"That Doug Duke Sound"
DOUGDUKE.COM
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Welcome to the Official Website for Jazz Artist Douglas Duke
We hope you will linger here for a while and enjoy a relaxing visit with Doug Duke and the many great jazz artists who played in his room. We invite you to pour a cup of coffee or a glass of wine, sit back, and enjoy all this website has to offer.
This page is designed to recreate the wonderful ambiance of Doug Duke’s “Music Room.” Duke’s Place sat on the corner of Lake Avenue and Latta Road in the part of Rochester, NY, known as Charlotte. His 4449 Lake Avenue address was located just 4 tenths of a mile from the shores of Lake Ontario. Doug liked to call his place “The Music Room” and Doug’s “Music Room” became legendary for the many world-class artists who appeared there.

Voice Of The Philharmaonic
Photo by Lou OuzerHe was the “Voice of the Rochester Philharmonic” for many years; writing, producing, and narrating for radio and live concerts from the stage of the beautiful Eastman Theater. His green room interviews with such world-renowned artists as Leopold Stokowski, Alec Wilder, Eric Leinsdorf and his good friend, Fred Fennell, to name a few, complemented their live performances.
On three occasions, the Eastman School of Music turned to him for scripts, narration, and acting in their annual Arranger’s Holiday, performed at the Eastman Theatre. Walter was also a member of the Renaissance-performing group Ars Antiqua, a two-year side adventure that he thoroughly enjoyed. He covered the Formula One races at Watkins Glen, interviewing racing greats such as Stirling Moss and Jackie Stewart. While at WHAM, he served as assistant program director, producer, and sales
Teddie Wilson and Doug Duke play a set.
Hamp’s band rocks the Music Room.
Marion McPartland and Linc Milliman record live.
Clark Terry and Doug Duke have fun.
Toots Thielemans plays a set with Jimmy DeWitt and Doug Duke.

Bobby Hackett and Doug Duke entertain the room.
Charlie Byrd plays a set with Doug Duke.
Ray Nance gets Doug Duke to play a rousing march.
Mat Mathews is in a sentimental mood with Doug Duke.
Coleman Hawkins plays a melancholy sax with Doug Duke.
All photos and soundtracks on this page were originally recorded by Paul Preo and are provided through the courtesy of Paul Preo.
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Doug Duke Biography
Douglas Duke did it all—toured the U.S. with Lionel Hampton and a number of other bands, worked with a trio in the small jazz houses of New York City, toured Western Europe and South America with singer Sarah Vaughn and other performers, appeared on television in the U.S. and Europe performed as a jazz organ/piano soloist, cut several records for Philips and Decca and even opened his own club at 4449 Lake Avenue in his home town of Rochester, NY. He liked to call his club “The Music Room.”
About his friend, Doug Duke, Walter Dixon’s had this to say, “Doug Duke’s life was just a love affair with music and everything else. Everything he did, he did very well…and that included building and racing boats, racing sports cars, flying his own plane and modifying electric organs.” When Doug Duke died on November 23, 1973, Walter Dixon’s lamented, “At his best, he could play rings around anybody else in the business,” but he was never able to reach a wider audience of people who could “understand what he was trying to do.” None of Mr. Duke’s recordings “show the greatness of which he was capable; his death is such a loss because now that can never happen.” Fortunately, Mr. Dixon’s made it a point to preserve nearly thirty hours of his recording sessions with the man whose music he so greatly admired.

Born in 1920 in Buenos Aires, Argentina, Mr. Duke was the son of a concert violinist father and a vocalist mother. He was brought to Rochester, NY, his mother’s hometown, when he was two years old.
Coming Soon: A comprehensive biographical sketch of Mr. Duke’s professional career, including audio clips from Paul Preo and Lionel Hampton, plus quotes from notables such as Marion McPartland. Interesting facts about his personal life will also appear on this page.
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That Doug Duke Sound
“Impossible! It can’t be done!” So said the critics. But Doug Duke did it. He took a little Hammond M-3 spinet organ, tore it apart, rebuilt it “to open its throat,” and when he had finally finished revamping its circuitry, his little spinet barely resembled the original M-3. “Baby Bear” was born. It had a bright, brisk voice and a crisp, clean keyboard action, which was quick to respond to Doug’s ever-changing moods. There were no multiple tracks, no echo chambers, and no gimmicks in any of his recordings, but, oh, what a sound!
