Norman Granz was an American jazz music impresario. Granz was a fundamental figure in American jazz from about 1947 to 1960, he was the founder of five record labels: Clef, Down Home and Pablo. Granz was acknowledged as "the most successful impresario in the history of jazz". Granz is known for his anti-racist position and for integrating audiences. Born in Los Angeles, Granz was the son of Jewish immigrants from Tiraspol. After school, he began work as a stock clerk on the Los Angeles stock exchange; when America joined the Second World War, he was drafted into the U. S. Army Air Force. Subsequently, he was posted to the Morale branch, the department charged with troops' entertainment", he emerged into the public view when he organised desegregated jam sessions at the Trouville Club in Los Angeles, which he expanded when he staged a memorable concert at the Philharmonic Auditorium in Los Angeles on Sunday, July 2, 1944, under the heading of "Jazz at the Philharmonic". The title of the concert, "A Jazz Concert at the Philharmonic Auditorium", had been shortened by the printer of the advertising supplements to "Jazz at the Philharmonic".
Only one copy of the first concert program is known to exist. Norman Granz had organised the first Jazz at the Philharmonic concert with about $300 of borrowed money. Known as JATP, the ever-changing group recorded and toured extensively, with Granz producing some of the first live jam session recordings to be distributed to a wide market. After several JATP concerts in Los Angeles in 1944 and 1945, Granz began producing JATP concert tours, from late fall of 1945 to 1957 in USA and Canada, from 1952 in Europe, they featured swing and bop musicians and were among the first high-profile performances to feature racially integrated bands. Granz cancelled some bookings rather than have the musicians perform for segregated audiences, he recorded many of the JATP concerts, from 1945 to 1947 sold/leased the recordings to Asch/Disc/Stinson Records. In 1948 Granz signed an agreement with Mercury Records for the promotion and the distribution of the JATP recordings and other recordings. After the agreement expired in 1953 he issued the JATP recordings and other recordings on Clef Records and Norgran Records.
Down Home Records was intended for traditional jazz works. Jazz at the Philharmonic ceased touring the United States and Canada, after the JATP concerts in the fall of 1957, apart from a North American Tour in 1967, he died on November 2001, aged 83, in Geneva, Switzerland. Many of the names that made history in jazz signed with one of Norman Granz's labels, including Louis Armstrong, Ella Fitzgerald, Count Basie, Louie Bellson, Benny Carter, Buck Clayton, Buddy DeFranco, Roy Eldridge, Herb Ellis, Tal Farlow, Stan Getz, Dizzy Gillespie, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Billie Holiday, Illinois Jacquet, Hank Jones, Gene Krupa, Anita O'Day, Charlie Parker, Joe Pass, Oscar Peterson, Flip Phillips, Bud Powell, Buddy Rich, Sonny Stitt, Slim Gaillard, Art Tatum, Ben Webster and Lester Young. Granz saw to it. In the segregated society of the 1940s, he insisted on equal pay and accommodation for white and black musicians, he refused to take his hugely popular concerts to places which were segregated if he had to cancel concerts, thereby sacrificing considerable sums of money.
In 1944, Granz and Gjon Mili produced the jazz film Jammin' the Blues, which starred Lester Young, Illinois Jacquet, Barney Kessel, Harry Edison, Jo Jones, Sidney Catlett, Marlowe Morris, Marie Bryant, was nominated for an Academy Award. It was in 1956 that the popular singer Ella Fitzgerald joined Norman Granz's label. Granz had been her manager for some time, unified his activities under the common label of Verve Records. Granz became Fitzgerald's manager, remained so until the end of her career. Fitzgerald's memorable series of eight Songbooks, together with the duet series achieved wide popularity and brought acclaim to the label and to the artists. Granz was the manager of Oscar Peterson, another lifelong friend. In 1959, Norman Granz moved to Switzerland. In December 1960, Verve Records was sold to Metro-Goldwyn-Mayer. Granz founded his last label, Pablo Records, in 1973. Norman Granz fought many battles for his artists, many of whom were black. In 1955, in Houston, Texas, he removed signs that would have designated "White" and "Negro" seating areas in the auditorium where two concerts were to be performed by Ella Fitzgerald and Dizzy Gillespie.
