(Classic Jazz/ Swing) Louis Armstrong & Duke Ellington - The Great Summit Complete Sessions (Deluxe Edition, 2 CD) - 1961 (Remaster 2000), FLAC (tracks+.cue) lossless

Review:
by Ken Dryden (AMG)
The master takes of this two-CD set have appeared previously on a number of reissues on both LP and CD as a compilation of the original two individual records Together for the First Time and The Great Reunion, but this release easily beats all of the previous issues. Two music legends, Louis Armstrong and Duke Ellington, met in the studio for two days in 1961 with Armstrong bringing his group in to play an all-Ellington program and Ellington playing piano. This music has received high praise from numerous critics with good reason; everything seems to fall into place with little effort and a maximum of swinging jazz. It didn't hurt to have former Ellington band member Barney Bigard on clarinet or the equally talented trombonist Trummy Young on the date. Having Armstrong play Ellington's music was a nice change of pace, as the repetitious nature of Satchmo's repertoire in concerts didn't reveal his potential to audiences of the 1950s and 1960s. His newly improvised update of the lyrics to "Drop Me Off in Harlem" got Ellington into a great mood, while both Bigard and Armstrong responded well to Ellington's on-the-spot composition of "The Beautiful American," which closed the first recording session; he also shines on the obscure "Azalea," proving he was a quick study. Armstrong seems very familiar with Ellington's works and his solo on "Black and Tan Fantasy," which had been written in 1927 and recorded many times by a variety of trumpeters in Ellington's orchestra, rivals that of any of them. Bassist Mort Herbert and drummer Danny Barcelona are quite effective in anchoring the rhythm section on a solid foundation. Ellington seems energetic throughout both dates and he is great at providing just the right accompaniment behind the soloists as well as showing off his own chops. What is even more interesting is the addition of the previously unreleased rehearsals, alternate takes, and breakdowns (which are only on this expanded two-CD reissue) as the group worked through each number during the two days of sessions. An additional improvement is the glorious 24-bit remastering that dwarfs the sound of the earlier Mobile Fidelity, Mobile Fidelity Ultra, and Roulette reissues. Dan Morgenstern's informative liner notes and a number of previously unseen session photos add to the desirability of this set. The late producer Bob Thiele should be praised as well for working hard to make these recordings come into being. This landmark reissue should be the part of any jazz collection.
Amazon.com editorial
For starters, The Great Summit produced not only itself, both in a long-valued one-CD set and now this 2-CD Complete Sessions, but also a later summit, Count Basie and Duke Ellington's tandem showdown, First Time. On its own, though, The Great Summit needs no later chapters to justify its celebrated standing in jazz annals. This was and is terrifically important music, Ellington in grand form between recording the Paris Blues soundtrack and cutting ace sessions like Duke Ellington Meets Coleman Hawkins and Duke Ellington & John Coltrane in late 1962. For his part, Armstrong was on leave, as well, resting up between ceaseless tours as a bona fide jazz superstar and veteran.
So Ellington and Armstrong join hands, backed by the latter's band (Trummy Young on trombone, Barney Bigard on clarinet, Mort Herbert on bass, and Danny Barcelona on drums), tackling 17 of Duke's tunes. Armstrong's sweet, rolling vocal growl gives the tunes endless hugs, just as his band both cuts plump solos and then backs way off so Ellington can throw down alternately swinging and unapologetically modernist solos himself. What distinguishes this two-CD set from the originally issued, one-CD Complete Session is the second disc, The Making of the Great Summit. What's that worth? Well, it's a fan's dream, with studio chatter, with myriad false starts and several alternate complete takes ("In a Mellow Tone," "Duke's Place," and "Drop Me Off in Harlem"). Pure gold if you love Duke and Louis separately--unalloyed platinum if you love them (or just the thought of them) together. --Andrew Bartlett
From Jazziz
By the time Duke Ellington and Louis Armstrong entered the recording studio together for two 1961 Roulette sessions, they were national icons and international ambassadors of jazz. On Louis Armstrong & Duke Ellington, Ellington took the place of pianist Billy Kyle in Louis Armstrong's All-Stars for a program of his own compositions. It's no wonder that Armstrong, a major influence on Ellington from the start, was at home with the material. On The Beautiful American, clarinetist Barney Bigard, a veteran of Ellington's band, chases Armstrong into his upper register, and the trumpeter delivers three ringing solo choruses.