That Doug Duke sound was born out of Doug’s desire to create a total orchestral presence with a single instrument. The influence of the great theater organist George Wright and pianist/composer/band leader George Shearing is unmistakable. As a child, Mr. Duke studied piano, pipe organ, bassoon, and trumpet. The organ and piano were his favorites, but clearly, he was already demonstrating a preference for orchestral music.
Listen! All that sound can’t possibly be coming from a single pair of hands – piano, bass, drums, woodwinds, and horns—it’s all there. Fingers darting across the keyboards like bolts of lightning, feet dancing over the pedals, a mushroom cloud of music pouring out of that little instrument like thunder and soft rain; this is the essence of that Doug Duke sound.
Thanks to the legacy of Walter Dixon’s audiotapes, you, too, can now experience that Doug Duke sound as it has never been heard before.
Coming soon: Audio and video clips illustrating in detail how Douglas Duke created his impossible sound.
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Doug Duke Discography
PART ONE: Douglas Duke as a Side Man with Lionel Hampton
PART TWO: Douglas Duke as a Side Man with Other Leading Artists
PART THREE: Douglas Duke as a Leading Artist
PART FOUR: Walter Dixon’s Recordings Featuring Douglas Duke as a Solo Artist and Side Man with Storyteller, Walter Dixon’s
PART FIVE: Paul Preo Recordings Featuring Douglas Duke as a Solo Artist, Leading Artist, and Side Man with Other Leading ArtistsThis exhaustive, five-part discography was created by Mr. Rien Boendermaker exclusively for the official website of jazz artist Douglas Duke. Our thanks to Mr. Boendermaker for his gracious contribution to this site.01 SONNY PARKER WITH LIONEL HAMPTON AND HIS SEXTET
Musicians:
Sonny Parker – Vocals
Lionel Hampton – Vibes
Douglas Duke – Piano
Benny Bailey – Trumpet
Wes Montgomery – Guitar
Roy Johnson – Bass
Earl Walker – DrumsNYC, April 26, 1949
1-1 “WHAT’S HAPPENING BABY” [2:54]
1-2 “DRINKING WINE / SPO-DEE-O-DEE / DRINKING WINE” [3:27]02 SONNY PARKER WITH LIONEL HAMPTON BAND
Musicians:
Sonny Parker – Vocals
Lionel Hampton – Vibes
Doug Duke – Organ
Wendell Culley – Trumpet
Gene Morris – Tenor Sax
Ben Kynard – Baritone Sax
Wes Montgomery – Guitar
Roy Johnson – Bass
Earl Walker – Drums
Joe James – VocalsNYC, May 10, 1949
2-1 “LAVENDER COFFIN” [2:45]
03 LIONEL HAMPTON AND HIS ORCHESTRA WITH SONNY PARKER, VOCALS
Musicians:
Lionel Hampton – Vibes
Doug Duke – Piano
The Hamptones – Vocals 3-1
Benny Bailey, Duke Garrette, Ed Mullens, Leo Shepherd, and Walter Williams – Trumpet
Al Grey, Paul Lee Higaki, Benny Powell, Jimmy Wormick – Trombone
Bobby Plater and Jerome Richardson – Alto Sax
Johnny Board, Curtis Lowe, and Billy Williams – Tenor Sax
Lonnie Shaw – Baritone Sax
Wes Montgomery – Guitar
Roy Johnson – Bass
Ellis Bartee – DrumsNYC, December 29, 1949
3-1 “RAG MOP” [2:53]
3-2 “FOR YOU MY LOVE” [2:27]X LIONEL HAMPTON AND HIS ORCHESTRA WITH AN UNKNOWN FEMALE, VOCALS
Same Place and Date / Same Musicians
3-3 “SKY BLUE” [2:55]
X LIONEL HAMPTON AND HIS ORCHESTRA
Same Place and Date / Same Musicians
3-4 “MARY HAD A LITTLE LAMB” [2:16]