Between the two shows Ella and Dizzy were found playing cards in the dressing room and arrested by local police. After some negotiations, the artists were allowed to perform the second show and were formally released. Granz insisted on fighting the charges, which cost him a $2,000 fine. Oscar Peterson recounted how Granz once insisted that white cabdrivers take his black artists as customers while a policeman pointed a loaded pistol at his stomach. Granz was among the first to pay white and black artists the same salary and to give them equal treatment in minor details, such as dressing rooms. Granz spearheaded the fight to desegregate the hotels and casinos in Las Vegas, arguing that it was unfair that black artists could perform on the stages, but could not stay or gamble at the hotels, or enter through the front doors. Granz was interested in art, developing relationships with Pablo Picasso, whom he met in 1968. A detailed look at Granz, his career, his legacy can be fo
Jazz à Juan
Jazz à Juan is an annual jazz festival in Juan-les-Pins, France. New Orleans, Louisiana recognized as the "Birthplace of Jazz," is a sister city, as a result, carnival festivities in Juan-les-Pins, including both local and New Orleans jazz bands parading through the streets, have served for years to embody that connection. Along the Boulevard Edouard Baudoin, which runs behind the seaside stage that hosts the annual jazz festival, ceramic tiles containing handprints of more than 50 musicians who have played at the festival dot the sidewalk. Among those enshrined on the boulevard are Al Jarreau, B. B. King, Chick Corea, Clark Terry, Dave Brubeck, Dee Dee Bridgewater, Eddy Louiss, Elvin Jones, Fats Waller, Grant Green, George Benson, Hank Jones, Jack DeJohnette, Gary Peacock, Joshua Redman, Keith Jarrett, Little Richard, Milt Jackson, Oscar Peterson, Pat Metheny, Ravi Coltrane, Ray Charles, Richard Galliano, Roy Haynes, Shirley Horn, Sonny Rollins, Stéphane Grappelli, Stevie Wonder and Wynton Marsalis.
The Miles Davis album 1969 Miles – Festiva De Juan Pins was recorded at the 1969 edition of the festival. Jazz à Juan – official site Antibes Jazz Festival discography at Discogs
Kurt Julian Weill was a German Jewish composer, active from the 1920s in his native country, in his years in the United States. He was a leading composer for the stage, best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a useful purpose, he wrote several works for the concert hall. He became a United States citizen on August 27, 1943. Weill was born on the third of four children to Albert Weill and Emma Weill, he grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau in Saxony, where his father was a cantor. At the age of twelve, Weill started taking piano lessons and made his first attempts at writing music. Jewish Wedding Song. In 1915, Weill started taking private lessons with Albert Bing, Kapellmeister at the "Herzogliches Hoftheater zu Dessau", who taught him piano, music theory, conducting.
Weill performed publicly both as an accompanist and soloist. The following years he composed numerous Lieder to the lyrics of poets such as Joseph von Eichendorff, Arno Holz, Anna Ritter, as well as a cycle of five songs titled Ofrahs Lieder to a German translation of a text by Yehuda Halevi. Weill graduated with an Abitur from the Oberrealschule of Dessau in 1918, enrolled at the Berliner Hochschule für Musik at the age of 18, where he studied composition with Engelbert Humperdinck, conducting with Rudolf Krasselt, counterpoint with Friedrich E. Koch, attended philosophy lectures by Max Dessoir and Ernst Cassirer; the same year, he wrote his first string quartet. Weill's family experienced financial hardship in the aftermath of World War I, in July 1919, Weill abandoned his studies and returned to Dessau, where he was employed as a répétiteur at the Friedrich-Theater under the direction of the new Kapellmeister, Hans Knappertsbusch. During this time, he composed an orchestral suite in E-flat major, a symphonic poem of Rainer Maria Rilke's The Lay of the Love and Death of Cornet Christopher Rilke as well as Schilflieder, a cycle of five songs to poems by Nikolaus Lenau.
