Billboard : 10/13/1958

A swinging performance of standard jazz pieces and some new songs by Ellington and eight of his all-stars. Included are Avalon, Body and Soul, Perdido, St. Louis Blues, Bass-Ment, etc. Package will be relished by the artist’s admirers, for it really swings and contains creative arrangements. There are urban [sic] notes by Irving Townsend about the personnel and each of the tunes.

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Cashbox : 10/11/1958

Eight members of Ellington’s fertile band, plus the maestro, have an ingratiating swing-blues go at a ten tune bill. Beautifully serving the intimacy, yet vibrance of small band work the disk also provides a fine solo outlet for such Ellington sidemen as bassist Jimmy Woode, trumpeter Clark Terry and tenor saxist Paul Gonsalves. The selections include Avalon, The ‘A’ Train, Body And Soul and Early Autumn. Disk is due for solid sales.

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American Record Guide
Joe Goldberg : February, 1959

The jazz composer par excellence is, of course, Duke Ellington. Among those who owe him a great debt are Miles Davis, Thelonious Monk, Gil Evans, and John Lewis. He has recently released two records: The Cosmic Scene (Columbia CL-1198, $3.98), and Newport 1958 (Columbia CL-1245, $3.98), and each in its own way is disappointing. The former is a small-group record, featuring members of the Ellington band. It is getting to be cliché to say that the Ellington band is his instrument, but it is only cliché because it is true. It is almost as much of a cliché to say that his soloists aren’t what they used to be, for the same reason. These records can’t compare to the small groups of the thirties, but that is unimportant. The surprising thing is that for the first time Ellington does not seem to be in control. Several of the arrangements seem to be conceptually dominated by other members of the band, notably Clark Terry. The one really bright spot on the album is a blues, Bass-Ment, a tune vaguely suggestive of Tumbling Tumbleweeds which contains a piano solo that should be required listening for those who doubt the Ellington-Monk relationship. The Newport record, which is Ellington’s answer to the evening of praise in his honor, is amazing in that it shows how low a band can fall and still be the best big band in jazz. All new music, the tunes have less value than one should expect from this source. The notes imply that the music was written hurriedly, which may be the reason. Duke seems to be leaning ever more and more on his facility, and also on a showbusiness charm that threatens increasingly to become so cute as to be unpalatable.

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HiFi / Stereo Review
Nat Hentoff : January, 1959

Musical Interest: Spirited and unique
Performance: Idiomatically assured
Recording: Cleanly balanced

Although there are a few places where the arrangements and performances sound underdeveloped, there are many pleasures in this album by nine Ellington musicians. I would have wished for more and longer Ellington solos — he is much underestimated as a pianist — and I am surprised at the absence of trombone solos.

The most inventive and personal voice among the horns is Clark Terry’s and this set contains some of his most consistent playing on record. Paul Gonsalves is effective except for a disorderly last half of Body and Soul. Clarinetist Jimmy Hamilton, who wrote several of the arrangements, is precise if not especially fiery. Among the more stimulating numbers is a delightfully cruising “A” Train and proof that even St. Louis Blues can be made to sound fresh again.

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High Fidelity
John S. Wilson : December, 1958

The appearance of Ellington’s Spacemen, a nonet from the current Ellington band, revives heartening memories of those earlier groups of Dukelings led by Cootie Williams, Johnny Hodges, Rex Stewart, and Barney Bigard in the Thirties and Forties. This Ellington small group is quite different from its predecessors, however. On one hand, the Duke himself is at the helm instead of one of his sidemen; and on the other, the style is not strongly Ellingtonian, as that of the early small groups was, but reflects the modern jazz orientation of Duke’s current men. This group is made up of the Ellington rhythm section plus the trombone section which serves as a cushion for solos by Clark Terry, Jimmy Hamilton, and Paul Gonsalves. Only trumpeter Terry is a consistently attractive soloist. Hamilton, as is his habit on clarinet, is polished but pale; while Gonsalves, playing tenor saxophone, has some good moments balanced by turgid trudging in search of an idea. The performances are loose and swinging, but one can’t help wondering why Duke chose to feature some of the least interesting (Terry excepted) members of his band.