[3-4 Only Released on Alto Records – Collectors Issue – AL 708 – Colossal ‘Vibes & Sticks’]
04 LIONEL HAMPTON AND HIS ORCHESTRA
Musicians:
Lionel Hampton – Vibes
Doug Duke – Piano
Benny Bailey, Duke Garrette, Ed Mullens, Leo Shepherd, and Walter Williams – Trumpet
Al Grey, Paul Lee Higaki, Benny Powell, and Jimmy Wormick – Trombone
Bobby Plater and Jerome Richardson – Alto Sax
Johnny Board, Curtis Lowe, and Billy Williams – Tenor Sax
Lonnie Shaw – Baritone Sax
Wes Montgomery – Guitar
Roy Johnson – Bass
Ellis Bartee – DrumsNYC, January 4, 1950 – Radio Broadcast, “Apollo Theater”
4-1 “BOPOLOGY” [2:42]
4-2 “HAMP’S BASEMENT” [2:49]
4-3 “SHADOWS IN THE NIGHT” [2:15]
4-4 “JINGLE BOOGIE” [3:25]
4-5 “SYMPHONY IN JAZZ” [6:38][All Songs Only Released on Alto Records – Collectors Issue – AL 708 – Colossal ‘Vibes & Sticks’]
05 LIONEL HAMPTON AND HIS ORCHESTRA WITH LITTLE JIMMY SCOTT, VOCALS
Musicians:
Lionel Hampton – Vibes
Doug Duke – Piano
Benny Bailey, Duke Garrette, Ed Mullens, Leo Shepherd, and Walter Williams – Trumpet
Al Grey, Paul Lee Higaki, Benny Powell, and Jimmy Wormick – Trombone
Bobby Plater – Alto Sax
Jerome Richardson – Flute
Johnny Board, Curtis Lowe, and Billy Williams – Tenor Sax
Lonnie Shaw – Baritone Sax
Wes Montgomery – Guitar
Roy Johnson – Bass
Ellis Bartee – DrumsNYC, January 5, 1950
5-1 “I’VE BEEN A FOOL” [2:57]
X LIONEL HAMPTON AND HIS ORCHESTRA WITH SONNY PARKER, VOCALS
Same Place and Date / Same Musicians
5-2 “HOW YOU SOUND” [3:03]
5-3 “I ALMOST LOST MY MIND” [3:14]
06 LIONEL HAMPTON AND HIS ORCHESTRA WITH SONNY PARKER, VOCALS
Musicians:
Lionel Hampton – Vibes
Doug Duke – Piano
Benny Bailey, Duke Garrette, Ed Mullens, Leo Shepherd, and Walter Williams – Trumpet
Al Grey, Paul Lee Higaki, Benny Powell, and Jimmy Wormick – Trombone
Bobby Plater and Jerome Richardson – Alto Sax
Johnny Board, Curtis Lowe, and Billy Williams – Tenor Sax
Lonnie Shaw – Baritone Sax
Wes Montgomery – Guitar
Roy Johnson – Bass
Ellis Bartee – DrumsNYC, January 25, 1950
6-1 “SAD FEELIN’ NR.2” [2:50]
6-2 “HAMP’S GUMBO NR.2” [2:46]07 LIONEL HAMPTON AND HIS ORCHESTRA WITH LITTLE JIMMY SCOTT, VOCALS
Musicians:
Lionel Hampton – Vibes
Doug Duke Hammond – Organ
Benny Bailey, Duke Garrette, Ed Mullens, Leo Shepherd, and Walter Williams – Trumpet
Al Grey, Paul Lee Higaki, Benny Powell, and Jimmy Wormick – Trombone
Bobby Plater and Jerome Richardson – Alto Sax
Johnny Board, Curtis Lowe, and Billy Williams – Tenor Sax
Lonnie Shaw – Baritone Sax
Wes Montgomery – Guitar
Roy Johnson – Bass
Ellis Bartee – DrumsNYC, January 26, 1950
7-1 “PLEASE GIVE ME A CHANCE” [3:07]
7-2 “I WISH I KNEW” [3:08]08 LIONEL HAMPTON AND HIS QUINTET – MOONGLOW
Musicians:
Lionel Hampton – Vibes
Doug Duke Hammond – Organ
Wes Montgomery – Guitar
Roy Johnson – Bass
Earl Walker – Drums
Jerome Richardson – Flute 8-2NYC, January 26, 1950
8-1 “WHERE OR WHEN” [2:53]
8-2 “THERE WILL NEVER BE ANOTHER YOU” [2:29]09 GENE MORRIS AND HIS HAMPTONES WITH SONNY PARKER, VOCALS
Musicians:
Gene Morris – Tenor Sax
Doug Duke – Piano
Wes Montgomery – Guitar
Roy Johnson – Bass
Ellis Bartee – Drums 9-1 and 9-2
Earl Walker – Drums 9-3 and 9-4Fresno, CA – 1950
9-1 “KING TROTTER”
9-2 “ROCKIN’ WITH G.M.” [2:58]