In December 1919, through the help of Humperdinck, Weill was appointed as Kapellmeister at the newly founded Stadttheater in Lüdenscheid, where he directed opera and singspiel for five months, composed a cello sonata and Ninon de Lenclos, a now lost one-act operatic adaptation of a play by Ernst Hardt. From May to September 1920, Weill spent a couple of months in Leipzig, where his father had become the new director of a Jewish orphanage. Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, orchestra. Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. After examining some of Weill's compositions, Busoni accepted him as one of five master students in composition at the Preußische Akademie der Künste in Berlin. From January 1921 to December 1923, Weill studied music composition with him and counterpoint with Philipp Jarnach in Berlin. During his first year he composed his first symphony, Sinfonie in einem Satz, as well as the lieder Die Bekehrte and two Rilkelieder for voice and piano.
To support his family in Leipzig, he worked as a pianist in a Bierkeller tavern. In 1922, Weill joined the November Group's music faction; that year he composed a psalm, a divertimento for orchestra, Sinfonia Sacra: Fantasia and Hymnus for Orchestra. On November 18, 1922, his children's pantomime Die Zaubernacht premiered at the Theater am Kurfürstendamm. Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Heinz Jolles, Nikos Skalkottas. Arrau and Jolles remained members of Weill's circle of friends thereafter, Jolles's sole surviving composition predating the rise of the Nazi regime in 1933 is a fragment of a work for four pianos he and Weill wrote jointly. Weill's compositions during his last year of studies included Quodlibet, an orchestral suite version of Die Zaubernacht, seven medieval poems for soprano, viola, French horn, bassoon, Recordare for choir and children's choir to words from the Book of Lamentations.
Further premieres that year included a performance of his Divertimento for Orchestra by the Berlin Philharmonic under the direction of Heinz Unger on April 10, 1923, the Hindemith-Amar Quartet's rendering of Weill's String Quartet, Op. 8, on June 24, 1923. In December 1923, Weill finished his studies with Busoni. In 1922 he joined the Novembergruppe, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe. In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grünheide, Weill first met singer/actress Lotte Lenya in the summer of 1924; the couple were married twice: in 1926 and again in 1937. She took great care to support Weill's work, after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation. From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der
Ella Jane Fitzgerald was an American jazz singer sometimes referred to as the First Lady of Song, Queen of Jazz, Lady Ella. She was noted for her purity of tone, impeccable diction, intonation, a "horn-like" improvisational ability in her scat singing. After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most associated with the Savoy Ballroom in Harlem, her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career, her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more noted works her interpretations of the Great American Songbook. While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, The Ink Spots were some of her most notable acts outside of her solo career.
These partnerships produced some of her best-known songs such as "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", "It Don't Mean a Thing". In 1993, she ended her nearly 60-year career with her last public performance. Three years she died at the age of 79 after years of declining health, her accolades included fourteen Grammy Awards, the National Medal of Arts, the Presidential Medal of Freedom. Fitzgerald was born on April 1917, in Newport News, Virginia, she was the daughter of Temperance "Tempie" Henry. Her parents lived together for at least two and a half years after she was born. In the early 1920s, Fitzgerald's mother and her new partner, a Portuguese immigrant named Joseph Da Silva, moved to Yonkers, in Westchester County, New York, her half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to a poor Italian area, she began her formal education at the age of six and was an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School in 1929.
Starting in third grade, Fitzgerald admired Earl Snakehips Tucker. She performed for her peers on the way at lunchtime, she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, where she attended worship services, Bible study, Sunday school. The church provided Fitzgerald with her earliest experiences in music. Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, The Boswell Sisters, she idolized the Boswell Sisters' lead singer Connee Boswell saying, "My mother brought home one of her records, I fell in love with it... I tried so hard to sound just like her."In 1932, when Fitzgerald was fifteen, her mother died from injuries received in a car accident. Her stepfather took care of her until April 1933; this swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of "ill treatment" by her stepfather, leaves him to speculate that Da Silva might have abused her. Fitzgerald began skipping school, her grades suffered.