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Jazz Journal (UK)
Gerald Lascelles : February, 1959

Let no one misinterpret the title of this record. The performances are very much down to earth, despite the Spacemen who play them. It seems that the fabulous trombone section which slayed us all when the band was here has earned itself the nickname of the “pep” section. They deserve it. The rest of the band is much scaled down, with only the rhythm and three soloists remaining — Clark Terry, Hamilton, and Gonsalves.

The pieces are mostly standards, played with the unmistakable stamp of Duke’s men. Bass-ment and Spacemen are the only originals. Jimmy Hamilton is prominent as arranger, and as soloist on Early Autumn and Perdido. Neither he nor Gonsalves would be ideal voice for this small group, but both play well, and the tenor takes a good swinging solo in Body and Soul. St. Louis Blues and Spacemen are among the best; the blues track features plenty of solos, and the ride out brings back shades of some of Duke’s early band sounds. Spacemen is a vehicle for Terry’s fast flitting trumpet, and it also provides the pep section with a chance to swing lightly in the background.

I view with favour Duke’s exploration of the smaller group field. Both he and his men could stagnate if they did not occasionally branch off into this sort of session. They play loosely around themes which might not be appropriate to big band treatment, and the music convinces me that Duke has not explored the full range of his talent by a long way. I like this record, and I hope it will be prelude to a number of such excursions into the realms of smaller band jazz.

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Jazz Review
Mimi Clar : January, 1959

Perhaps I was misled by the title of this album or perhaps by my own admiration for Duke Ellington, but I expected the Spacemen to really take off in The Cosmic Scene. However, these Spacemen are a most nonchalant group of explorers.

My first reaction to the record was that here is a lukewarm session in which no one really extends himself, a sort of restrained, watered-down Ellington group with none of the excitement or extroverted crackle of the big band. After more careful re-listening, I decided that, while far from great Ellington, the music is relaxed, very adequate jazz played by highly competent musicians who aren’t trying to make the moon after all.

Still, I had hoped for more, because of Duke. I think the basic trouble lies in the fact that the listener does not feel Duke’s presence strongly enough. If you have ever been to a club where the Ellington band is appearing and have arrived before Duke has come to work, you will remember how the orchestra plays along just fine without him, but the minute he shows up to front the band, the entire body of men is suddenly ignited, inspired by his presence and personality. The Spacemen sound like Duke hasn’t come to work yet.

Body and Soul is the most blowing track on the lp, with Paul Gonsalves’ warmly sensual tenor snowballing several slow choruses into a soaring up-tempo flight. The ensemble is in a more mellow tone on Early Autumn and Midnight Sun.

Of the three originals, Jones (by Ellington and Clark Terry) is the least routine and most swinging — a blues with the brass gurgling out riffs behind Gonsalves at the close. Bass-ment features some good piano, rather un-Dukish sounding low-register lines (you could almost say “funk”), yet identifiably Ellington in touch and phrasing.

The rather down-home St. Louis Blues concludes with a good deal of polyphonic recreation: the repetitive melodic figures of the tenor and trumpet are answered by the trombones, while Jimmy Hamilton’s clarinet fluently spins counter-melodies above. Throughout, Duke’s piano is sparse, even dropping out completely for a time, outlining chord changes sparely enough to give the solo horns plenty of leeway.

Quite frankly, I don’t believe the Spacemen ever really get off the ground long enough to make The Cosmic Scene. But maybe they didn’t intend to.

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Miami Herald (Miami, FL)
Fred Sherman : 11/02/1958

Columbia has come up with a reply to RCA Victor’s great albums by Shorty Rogers and his giants. First of what promises to be a series of successes is The Cosmic Scene by Duke Ellington’s Spacemen (CL-1198).