Amazon.com customer
# I can't say enough good things about this music. Consisting of all the known performances Pops and Duke recorded together, this set is a must-own for any music lover. I also recommend this for beginning jazz listeners, as Louis is the most likeable performer in jazz and Duke's songs are some of the most listenable. While the majority of the tunes are Duke pieces, the performances are distinctly Louis. The two greats are supported by members of Louis' Allstars Trummy Young and Barney Brigard who help Satchmo turn this into one of his finest performances. Forget the hype about Pops losing his chops by the time this was recorded (1961). Louis is in rare form. Also enjoyable is the greater than usual proportion of Ellington solo room on these dates. Great to hear him stretch out on a few numbers. If not THE highlight of these sessions, certainly up there is the previously unreleased Duke original "Azalea". Evidently Duke had been holding on to this for some time before he found someone who could sing it just so. Enter Satchmo, who after seeing the charts for the first time minutes before this recording, renders one of his best performances both instrumental and vocal. Check out the second disc which is comprised of studio banter and false starts and discussions. Listening in on the two most important jazz figures of the 20th century deciding how the recordings are going to sound is nothing short of amazing. 5 stars and then some.
# Collaborations can be tricky things. Once in a great while two artists - people with no prior connection to each other and no plans of ever working together again, from different countries, cultures, generations - step into a studio and create magic. The place lights up, the combo gels, and a best-of-genre level record is produced. John Coltrain/Johnny Hartman, Ella Fitzgerald with Louis Armstrong, Getz/Gilberto, Sinatra/Jobim, Oscar Peterson with just about anyone.
Other times what seems like a natural pairing leaves both parties looking worse than they did when they went in; check out "Dylan and the Dead" if you dare.
And then there's sessions like Sinatra/Ellington or this one. Not great, by no means bad, not what they could have or should have been, and occasionally brilliant.
While Armstrong and Ellington are the twin towers of the jazz landscape, they are very different temperments. Louis is Storyville, exhuberent, red hot. Duke is Harlem Renaissance, sophisticated, cool blue. They don't always fit together, and the rest of the players are left to take sides.
The band is unfamiliar with the charts and Duke is unfamiliar with the band, so the composite rhythm section doesn't always click into place, and the tunes are somewhat under-rehearsed.
BUT...
When it works it really, really, really works. Black and Tan (the most New Orlean-sy sounding tune on the album) is remarkable, Beginning to See The Light makes you do just that, It Don't Mean A Thing is definitive, and I Got It Bad (And That's Not Good) may well be the best recording of anything ever.
Also worth getting for the premiere of Azalea, Louis's rewritten words to Drop Me Off In Harlem, and of course that second disk where the whole thing takes shape.
# Don't miss it,this two CD set is one of the most indispensable purchase you have to do.There is some of the most talented,incredible,outstanding music here.This is the first real encounter between these two absolute giants,Louis and Duke,and also the last one,and jazz listeners had to wait until 1961 to hear this.Even if they met frequently since the thirties,they never really recorded together,and this time will be the last one (except for the soundtrack of the movie,"Paris blues").Before,they recorded a couple of tunes together ("Snafu"),but this is the ONLY album commited by these kings.Ellington was in a very rich period for five or six years (in fact,since Sam Woodyard took the drums chair;Sam's coming into Duke's band gave to this very somptuous orchestra the little something it needed).At the same time,Armstrong's career,after he recorded some inestimable albums in the fifties ("Satch plays Fats","plays W.C.Handy","the Good Book","a musical autobiography","Porgy and Bess"),Satch's career was going down slow,allways playing the same repertoire,and losing some of his greatest musicians.In fact,I think this is Louis Armstrong's testament,his last great record.No,this is not a great record;it's a terrific,outstanding,amazing moment of music,some of the greatest he ever blowed.My father owned this album,and I'm used to listen to it for more than 25 years.