She worked as a lookout with a Mafia-affiliated numbers runner. She never talked publicly about this time in her life; when the authorities caught up with her, she was placed in the Colored Orphan Asylum in Riverdale in the Bronx. When the orphanage proved too crowded, she was moved to the New York Training School for Girls, a state reformatory school in Hudson, New York. While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important debut at age 17 on November 21, 1934, in one of the earliest Amateur Nights at the Apollo Theater, she had intended to go on stage and dance, but she was intimidated by a local dance duo called the Edwards Sisters and opted to sing instead. Performing in the style of Connee Boswell, she sang "Judy" and "The Object of My Affection" and won first prize, she won the chance to perform at the Apollo for a week but because of her disheveled appearance, the theater never gave her that part of her prize.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She was introduced to drummer and bandleader Chick Webb, who had asked his signed singer Charlie Linton to help find him a female singer. Although Webb was "reluctant to sign her...because she was gawky and unkempt, a'diamond in the rough,'" he offered her the opportunity to test with his band when they played a dance at Yale University. Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb's orchestra and gained acclaim as part of the group's performances at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs, including "Love and Kisses" and " You'll Have to Swing It", but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her public acclaim. "A-Tisket, A-Tasket" became a major hit on the radio and was one of the biggest-selling records of the decade. Webb died of spinal tuberculosis on June 16, 1939, his band was renamed Ella and Her Famous Orchestra with Fitzgerald taking on the role of bandleader.
She recorded nearly 150 songs with Webb's orchestra between 1935 and 1942. In The New York Times obituary o
Juan-les-Pins is a town and a health resort and spa in the commune of Antibes, in the Alpes-Maritimes, in southeastern France, on the Côte d'Azur. It is situated between 13 kilometres from Nice Côte d'Azur Airport, it is a major holiday destination popular with the international jet-set, with casino and beaches, which are made of fine grained sand, are not straight, but instead are cut with small inlets. Situated west of the town of Antibes on the western slope of the ridge, halfway to the old fishery village of Golfe-Juan, it had been an area with many stone pine trees, where the inhabitants of Antibes used to go for a promenade, for a picnic in the shadow of the stone pine trees or to collect tree branches and cones for their stoves; the village was given the name Juan-les-Pins on 12 March 1882. The spelling Juan, used instead of the customary French spelling, derives from the local Occitan dialect. Other names discussed for the town include Antibes-les-Pins and Albany-les-Pins; the following year, 1883, it was decided to build a railway station in Juan-les-Pins on the Paris-Lyon-Méditerranée line, there since 1863.
In 1926, the famous hotel Le Provençal was opened and received guests like Charlie Chaplin, Lilian Harvey, Jack L. Warner and Man Ray. F. Scott Fitzgerald mentions Juan les Pins in Tender is the night Peter Sarstedt famously mentions Juan-les-Pins in his 1969 UK number one hit, "Where Do You Go To"; the song mentions. "Golfe Juan" is the name of a pointillist painting done by Paul Signac, a French neo-impressionist, in 1896. Juan-les-Pins is prominent in Sartre's The Reprieve, the second volume of his Roads to Freedom trilogy; the area is the home of Lanny Budd, the protagonist in eleven Upton Sinclair novels. In Charles R. Jackson's novel The Lost Weekend, the main character, Don Birnam, mentions a holiday in Juan-les-Pins. In Alan Furst's novel "Kingdom of Shadows", protagonist Nicholas Morath, his Argentine girlfriend Cara, assorted friends spend early June 1938 in Juan-les-Pins. Near the end of Donna Tartt's"The Goldfinch", the protagonist travels to many'exotic places,' such as Juan-Les-Pins, to rectify his wrongdoings.
Jardin botanique de la Villa Thuret Aujourd'hui, curvy modernistic seaside former beach house of movie mogul Jack L. Warner Home of the 6 Jours d'Antibes. Frank Jay Gould F. Scott Fitzgerald Gerald Murphy Dominique Guillo Georges Milton New Orleans Gare de Juan-les-Pins Festivals Internationaux de Bridge d'Antibes en Juan-les-Pins Official tourist guide
A big band is a type of musical ensemble that consists of ten or more musicians with four sections: saxophones, trombones, a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular; the term "big band" is used to describe a genre of music. One problem with this usage is. Big bands started as accompaniment for dancing. In contrast with the emphasis on improvisation, big bands relied on written compositions and arrangements, they gave a greater role to bandleaders and sections of instruments rather than soloists. Big bands have four sections: trumpets, saxophones, a rhythm section of guitar, double bass, drums; the division in early big bands was to be two or three trumpets, one or two trombones, three saxophones, a rhythm section. In 1930, big bands consisted of three trumpets, three trombones, three saxophones, a rhythm section of four instruments. Guitar replaced the banjo, double bass replaced the tuba. In the 1940s, Stan Kenton's band and Woody Herman's band used up to five trumpets, four trombones, five saxophones, a rhythm section.