9-3 “CARLENA’S BLUES” [2:51]
9-4 “SMOOTH EVENING”[9-1 and 9-4 Unreleased]
10 DON ELLIOTT QUARTET
Musicians:
Don Elliott – Mellophonium, Trumpet, Vibraphone, and Bongos)
Douglas Duke Hammond – Organ
Mort Herbert – Bass
Sid Bulkin – DrumsNYC, June 24, 1953
Recorded Songs:
10-1 “A STRANGER IN TOWN” [2:40]
10-2 “WHEN YOUR LOVER HAS GONE” [2:23]
10-3 “WHERE OR WHEN” [2:41]
10-4 “TAKE ME OUT TO THE BALL GAME” [3:04]Released On:
Savoy MG 12054 Vibrations – (Cal Tjader and Don Elliott) LP Vinyl 33rpmTHE DON ELLIOTT QUARTET
10-1 “A STRANGER IN TOWN”
10-3 “WHERE OR WHEN”
10-4 “TAKE ME OUT TO THE BALL GAME”Other Songs on This Record:
Don Elliott (mel, tp, vib, bgo), Kai Winding (tb), Phil Urso (ts), Danny Bank (bars), Jimmy Lyon (p), Arnold Fishkin (b), and Sid Bulkin (d)NYC, November 17, 1952
Darn That Dream – Mighty Like a Rose – Oh Look at Me Now – Jeepers CreepersCal Tjader Quartet;
Cal Tjader (vib), Hank Jones (p) / Richard Wyands (p), Al McKibbon (b), and Kenny Clarke (d) / Roy Haynes (d)NYC, October 21, 1953 / San Francisco, CA, March 2, 1954
Minority – I Want to Be Happy – Love Me or Leave Me – Tangerine – A Sunday Kind of Love – After You’ve GoneSavoy MG 9033 The Versatile Don Elliott
LP 10″ Vinyl 33rpmTHE DON ELLIOTT QUARTET
10-2 “WHEN YOUR LOVER HAS GONE”
10-3 “WHERE OR WHEN”
10-4 “TAKE ME OUT TO THE BALL GAME”Other Songs on This Record:
Don Elliott (mel, tp, vib, bgo), Kai Winding (tb), Phil Urso (ts), Danny Bank (bars), Jimmy Lyon (p), Arnold Fishkin (b), and Sid Bulkin (d)NYC, November 17, 1952
Mighty Like a Rose – Oh Look at Me Now – Jeepers CreepersSavoy XP 8092 The Versatile Don Elliott – Vol. 1
EP Vinyl 45rpm
Side -1- Side -2-10-4 “TAKE ME OUT TO THE BALL GAME”
10-1 “A STRANGER IN TOWN”Darn That Dream – Jeepers Creepers
Savoy XP 8093 The Versatile Don Elliott – Vol. 2
EP Vinyl 45rpm
Side -1- Side -2-
Mighty Like a Rose – Look at Me Now10-2 “WHEN YOUR LOVER HAS GONE”
10-3 “WHERE OR WHEN”Savoy 1103 EP Don Elliott Quartet
EP Vinyl 45rpm
Side -1- Side -2-10-3 “WHERE OR WHEN”
10-4 “TAKE ME OUT TO THE BALL GAME”11 JOE ROLAND SEXTET
Musicians:
Joe Roland – Vibraphone
Douglas Duke – Organ / Piano
Danny Martuccu – Bass
Ronnie Jefferson – Drums
Luis Miranda – Latin American Percussion
Jose Manguel – Latin American Percussion
Ubaldo Nieto – Latin American PercussionNYC, 1954
Seeco 4156 Joe Roland Sextet
Metrolyte Vinyl 78rpm
Side -1- Side -2-11-1 “Sleighride”
11-2 “Christmas Song”Seeco 4157 Joe Roland Sextet
Metrolyte Vinyl 78rpm
Side -1- Side -2-11-3 “Jingle Bells”
11-4 “Let It Snow”Seeco EP-10 Joe Roland Sextet
EP Vinyl 45rpm
Side -1- Side -2-11-5 “CHRISTMAS IN MAMBOLAND”
11-6 “UNKNOWN” (2007)
11-7 “UNKNOWN” (2007)
11-8 “UNKNOWN” (2007)1 – DOUG DUKE SOLO ON THE DUKEATRON
NYC, 1948 – Recorded at Joe Squeezers
Recorded Songs:
1-01 “YOU’RE DRIVING ME CRAZY” [2:50]
1-02 “LAURA” [3:45]Unreleased:
Recorded for Fine Recording Company, Rochester2 – DOUG DUKE TRIO
Douglas Duke – Organ / Piano
Clyde Lombardi – Bass
Mel Zelnick – DrumsRecorded Songs:
Session -A-
NYC, August 21, 19532-A-1 “SONG OF INDIA”
2-A-2 “IF LOVE IS GOOD TO ME”
2-A-3 “IN A PERSIAN MARKET”
2-A-4 “A FINE ROMANCE”
2-A-5 “IT MIGHT AS WELL BE SPRING”
2-A-6 “LOVE IS JUST AROUND THE CORNER”Session -B-