Ellington took eight men from his big band. It must have been a chore just choosing. The combo takes its roots from three trombones (Quentin Jackson, John Sanders and Britt Woodman). Here is the big brass that is the Ellington signature. Add Sam Woodyard on drums and the bass of Jimmy Woode. The tough part must have come in picking his soloists. Duke took Jimmy Hamilton’s clarinet, Clark Terry’s trumpet and Paul Gonsalves’ tenor sax.

The album offers 10 tunes to prove the choices were wise. Gonsalves reaches new peaks with Body and Soul; starting with the soul, and throbbing with the body as the combo gives chase. There’s a new and exciting arrangement of Perdido with the clarinet taking the lead.

Another highlight is the familiar Bass-ment with the trombones staccato and the bass on the counterpoint. Nicely programmed with touches of the old (St. Louis Blues), the new Spacemen title piece for the weaving trumpet, and plenty of lush sounds on Midnight Sun and Early Autumn. The other selections are Avalon, a piece called Jones for a former band boy, and winding up with the Take the A Train theme which features trumpet and clarinet solos before the familiar final chorus.

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Oakland Tribune (Oakland, CA)
Russ Wilson : 10/26/1958

Seven standards and three originals are given a swinging performance by Duke Ellington and eight of his sidemen, among them Clark Terry, Jimmy Hamilton, Paul Gonsalves, and three trombonists. Duke calls the group his Spacemen, but whether he did so before or after the album title was picked no one knows. It’s certain, however, that the arrangements are fine and the little band swings like mad—including the piano player!

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Rhythm and Blues : February, 1959
The Jazz Corner

Is it not only fitting for the Duke and his mates “to take to the air with the greatest of ease?” Everything else is going UP into the stratosphere, and so are the “sales” of Columbia Records with the very latest from the greatest called, The Cosmic Scene — Duke Ellington’s Spacemen. Somebody must provide jazz on trips to the moon and Duke and his magic mates; Sam Woodyard; drums, Jimmy Woode; bass, John Sanders, Britt Woodman, Quentin “Butter” Jackson on trombones along with Jimmy Hamilton; clarinet, Paul Gonsalves; tenor and Clark Terry on trumpet, neatly make up a crew of nine all ready to blast off!

Five, four, three, two, one — contact! They’re off! Starting off with an original tune by The Duke in the set, is a number called Bass-ment. The band has been playing this tune for a long tag. Bass-ment allows for some solid impressario work on the part of Jimmy Woode who “speaks low.” Another “stopper,” is a combination of talents between The Duke and Clark Terry, all about a boy called Jones “a-once-upon-a-time Jones” in the Ellington band. For some flights into fancy and back to earth again, sails Clark, with a little scenic backing from the band. Completely setting the entire theme of the album is the number called Spacemen, written especially for Clark Terry. Again, the talents of all the boys as a congruous group with harmony, dissonance and individual spurts of solo interpretations, add the necessary flavor for “space fever.” The Duke, who promises to go to the moon only by train, includes his own little specialty called, Take The ‘A’ Train, and he and the boys go whooping along to meet it with the swing and give it a whirl, timetables and all.

Included in the album are favorites done up by the Duke in his own inimitable way; Body And Soul, Avalon, Early Autumn, Perdido, St. Louis Blues and Midnight Sun.

Duke Ellington’s jazz portraits are comparable to the most beautifully painted art work of the Moderns, expressing a picture with significant meaning. Duke tells of the people he loves, with all the vividness, excitement and spirit that makes the place of the jazz artist with his sense for rhythm and mood unmatchable by the many others who try to reproduce it.

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San Francisco Chronicle (San Francisco, CA)
Ralph J. Gleason : 10/09/1958

One of the most curious phenomena of the jazz record world has been the way musicians who flourished as members of the Duke Ellington orchestra seemed to wither away when they went out on their own.

The same thing has been true of groups. Take any half dozen members of the Ellington band and make an LP with them and by and large the product is less interesting than the work of the same people with Duke. The only exception to this has been those recordings in which Duke himself has either participated or been involved in some way. The catalogue of Ellington small band recordings from the 30s by Rex Stewart, Cootie Williams, and Johnny Hodges are ones in which the Ellington flavor was retained to the benefit of all by Duke’s presence.