An exception is Duke Ellington. Boyd Raeburn drew from symphony orchestras by adding to his band flute, French horn and timpani. Typical big band arrangements are written in strophic form with the same phrase and chord structure repeated several times; each iteration, or chorus follows twelve bar blues form or thirty-two-bar song form. The first chorus of an arrangement is followed by choruses of development; this development may take the form of improvised solos, written soli sections, "shout choruses". An arrangement's first chorus is sometimes preceded by an introduction, which may be as short as a few measures or may extend to chorus of its own. Many arrangements contain an interlude similar in content to the introduction, inserted between some or all choruses. Other methods of embellishing the form include cadential extensions; some big ensembles, like King Oliver's, played music, half-arranged, half-improvised relying on head arrangements. A head arrangement is a piece of music, formed by band members during rehearsal.
They experiment memorize the way they are going to perform the piece, without writing it on sheet music. During the 1930s, Count Basie's band used head arrangements, as Basie said, "we just sort of start it off and the others fall in." Before 1914, social dance in America was dominated by steps such as polka. As jazz migrated from its New Orleans origin to Chicago and New York City, suggestive dances traveled with it. During the next decades, ballrooms filled with people doing Lindy Hop; the dance duo Vernon and Irene Castle popularized the foxtrot while accompanied by the Europe Society Orchestra led by James Reese Europe. One of the first bands to accompany the new rhythms was led by a drummer, Art Hickman, in San Francisco in 1916. Hickman's arranger, Ferde Grofé, wrote arrangements in which he divided the jazz orchestra into sections that combined in various ways; this intermingling of sections became a defining characteristic of big bands. In 1919, Paul Whiteman hired Grofé to use similar techniques for his band.
Whiteman was educated in classical music, he called his new band's music symphonic jazz. The methods of dance bands marked a step away from New Orleans jazz. With the exception of Jelly Roll Morton, who continued playing in the New Orleans style, bandleaders paid attention to the demand for dance music and created their own big bands, they incorporated elements of Broadway, Tin Pan Alley and vaudeville. Duke Ellington led his band at the Cotton Club in Harlem. Fletcher Henderson's career started when he was persuaded to audition for a job at Club Alabam in New York City, which turned into a job as bandleader at the Roseland Ballroom. At these venues, which themselves gained notoriety and arrangers played a greater role than they had before. Hickman relied on Whiteman on Bill Challis. Henderson and arranger Don Redman followed the template of King Oliver, but as the 1920s progressed they moved away from the New Orleans format and transformed jazz, they were assisted by a band full of talent: Coleman Hawkins on tenor saxophone, Louis Armstrong on cornet, multi-instrumentalist Benny Carter, whose career lasted into the 1990s.
Swing music began appearing in the early 1930s and was distinguished by a more supple feel than the more literal 44 of early jazz. Walter Page is credited with developing the walking bass, though earlier examples exist, such as Wellman Braud on Ellington's Washington Wabble from 1927; this type of music flourished through the early 1930s, although there was little mass audience for it until around 1936. Up until that time, it looked upon as a curiosity. After 1935, big bands rose to prominence playing swing music and held a major role in defining swing as a distinctive style. Western swing musicians formed popular big bands during the same period. There was a considerable range of styles among the hundreds of popular bands. Many of the better known bands reflected the individuality of the bandleader, the lead arranger, the personnel. Count Basie played a relaxed, propulsive swing, Bob Crosby more of a dixieland style, Benny Goodman a hard driving swing, Duke Ellington's compositions were varied and sophisticated.