NYC, October 21, 19532-B-1 “LAURA”
2-B-2 “THE THINGS WE DID LAST SUMMER”
2-B-3 “YESTERDAYS”
2-B-4 “THERE’S A SMALL HOTEL”Released On:
Regent – MG 6013 The Jazz Organist – Doug Duke
LP Vinyl 33rpm – Mono
Released on Regent Records Newark, New JerseySide 1
2-A-1 “SONG OF INDIA”
2-A-2 “IF LOVE IS GOOD TO ME”
2-A-3 “IN A PERSIAN MARKET”
2-A-4 “A FINE ROMANCE”
2-A-5 “IT MIGHT AS WELL BE SPRING”Side 2
2-A-6 “LOVE IS JUST AROUND THE CORNER”
2-B-1 “LAURA”
2-B-2 “THE THINGS WE DID LAST SUMMER”
2-B-3 “YESTERDAYS”
2-B-4 “THERE’S A SMALL HOTEL”The text below is from the back cover of the LP The Jazz Organist – Doug Duke.
One of the most exciting musical personalities to come along in recent years on his instrument, Doug Duke was one of the first of what is now an ever-increasing school of swinging organists.
Although still a very young man, Doug’s background includes big band experience with Lionel Hampton, among others, and many years as leader of his own trio.
Truly a triple threat man, Doug plays both piano and organ equally well, swings mightily on both instruments, creates vibrant music on both instruments…and plays them simultaneously, on occasion.
In this album, through the device of tape recording, we are able to see these dual instrumental personalities, Doug the organist and Doug the pianist, performing together against the swinging background set up by bassist Clyde Lombard and drummer Mel Zelnick.
It’s truly a full orchestral sound, with the organ performing as solo voice, brass and reed sections, and the piano serving both solo and accompanying roles.
Listen to the interesting harmonic voicings, the interwoven counterpoints, the romping solo and ensemble passages…and give due credit to an unpublicized but top craftsman on his instruments…Mr. Piano and Mr. Organ – Doug Duke!
Savoy 1108 Doug Duke
Metrolyte Vinyl 78rpm – MonoSide 1
2-A-1 “SONG OF INDIA”
Side 2
2-A-2 “IF LOVE IS GOOD TO ME”
Savoy 1116 Douglas Duke
Metrolyte Vinyl 78rpm – MonoSide 1
2-B-1 “LAURA”
Side 2
2-B-4 “THERE’S A SMALL HOTEL”
Savoy XP-8099 Douglas Duke, Organ and Piano
EP Vinyl 45rpm – MonoSide 1
2-A-1 “SONG OF INDIA”
2-A-2 “IF LOVE IS GOOD TO ME”Side 2
2-A-3 “IN A PERSIAN MARKET”
2-A-4 “A FINE ROMANCE”Savoy XP-8111 Douglas Duke, Organ and Piano, Vol. 2
EP Vinyl 45rpm – MonoSide 1
2-B-1 “LAURA”
2-B-2 “THE THINGS WE DID LAST SUMMER”Side 2
2-B-3 “YESTERDAYS”
2-B-4 “THERE’S A SMALL HOTEL”3 – DOUGLAS DUKE TRIO
Douglas Duke – Organ / Piano
Unknown Guitar
Richard Hanson – DrumsNYC, November, 1953
Mercury 70.093.x45 Douglas Duke Trio
EP Vinyl 45rpm – MonoSide -1- Side -2-
3-1 “LITTLE OLD LADY”
3-2 “MAMBO AT THE MEADOWBROOK”4 – DOUGLAS DUKE
Douglas Duke – Organ / Piano
Jerry Bruno – Bass1956
Herald HLP-0102 Douglas Duke Sounds Impossible
LP Vinyl 33rpm – MonoSide 1
4-01 “BLUE MOON”
4-07 “MOONGLOW”
4-02 “EVERYTHING I HAVE IS YOURS”
4-03 “NINA NEVER KNEW”
4-04 “DON’T BE THAT WAY”
4-05 “IF LOVE IS GOOD TO ME”
4-06 “DON’T GET AROUND MUCH ANYMORE”Side 2
4-08 “TRY A LITTLE TENDERNESS”
4-09 “TENDERLY”
4-10 “IDLE GOSSIP”
4-11 “OLD DEVIL MOON”
4-12 “I CAN’T GET STARTED WITH YOU”The text below is from the back cover of the LP Doug Duke Sounds Impossible.