Last summer, at Newport, a group of Ellington alumni played several selections on the opening night and the response on this listener’s part was pure pity. Of all the musicians who have worked with Duke, only two of them were able to keep their stature as artists when recording completely on their own and these were Harry Carney and Johnny Hodges. The rest were like a ship without a rudder. Without Duke they didn’t know where to go.

Columbia has just released an LP by a group from the Ellington band consisting of nine men, including the Duke. The album is called The Cosmic Scene [Columbia CL 1198] and the band title is “Duke Ellington’s Spacemen.”

It is lovely.

There are three trombones, two saxes and a trumpet plus the rhythm section, and they play a selection of new tunes and standards in which the effect is rather like solo sections of the regular Ellington performances.

Among the best moments on the album, for me at any rate, are the beautiful clarinet solos Jimmy Hamilton takes on Early Autumn, Paul Gonsalves’ slow chorus on Body and Soul and Clark Terry’s work on Spacemen.

But throughout the LP the most impressive thing is the performance of the Ellington rhythm section. It was obvious when Duke last played here that he now has—for the first time in years—a rhythm section in which he is personally excited to be playing. It is obvious again on this LP. Duke sounds at his minor moodish best as he feeds chords to the soloist and Jimmy Woode, the bass player, and Sam Woodyard, the drummer, swing mightily along with him.

It’s a rewarding album, all told, and continuing evidence of Ellington’s unfading power of creativity.

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Stamford Advocate (Stamford, CT)
Harold Davis : 06/12/2005

Fresh out of seminary, the Rev. John Sanders was preparing to say his first Mass as an ordained priest in Queens, N.Y., when he got a call from the church’s pastor.

In the pews was legendary jazz musician Duke Ellington, the pastor reported.

Sanders took the news in stride.

Years earlier, Sanders played trombone as a member of Ellington’s orchestra.

Though it may seem an unlikely pairing of two worlds, for Sanders this monumental event brought those worlds together.

“He was a wonderful musician I had worked with for years and I had his support when I entered the seminary,” Sanders said, reminiscing about a man he came to know as a friend and mentor. “He wasn’t there to perform, he was there for me in one of my moments.”

Sanders, 79, has had many “moments” since. He went on to become the first ordained African-American Roman Catholic priest in Connecticut in 1973 and the first monsignor in the diocese in 1988.

Last month, he received an honorary doctorate degree from Fairfield University for his achievements in both jazz and the priesthood.

Sanders, who lives at the Queen of Clergy Home for retired priests on Strawberry Hill Avenue, vividly recalled highlights of his prolific life.

“I’ll never forget the day I went to the Apollo Theater, walked backstage to Duke’s dressing room and said ‘Mercer (Ellington’s son) sent me’ because Duke needed a trombonist,” said an excited Sanders.

Ellington told Sanders that he needed him for a few nights, which turned into six weeks, Sanders said. He came to Ellington’s band in 1953 to stand in for trombonist Juan Tizol, who was leaving the band for a short time.

“Each night, I packed up and got on the bus,” said Sanders, who had thought he would be let go at anytime.

A year later, Sanders became a regular in Ellington’s band and worked steadily with him from 1954 to 1959.

Sanders became an extractor and copyist for Ellington, who was always writing new music. He would transpose Ellington’s charts for the other instrumentalists in the band to play at their next show.

Sanders appeared on about 12 Ellington albums including an album called Such Sweet Thunder, based on Shakespeare vignettes. He also played several landmark shows at Carnegie Hall and the Newport Jazz Festival.

But Ellington was much more than a musician to Sanders, he was a true friend who kept in touch with him over the years. And when Sanders decided to leave the band, Ellington was supportive.

“When I went to Duke to tell him that I wanted to go home, it was a wonderful moment,” Sanders said. “He sat down and talked with me just like a father would his son.” Sanders always had an inner passion for religion, even in high school, he said. Music was in his head and his hands, but faith was in his heart. The Rev. Joseph Fulton, a parish chaplain Sanders met in the U.S. Navy, and the Rev. Norman O’Connor, who had emceed the Newport Jazz Festival in 1956, helped nurture his other calling.

