Piano in the Foreground [Extra tracks] [Original recording remastered]

Editorial Reviews
Amazon.com
Duke Ellington's piano style influenced generations of pianists, from Thelonious Monk to Randy Weston. This 1961 trio recording, with his orchestra's rhythm section of drummer Sam Woodyard and Aaron Bell, clearly unveils the maestro's powerful touch, black-and-tan chords, and unstoppable swing, all often overshadowed in the work of his bigger bands. The standard "Body and Soul" shows Ellington's debt to James P. Johnson's Harlem stride style, while "Blues for Jerry," recalls Count Basie's Kansas City grooves. "Cong-go" masterfully marries Nigerian highlife and Cuban congorhythms, while Gershwin's "Summertime" and "Springtime in Africa" become surprising, evocative tone poems that foreshadow the avant-garde abstractions of the '70s. There's also a deeply personal rendering of Billy Strayhorn's "Lotus Blossom," which was not included on the original LP. The last six bonus tracks come from a pair of 1957 sessions with Jimmy Woode on bass. All in all, this disc is a worthy addition to Ellington's other keyboard classics, Money Jungle and Piano Reflections. --Eugene Holley, Jr.

Tracks:

I Can't Get Started
Cong-Go
Body And Soul
Blues For Jerry
Fontainebleau Forest
Summertime
It's Bad To Be Forgotten
A Hundred Dreams Ago
So
Searching (Pleading For Love)
Springtime In Africa
Lotus Blossom
All The Things You Are (Take 1)
All The Things You Are (Take 2)
Piano Improvisation No. 2
Piano Improvisation No. 3
Piano Improvisation No. 4
Piano Improvisation No. 1

Amazon.com

Duke Ellington's piano style influenced generations of pianists, from Thelonious Monk to Randy Weston. This 1961 trio recording, with his orchestra's rhythm section of drummer Sam Woodyard and Aaron Bell, clearly unveils the maestro's powerful touch, black-and-tan chords, and unstoppable swing, all often overshadowed in the work of his bigger bands. The standard "Body and Soul" shows Ellington's debt to James P. Johnson's Harlem stride style, while "Blues for Jerry," recalls Count Basie's Kansas City grooves. "Cong-go" masterfully marries Nigerian highlife and Cuban congorhythms, while Gershwin's "Summertime" and "Springtime in Africa" become surprising, evocative tone poems that foreshadow the avant-garde abstractions of the '70s. There's also a deeply personal rendering of Billy Strayhorn's "Lotus Blossom," which was not included on the original LP. The last six bonus tracks come from a pair of 1957 sessions with Jimmy Woode on bass. All in all, this disc is a worthy addition to Ellington's other keyboard classics, Money Jungle and Piano Reflections. --Eugene Holley, Jr.

Customer Reviews:

...but his real instrument is the Piano!.......2007-02-07

You all know the received wisdom: "Ellington plays piano, but his real instrument is the band". True enough in the '20's and '30's. True through most of the '40's. But 1947 (?)'s The Clothed Woman and New York City Blues introduced a new rub into the Ellington world. From then on, many of his most radical, searching ideas would be expressed through the piano, and the piano only. Did he not figure out an approach to scoring these ideas, or did he see these domains as essentially separate? We can't really know...but meanwhile there's this modest masterpiece of a CD, by far the finest piano record he ever made (well, there aren't so many to choose from, but still...). Summertime (track 6) goes quite far into Cecil Taylor territory, and is probably the high point of the session, but it's all pretty fantastic. Searching (track 10) is an idea he would keep fussing with - it's somewhat connected to 1950's Janet and shows up again on one of his last sessions - the duo with Ray Brown. The change in his playing between this session (1961) and that one (1972) is fascinating. His playing is much more incisive there, but his touch isn't nearly so beautiful. So (track 9) is one of those rare pieces where Ellington seems to almost let down the elegant mask - it has something rueful, nostalgic and indominable about it. Understated, funky and beautiful. This one's a no-brainer: get it or have an unfillable gap in your collection!

Masterful.......2006-11-08

that is the only word to describe the piano playing of Duke Ellington on this CD. It is the companion piece to "Piano in the Background", another great Ellington release. Duke Ellington's piano playing is usually overshadowed by his band, but not on this recording. Plus six bonus tracks not previously issued on the original record.

Piano Improv Suite.......2005-06-06

What really makes this reissue special is the inclussion of the 4 piano improv bonus tracks. They sound like a suite, and hardly sound improvised. "No. 3" obviously was reworked and became "so", and "No. 1", possibly became "On The Fringe Of A Jungle". Jimmy Woode, and Sam Woodyard are completly on here. Sam is in his elemnt and swings and propells Ellington. The sound are these tracks in very good for 1957 columbia, mainly because they were not remasted by Phil Scaap who, to me, screwed up the sound of late 1950's masterpieces "Black, Brown & Biege" and "Such Sweet Thunder". The actual LP "Piano in The Foreground" (tracks 1-11, recorded early 60's) is a mixed bag. Ellington covers in a very relaxed introspective way, "Body and Soul", and "I Can't Get Started". "Summertime" is done in a abstract/semi-avant garde way, and provides a thundering ending. The originals is where things really get mixed, "Fountainblu Forest" is in the vain of Ellington's great solo pieces, "Meditation" and "Single Petal Of A Rose". Both those songs would have been great here and are a rare find at this sound quality anywhere else. "So" is one of the pieces that sound if it really was a private session, it sounds as if the band wasen't aware it was being recorded (as bassist of this session, Aaron Bell explains in the notes). "Lotus Blossom" is a Billy Strayhorn piece that was personal to Ellington and its inclusion here is essential. This is basically worth getting because it is a rare glimpse of Ellington on piano.

