamilton - clarinet, tenor saxophone
- Johnny Hodges - alto saxophone
- Russel Procope - alto saxophone, clarinet
- Paul Gonsalves - tenor saxophone
- Harry Carney - baritone saxophone, clarinet, bass clarinet
- Aaron Bell - bass
- Sam Woodyard - drums
Edward Kennedy "Duke " Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than six decades.
Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although widely considered a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle and referred to his music as part of the more general category of American Music.
Some of the jazz musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered among the best players in the idiom. Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards. He also recorded songs written by his bandsmen, for example Juan Tizol's “Caravan", and “Perdido", which brought a Spanish tinge to big band jazz. In the early 1940s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival in July 1956, Ellington and his orchestra enjoyed a major revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals.
Ellington was noted for his inventive use of the orchestra, or big band, and for his eloquence and charisma. His reputation continued to rise after he died, and he was awarded a posthumous Pulitzer Prize Special Award for music in 1999.