Duke Ellington And His Orchestra recorded this album in Chicago, IL on 7 & 8 February 1956 for the Bethlehem label. Ray Nance has vocals on I Can't Get Started, Jimmy Grissom sings on Everything But You. The Polydor reissues have slightly more adventurous titles, as well as the track listing changed. At the same session, the orchestra recorded another 12 tracks, released as "Historically Speaking - The Duke".

Take the "A" Train is the vibrant signature composition of Duke Ellington, the most important composer in the history of jazz, also a rare bandleader who held his large group together for almost 50 years. It is quite impossible for one album to capture the full flavour and rich diversity of Duke Ellington’s music and orchestra. The eight tracks here offer a remarkably well-balanced sample of the prolific repertoire – the immortal compositions, the arresting arrangements, the outstanding soloists and, not least, the distinctive solo work of the piano player, Edward Kennedy Ellington, the Duke who became King of Orchestral Jazz.

"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…

"Indigos" is a 1958 jazz album by Duke Ellington and His Orchestra. This album stands as an outstanding example of the Ellington Orchestra playing Jazz, features standards such as "Mood Indigo", "Autumn Leaves", "Prelude To a Kiss" and more.

"Blues In Orbit" captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. If you're just getting into jazz, this album is highly recommended as a great way to initiate your collection

Louis Armstrong's counterpart at the piano was Earl Hines, one of the few early heroes of jazz who was not born in Louisiana (he was born in Pennsylvania and in 1924 moved to Chicago). His technique augmented delicate virtuoso Armstrong-style moves with a rhythmic exuberance that set him apart from the tradition of Jelly Roll Morton. He was basically trying to play the piano like a trumpet or even a trombone.

The experimental "Afro-Bossa" features Duke Ellington pushing his talented group to their limits. The jazz master tosses around the forms he knows so well. Other players include Cat Anderson, Paul Gonsalves, Harry Carney, and Cootie Williams. There is plenty of cornet, violin and plunger-muted trumpets.

This lush, Caribbean-themed collection created a new standard for big band music. The recording includes four original compositions representing the “Virgin Island Suite” and new readings of classics from Ellington’s extensive repertoire. The pieces on this set are as impressive as the stellar line up of musicians including Cat Anderson, Jimmy Hamilton, Billy Strayhorn, among others. The inspired performances and textured nuances are captured with the highest fidelity.

Ellington Uptown (also released as Hi-Fi Ellington Uptown) is an album by American pianist, composer and bandleader Duke Ellington recorded for the Columbia label in 1951 & 1952. Three factors stand out in the interpretation of Ellington's music on this album: Betty Roche's vocal on a multi movement version of "Take The 'A' Train", the addition of Louie Bellson on drums ("Skin Deep"), and the updating of old Ellington material that is made new and fresh. Jazz critic and historian Ted Gioia notes that the work is among "Ellington's more visionary projects" and is "a masterpiece by almost any measure".

This is one of the rarest record dates led by Ray Nance, recorded in 1971 for BASF with pianist Kenny Drew, bassist Ron Mathewson, and drummer Daniel Humair. Nance pulls all the stops in showcasing his talents, opening with an obscure Ellington composition, 'He Huffed 'n' Puffed', with the leader delivering its jive vocal with his trademark humor in his hoarse voice. His swinging violin is heard on 'Some of These Days' and his exotic original 'Wild Child,' written shortly before the session began, which finds him moving away from swing and closer to the post-bop sounds of John Coltrane. His muted horn and campy vocal on 'Tangerine' and open horn on 'Struttin' With Some Barbecue' are also highlights of what evidently was his final recording as a leader prior to his death in 1976. This long out of print LP is worth an extensive search.