The challenge was to make Duke Ellington meet Armstrong's band (Barcelonna,Kyle,Shaw,Young and Bigard,who spend many years in Duke's band,a long time before).The result is majestuous.Armstrong has allways been addicted to Duke's music,even if he rarely played his songs;and Duke has a rare opportunity to shine as a piano player (and he surely could !!!).
The first CD is made of master takes;it is almost impossible to make a choice between these 17 tunes.Louis' imperial talent shines from the first second to the last one.He plays with supreme majesty all through these tunes,and his voice may be at its highest level."I got it bad" is an indescriptible masterpiece;Louis plays some very simple phrases,and sings like nobody did;Duke's piano counterpoints are the essence of piano playing."Azalea" simply is one of the most magnificent tunes ever recorded,but we'll talk about it later."I'm just a lucky so and so" has some down home blues playing by Duke,and an infectious vocal part by Satch.Etc,etc.Each and every tune is at the same highest level.17 tunes,17 masterpieces;two LPs,or one CD,one of the ten records you HAVE to own.My only regret is that Duke couldn't go to the studio with is drummer,Sam Woodyard,who simply was one of the greatest drummers in the history of jazz.
The second CD includes tracks recorded during the rehearseals.And this is very interesting.It's terrific to hear how these guys could play a tune together.But the most interesting tune here is "Azalea".Just as Monk's unbelievable work on "'round midnight",issued on the CD version of "Thelonious himself":a study in progress.Duke wrote this piece in the late fourties,recorded it twice,and was never pleased with the result,because he wrote it with Armstrong in mind;now was the opportunity to have Louis playing this incredibly beautiful tune,and singing these improbable verses.And after a couple of false starts,and some vocal troubles,Louis manages to make this tune his own,and gave an immortal masterpiece.I mean,this is not a good tune,or a great one;this is one of the greatest masterpieces I ever heard in jazz.The version opf "black and tan fantasy" is magnificent,too,and here,Louis was confronted to Bubber Miley's version,recorded more than thirty years before,and which will never be surpassed.But Louis makes this tune his own,one more time,he doesn't use a plunger like Bubber did,and gives us a new conception of the tune.And what a majestic one !!!
This (or these,because they originally were issued on two separate Lps) record is an absolute must in every jazz lover's discotheque.It's one of the records I listen to very often (and I have some 6000 records at home);something unreal,some magical minutes in the musical career of two of the greatest kings of jazz,Louis Armstrong and Duke Ellington.
CDUniverse
One of the most historic jazz records ever recorded, THE COMPLETE SESSIONS brings together, for the first and only time, the two most influential figures in jazz. Living up to the expectations placed upon such a meeting would, of course, be impossible, but this album is wonderful by any standard. The format is an interesting one in that basically Duke Ellington assumed Billy Kyle's piano chair in the 1961 version of Armstrong's All Stars band. Rather than performing Armstrong's usual repertoire, however, the two giants chose to record a selection of Ellington's best compositions.
The resulting album allowed Duke to play some of his most sensitive, relaxed jazz piano on record and gave Satchmo a chance to stretch out on some unfamiliar material, which he does with his usual flair and inventiveness. High points include Armstrong's boisterous solos, amazing improvised scatting and extra lyrics on a high-energy version of "Cottontail" and Ellington's lean, supple lines on "Duke's Place." The seemingly infallible trombonist Trummy Young contributes swinging, bluesy solos throughout and clarinetist Barney Bigard plays with an air of sophistication that well suits the Ellington vibe.

Personnel:
Louis Armstrong (vocals, trumpet)
Duke Ellington (piano)
Trummy Young (trombone)
Barney Bigard (clarinet)
Mort Herbert (bass)
Danny Barcelona (drums)
Recorded at RCA Studios,New York on April 3 & 4, 1961.
Digitally remastered by Ron McMaster using 24-bit technology.