Sounds Impossible is a showcase for the inventive creativeness of Douglas Duke’s orchestral sounds and arrangements.
Sounds and tonal colors of flutes, French horns, clarinets, brilliant forceful brass saxophones, the “sing” of many strings are sparked by the drive of a happy, free swinging rhythm section.
Birthplace – Buenos Aires – began music studies at the age of 6 on piano (old school, ruler over the knuckles). Pipe organ at 10 years of age. By the time he reached 14 years of age, he had added bassoon, accordion, and trumpet. Like most jazzmen, Duke strayed from the severe classical to Jazz. Later played with bands Jan Savitt, Shep Fields, Mitch Ayres, and Lionel Hampton.
As a result of his band experiences, he became more and more obsessed with orchestral sounds.
By the means of the electronic organ, he found the possibilities of producing orchestral sounds at his fingertips and so set about to acquire more than a smattering of music electronically born.A few years of experiment and a considerable amount of trial and error (electronically) resulted in these sounds you now hear. This music should be listened to with imagination, bearing in mind that the scope and breadth of these orchestral sounds originate from the hands, mind, and heart of one Douglas Duke.
Editor’s Note: It was forcibly realized at the recording session that the amazing flexibility, understanding, and fine musicianship of Jerry Bruno on bass was felt throughout. The arrangements heard, for the most part, were spontaneous. Thanks, Jerry!
5 – DOUG DUKE
NYC, October 1959
Recorded at Il Pappagallo’s by Paul Preo at Reeves Soundcraft Audition Recording DiscUnreleased:
LP Vinyl 10” 33rpm – Stereo5-1 “BUT NOT FOR ME”
5-2 “IF YOU’RE YOUNG AT HEART”6 – DOUG DUKE
Douglas Duke – Organ / Piano
Osie Johnson – Drums, Bongos, Tambourine, and Xylophone
George Devens – Drums, Bongos, Tambourine, and XylophoneNYC, October 1962
Philips Doug Duke at the Organ
Swinging the Standards with Piano and Percussion
LP Vinyl 33rpm – Mono PHM 200 – 046
LP Vinyl 33rpm – Stereo PHS 600 – 046Side 1
6-01 “DON’T BE THAT WAY”
6-02 “LAZY RIVER”
6-03 “WITCHCRAFT”
6-04 “S’POSIN’”
6-05 “ME AND MY SHADOW”
6-06 “3 A.M. BLUES”Side 2
6-07 “I’M BEGINNING TO SEE THE LIGHT”
6-08 “LINGER AWHILE”
6-09 “SOMETIMES I AM HAPPY”
6-10 “DON’CHA GO WAY MAD”
6-11 “A SINNER KISSED AN ANGEL”
6-12 “IT’S ONLY A PAPER MOON”The text below is from the back cover of the LP Doug Duke At The Organ.
At the hands of Douglas Duke, an organ is more than a musical instrument. He doesn’t arrange tunes he orchestrates. Apply the organ and piano to this idea, and you have an entire concert ensemble consisting of one man.
“I consider the two hands as sections of a band. The right is the brass, the left is the woodwinds. The pedal, of course, is percussion. I bring in the piano as the soloist.”
There are no multiple tracks, no echo chambers, and no gimmicks in this album. Except for two sidemen on percussion, the music comes from one pair of hands playing the organ and piano simultaneously.
Duke’s theory of orchestrating for the organ is aptly demonstrated throughout the album, but it is most apparent in “Witchcraft.” You hear the melody first from the brass section (right hand), then it’s picked up by the woodwinds (left hand), with the brass section providing bright accompaniment and punctuation.