Many bands featured strong instrumentalists whose sounds dominated, such as the clar
William Alonzo "Cat" Anderson was an American jazz trumpeter known for his long period as a member of Duke Ellington's orchestra and for his wide range his playing in the higher registers. Born in Greenville, South Carolina, Anderson lost both parents when he was four years old, was sent to live at the Jenkins Orphanage in Charleston, where he learned to play trumpet. Classmates gave him the nickname "Cat" based on his fighting style, he toured and made his first recording with the Carolina Cotton Pickers, a small group based at the orphanage. After leaving the Cotton Pickers, Anderson played with guitarist Hartley Toots, Claude Hopkins' big band, Doc Wheeler's Sunset Orchestra, with whom he recorded, Lucky Millinder, the Erskine Hawkins Orchestra, Sabby Lewis's Orchestra, Lionel Hampton, with whom he recorded the classic "Flying Home No. 2". Anderson's career took off, however, in 1944, when he joined Duke Ellington's orchestra at the Earle Theater in Philadelphia, he became a central part of Ellington's sound.
Anderson was capable of playing in a number of jazz styles, but is best remembered as a high-note trumpeter. He could play in the extreme high register with great power. Wynton Marsalis called him "one of the best" high-note trumpeters. More than just a high-note trumpeter, Anderson was a master of half valve and plunger mute playing, he played with Ellington's band from 1944 to 1947, from 1950 to 1959, from 1961 to 1971, with each break corresponding to a failure to lead his own big band. After 1971, Anderson settled in the Los Angeles area, where he continued to play studio sessions, to perform with local bands, to tour Europe, he died of cancer in 1981. Cat Anderson Plays at 4 AM Cat on a Hot Tin Horn A Chat with Cat Anderson Cat Speaks Plays W. C. Handy Americans Swinging in Paris Cat Speaks: The Definitive Black and Blue Sessions With Gene Ammons Free Again With Louie Bellson The Louis Bellson Explosion Ecue Ritmos Cubanos Sunshine Rock With Duke Ellington 1951 Masterpieces by Ellington 1953 Ellington Uptown 1953 The 1953 Pasadena Concert 1954 Ellington'55 1956 A Drum Is a Woman 1956 Duke Ellington Presents... 1956 First Annual Connecticut Jazz Festival 1956 Historically Speaking: The Duke 1957 Indigos 1957 Such Sweet Thunder 1958 Black Brown and Beige 1958 Newport 1958 1959 Festival Session 1959 Jazz Party 1959 Live at the Blue Note 1960 Blues in Orbit 1961 First Time!
The Count Meets the Duke 1961 S. R. O. 1962 Duke Ellington and His Orchestra Featuring Paul Gonsalves 1962 Money Jungle 1963 Afro-Bossa 1963 The Great Paris Concert 1963 The Symphonic Ellington 1964 All Star Road Band Vol. 1-2 1964 Duke Ellington Plays Mary Poppins 1964 Ellington'65 1964 Harlem 1965 1965 Revisited 3 1965 Concert in the Virgin Islands 1966 Soul Call 1967... And His Mother Called Him Bill 1967 Ella & Duke at the Côte D'Azur 1967 Francis A. & Edward K. 1967 The Duke Ellington's Far East Suite 1968 Second Sacred Concert 1968 Yale Concert 1969 Standards: Live at the Salle Pleyel 1970 New Orleans Suite 1972 Up in Duke's Workshop 1977 The Carnegie Hall Concerts 1977 The Carnegie Hall Concerts 1985 All Star Road Band Volume 2 With Ella Fitzgerald Sings the Duke Ellington Song Book Ella at Duke's Place With Lionel Hampton Lionel Hampton and His Jazz Giants 77 All-Star Band at Newport Live: 50th Anniversary Concert With Johnny Hodges Ellingtonia'56 The Big Sound Johnny Hodges with Billy Strayhorn and the Orchestra Everybody Knows Johnny Hodges Triple Play Swing's Our Thing With Quincy Jones 1973 You've Got It Bad Girl 1976 I Heard That!
With others 1956 Blue Rose, Rosemary Clooney 1956 George Gershwin's Porgy and Bess, Frances Faye/Mel Tormé 1966 Once Upon a Time, Earl Hines 1976 Hello Rev, Bill Berry 1977 Live and Well in Japan, Benny Carter 1979 Jazz Gala, Claude Bolling Cat Anderson at AllMusic Cat Anderson discography at Discogs The Duke Ellington Society, TDES, Inc Cat Anderson at Find a Grave