The Piano Player.......2004-09-09

There is something inescapably elegant about a piano accompanied by a stand up base and a drum set. The traditional piano lead ensemble is at the heart of groovy jazz and the big band arrangement, and an example of the many reasons that one of the greatest composer/arranger, and conductor's of the 20th century referred to himself, depreciatively, as "the piano player." It has been argued that the real instrument he played was his orchestra, and it might be added that Billy Strayhorn normally played the piano in recording sessions, therefore, this newest offering of a Duke Ellington compilation, "Piano In The Foreground (Legacy)," is something uniquely special.
It is the Duke, himself, playing with a minimalist ensemble, so that the full measure of his musicianship can be enjoyed. These session recordings, taking place in New York and Los Angeles from 1956 to 1961, assemble material from several harder to find sources, with excellent bonus offerings for the fortunate consumer.
Dancers who enjoy the groove sound will certainly appreciate "I Can't Get Started," "It's Bad to Be Forgotten," "A Hundred Dreams Ago," and "So." The first track mentioned being this reviewer's personal pick for most played out of simple listening enjoyment. This is a great mood album, and the piano captures the emotional intent of each piece, as evidenced in great arrangements of "Body and Soul" and "Blues for Jerry." There's some great rhythmic vibes to be experienced in "Cong-Go" and "Springtime in Africa." The majority of the tracks are Ellington compositions, with only a smattering of Gershwin, Hammerstein, and a few others. The bonus tracks are perhaps the most fascinating, because they show the limitless creative potential of the Duke, offering two takes on interpreting "All The Things You Are," and then giving the listener four piano improvisations, creating an observation window into the mind of such a special talent. This is rich instrumental work that is the essence of class and style. From the rich melody of "Searching (Pleading for Love)" to the delicate petals of "Lotus Blossom," this is an album for anyone who appreciates the piano, and once more, the man playing it.

One For The Piano Player!.......2004-08-14

Eloquent expression, energetic inspiration, iridescent swing. Welcome to the world of Duke Ellington. Pioneer orchestrator, master composer, musical colossus of the 20th century, and beyond. African American genius of the Big Band and more, he spent a lifetime showcasing the world as his podium. For his song, the stage is still set, players from all walks carrying forth the next act, all vowing to never forget.

Bearing all that in mind, come on in to one of the most intimate, magical sessions ever conceived by the Duke. A rare classic from 1961 (with equally rare bonus tracks from 1957), this is a trio setting which features Ellington at the piano, and what a treat it is! With drummer Sam Woodyard providing subtle nuance, and bassist Aaron Bell (Jimmy Woode on the bonus tracks) threading supple tapestries, the Duke unleashes a bountiful program of standards and originals which cuts loose with a dancing intensity. From the nimble caress of "I Can't Get Started" to a prowling, grimly smiling deconstruction of "Summertime" tipping its hat to Cecil Taylor, you feel the very air around you become charged with spirit, with promise.

Listen on, through the sweep and circumstance of "Body And Soul" and the hip-hugging boogie of
"Cong-Go", through the luscious, beckoning quiet of "Springtime In Africa", to the sheer color & magnificence of "All The Things You Are" (the second take of which begins with a hearty dissonant nod to Thelonious Monk!}.
The finish is not one, but four types of "Piano Improvisation" which run the gamut from salient mood portraits to a honky tonk vignette gleefully brandishing the Duke's roots in the Harlem Stride of James P. Johnson and Fats Waller. In the final hop, jitterbugs and straight suits all waltz together into the jump of Destiny.

At album's end, you are one with the dance, its melodies lingering on, ever on...

Average customer rating:

Piano in the Foreground
Duke Ellington
Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

Contemporary Big Band | Swing Jazz | Jazz | Styles | Music

Jazz | Imports | Stores | Music
ASIN: B0000087S7
Release Date: 2001-04-17

Tracks:

I Can't Get Started
Cong-Go
Body and Soul
Blues for Jerry
Fontainebleu Forest
Summertime
It's Bad to Be Forgotten
Hundred Dreams Ago
So
Pleadin' for Love
Springtime in Africa

Album Details

Great Trio Album Recorded in Hollywood (1961) . Features Regular Ellington Sidemen, Aaron Bell on Bass and Sam Woodyard on Drums. Includes the Then New Compositions; 'cong-go' and 'blues for Jerry' plus Duke's Beautiful Interpretation of the Standards, ' Body and Soul' and 'summertime'.

Average customer rating:

Piano in the Foreground
Duke Ellington
Manufacturer: Columbia
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

Contemporary Big Band | Swing Jazz | Jazz | Styles | Music
ASIN: B000031VT7
Release Date: 1963-01-01

Tracks:

I Can't Get Started
Cong-Go
Body and Soul
Blues for Jerry
Fontainebleu Forest
Summertime
It's Bad to Be Forgotten
Hundred Dreams Ago
So
Pleadin' for Love
Springtime in Africa

Average customer rating:

Piano in the Foreground
Duke Ellington
Manufacturer: Tristar
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

Contemporary Big Band | Swing Jazz | Jazz | Styles | Music
ASIN: B0000020F3
Release Date: 1995-08-29

Tracks:

I Can't Get Started
Cong-Go
Body and Soul
Blues for Jerry
Fontainebleu Forest
Summertime
It's Bad to Be Forgotten
Hundred Dreams Ago
So
Pleadin' for Love
Springtime in Africa

Music:

Music

Music