Finally, the piano takes up the tune while the organ weaves an interesting tapestry of counter melody in the background. You’ll find yourself in the center of a big band when Douglas Duke plays “Don’t Be That Way” in a style reminiscent of the old Benny Goodman organization of the late thirties. The mighty voice of the theatre pipe organ seems to appear in several cuts, notably “A Sinner Kissed an Angel,” in which the artist scoops up great handfuls of notes and sprinkles them around like sparkle dust in a spotlight. His subtle sense of humor bubbles to the top in his whimsical treatment of “Me and My Shadow” and “S’Posin’,” both of which make interesting use of the bongos, with the latter opening and closing with a startling Latin beat. Throughout it all is brilliant piano with organ, sometimes so complex it seems as if a second musician, or at least a third hand, has been slipped in to lend assistance. The percussion, which unobtrusively adds sparkle and spice to an already tasty concoction, is artfully supplied by Osie (James) Johnson and George Devens using drums, bongos, tambourine, and xylophone.
Before he had reached his “teens” Doug Duke had already mastered the pipe organ, and he was one of the first serious musicians to embrace the electric organ as something more than a musical novelty. Never satisfied with the range of tonal effects he could achieve with a standard model, however, he has experimented, revamped, and adapted new circuit ideas to his instruments to produce the quality of sound he wants.
The organ used in this session is known affectionately as “Baby Bear,” an ancient, scarred Hammond spinet whose insides have been so thoroughly redesigned they barely resemble the original. “Baby Bear” has a bright, brisk voice all its own. The keyboard action is crisp and clean and quick to respond to the artist’s ever-changing whims. Duke rarely plays the same tune twice the same way. He and “Baby Bear” are a perfect team for constant ad-libbing to suit the mood of the moment.
Doug Duke was born in Buenos Aires to a Spanish father and an English mother. He was brought to the United States by his parents at the age of two. His father was a concert violinist, and Doug’s musical education started at an early age. At eight he was accompanying his father in concert. At 10, he was playing the pipe organ even though his legs were too short to reach the pedals from the bench, and he had to stand to get his hands on the upper keyboard.
While still in his teens and early 20s, he was a mature musician playing with many well-known bands of the era, including Lionel Hampton, Shep Fields, and Mitchell Ayres. After several years, he went off on his own as a solo act and was early recognized as one of the top jazz pianists and organists in the business.
This album displays a virtuosity seldom seen in any single performer. The variety of explicit sounds and chord combinations upon which he fashions his arrangements bespeak a maturity of interpretation rarely found in one individual.
Re-Released On:
Doug Duke Discography
Philips 452-013 BE Doug Duke Swings on Organ
EP Vinyl 45rpm – MonoSide 1
6-01 “DON’T BE THAT WAY”
6-05 “ME AND MY SHADOW”Side 2
6-08 “LINGER AWHILE”
6-12 “IT’S ONLY A PAPER MOON”7 – DOUG DUKE
Douglas Duke – Organ / Piano
Gerard van Bezey – DrumsAmsterdam, January 1963
Philips P-08081-L Doug Duke – Dancing to the Swinging Hammond Organ
LP Vinyl 33rpm – MonoSide 1
7-01 “MY BLUE HEAVEN”
7-02 “ORANGE COLOURED SKY”
7-03 “THREE LITTLE WORDS”
7-04 “AMAPOLA”
7-05 “LOVE IS HERE TO STAY”Side 2
7-06 “WHEN YOU’RE SMILING”
7-07 “I LET A SONG GO OUT OF MY HEART”
7-08 “SIBONEY”
7-09 “LULLABY OF BIRDLAND”
7-10 “SOPHISTICATED SWING”
7-11 “TAKE THE “A” TRAIN”The text below is from the back cover of the LP Doug Duke – Dancing to the Swinging Hammond Organ.
Born in South America as the son of a Spanish father and an English mother, young Doug Duke moved to the United States with his parents at an early age.
Coming from a musical family—his father was a noted concert violinist—Doug soon showed a lively interest in popular music, and it wasn’t long before he began to develop marked musical talents. First, it was the piano—he was six at the time—and then, four years later, the pipe organ. Later, he completed formal studies at the Rochester Eastman Conservatory and went into show business as an organist/pianist.
His real name is Ovidio Fernandez, but for his professional career, he took his mother’s name.
His strong liking for jazz and popular music gave him an entree to the right bands, and his outstanding jazz techniques on both piano and organ soon made him “definitely” the greatest Swing Organist since Fats WaIler.To cut a long story short—a story which leads from one success to another—Doug Duke today is no longer simply an organist, for the organ is just the instrument he prefers among many. Rather, his name stands simply for The Best, you might say. With his inventive, adventurous mind, always exploring the complete structures of jazz, he has continuously been enabled to broaden his scope.
In 1947, Doug bought a Hammond organ and, to increase its power, tore the instrument apart, changed, and rebuilt it until he found the “improved” (more powerful) sound he was looking for. “I had opened its throat,” he said later.
The next problem was mobility, for Doug, although a great lover of the pipe-organ, felt that for his purposes, the instrument as it stood was too cumbersome to carry around—and Doug’s tours were ceaseless. Soon he found the solution: a handy “compact” organ with all the advantages of the theatre organ and, moreover, “special” sound effects. Doug comments: “It certainly was a happy day when the Hammond organ came along”. Having lived in Rochester (N.Y.) for (remember the adventurous mind) and eager to see the world, Doug and his wife Shirley (who claims to be Doug’s greatest fan) left America in 1962 and sailed for Europe on the “Queen Mary,” taking the Hammond organ outfit with them. Their plans involved concerts in various countries.
It was Philips in Holland, who, having heard of Doug’s musical activities in America, suggested that he should apply to the producer of the Dutch TV show Music Hall. This he did, and shortly afterward, five million viewers watched and heard the truly sensational performance he gave. This led to more contracts with Dutch TV and to other engagements both in Holland and—increasingly—other European countries. Although Doug has decided on Holland as a base for his European tours, he can now point to a string of rave notices in various languages and feels quite assured of a packed reception wherever he goes.
Philips, too, was quick to recognize Doug’s importance. The record session they arranged for him in Amsterdam was based on the sure knowledge—not just guesswork but a matter of experience—that Doug Duke’s name would soon be ringing bells in the minds of all music lovers across Europe.
On this record Doug Duke is accompanied by drummer Gerard van Bezey, a Dutch percussionist he has a special liking for. The liking is not merely professional, but the way Gerard performs here makes you understand what took Doug’s fancy.About Doug Duke himself, there is something special – an impression shared by musicians and fans alike.
We believe it is the fact that he is the creator of something. To hear Doug is to hear a “one-man-full band,” so to speak, with the right hand being the brass section and the left hand the reed section, the left foot marking the bass rhythm, and the piano kept for special solo phrases.
Doug can genuinely do EVERYTHING not excepting rare effects such as bongo-rhythms.
Doug emerged from the session very enthusiastic about the way his program had been recorded.
“Of all places I’ve been,” he exclaimed “the best recording sound I’ve ever got happened right here in Holland, in this small country.” And he added: “Guess I’m a bit prejudiced in favor of recording for Philips!”We at Philips are naturally a little prejudiced in favor of recording Doug, of having a fine American artist with us and keeping him for a long time. What comes out for you—the ones who simply enjoy it—is some top-rate swinging sound that spells quality in every note. Quality for listening and quality for the dancing that Doug’s happy music makes a “must” for all who can move their feet.
8 – DOUG DUKE
Douglas Duke – Organ / Piano
The Netherlands, 1963
Released 1964Philips JF-327-612 Doug Duke – Evergreen – Hits No. 1
EP Vinyl 45rpm – StereoSide 1
8-1 “DEEP PURPLE”
8-2 “RED SAILS IN THE SUNSET”
8-3 “WHEN MY DREAMBOAT COMES HOME”Side 2
8-4 “FOOLS RUSH-IN”
8-5 “MARIA ELAINA”
8-6 “MAKIN’ WHOOPEE”Re-Released On:
The Netherlands, 1976
Doug Duke Discography
Philips 6678-306 30 Gouden Hammond Favorieten (Sampler)
“From the United States of America…Doug Duke”
2-LP Vinyl 33rpm – StereoRecord 1 – Side -1-
8-5 “MARIA ELAINA”
8-6 “MAKIN’ WHOOPEE”Record 2 – Side -1-
8-2 “RED SAILS IN THE SUNSET”
8-3 “WHEN MY DREAMBOAT COMES HOME” - MUTE AUDIO
Walter Dixon's Productions
This page will feature a complete listing of all the Doug Duke WHAM recordings produced by Walter Dixon’s as they are released. These will include the Time Between radio programs, the Doug Duke portion of the Composite shows, and other never-before-heard Doug Duke recordings produced by Walter Dixon’s.
To learn more about Walter Dixon’s, visit His Life, His Work, His Music, and Children’s Stories.
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DownloadPaul Preo Productions
Coming Soon: This page will feature the RKO CD. It will tell the story of Paul Preo’s relationship with Doug Duke over a 25-year period and include audio clips from interviews with Paul. It will also present clips from many of Paul’s “reference tapes” of Doug playing around town.