“There was that invitation — that pull. It wasn’t a change of career. A vocation is something you respond to,” Sanders said. “I don’t think I gave up something — I gained something.”

Sanders went on to serve Blessed Sacrament Parish in Bridgeport, Holy Family Parish in Fairfield and St. Mary Parish in Norwalk. Although he retired from formal duties, Sanders said he is just as active as ever. He has served since 1974 as director of the Apostolate to African-Americans, which fosters African-American involvement in the Roman Catholic Church. He often assists other churches in need and visits and anoints the sick in nursing homes and hospitals.

Sanders is sought after for his knowledge on Ellington. He has contributed liner notes for reissued Ellington releases such as Black, Brown & Beige featuring Mahalia Jackson. He also was interviewed and appeared on the Ken Burns’ Jazz television documentary in 2001.

Sanders participated in the 10th Anniversary of Jazz at Lincoln Center’s “Essentially Ellington” program as a panelist last month.

“Without a doubt, he was the highlight of the discussion. We could have just interviewed him the whole time,” said Erika Floreska, director of education at Jazz at Lincoln Center. “Everyone who interacts with Monsignor Sanders loves him. He’s articulate and warm.”

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Toronto Globe and Mail (Toronto, ON)
Patrick Scott : 12/27/1958

Once upon a time, well before the dawn of this Golden Age of Jazz we are all so thrilled to be living in, some of the finest moments in recorded jazz were supplied, at fairly regular intervals, by middle-sized groups drawn from the Duke Ellington orchestra and placed under the nominal and temporary leaderships of such stellar Ellington sidemen as Barney Bigard, Johnny Hodges, Rex Stewart and Cootie Williams.

Now, for the first time in many years, Mr. Ellington has revived the happy custom, this time on a long-playing recording called The Cosmic Scene (Columbia 1198) and under the billing of Duke Ellington’s Spacemen.

Neither the title nor the billing is particularly significant since most of the LP is devoted to rather routine rundowns of such standards as Body and Soul, Take The “A” Train and Perdido. What may be significant, however (jazz has to have some significance these days, you know), is the fact that this time it is just another record. It bears no relation whatever, in form, quality or mood, to its predecessors of the ’30’s (many of which may still be available on a couple of Epic LPs: The Duke’s Men, LG 3108, and Ellington Sidekicks, LN 3237), and the main reason for its shortcomings is the shortcomings of the performers involved.

Competent is the best word for such soloists as clarinetist Jimmy Hamilton (who gets the most space and does the best job), trumpeter Clark Terry and tenor saxophonist Paul Gonsalves (who still sounds at times as though he would be more at home with Lionel Hampton). Their work is brisk, polished and thoroughly trite, and 20 years ago not one of them could have held a job with the Ellington band for 24 hours.

By today’s standards it is pleasant stuff, but nothing more-and only Mr. Ellington can tell you why Johnny Hodges and Harry Carney, who are still with the band and could have given the session some sorely needed spirit, were not invited along.

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Toronto Star (Toronto, ON)
Roger Feather : 12/13/1958
Three stars

Although this is a good LP, it is also rather disappointing considering the potential here and also recalling what Ellington small groups have done in the past. The whole session is light, relaxed and highly enjoyable but it lacks a strong characteristic flavor. Terry is the outstanding soloist even though he appears to take it easy.

Avalon is a rocking, well-written track with some glistening Hamilton. Body And Soul and the tightly voiced, riff tune, Jones feature Gonsalves’ flowing style. Bass-ment with silky trombones and Woode’s bass is very good and Spacemen has some fine, dancing Terry trumpet. The Perdido theme has been reworked here to definite advantage and has some driving Hamilton. St. Louis Blues and Take The ‘A’ Train, both long cuts, have warm, delicate work from Terry.

This group only gets off the ground and shows some real spirit on rare occasions. It is an engaging LP but it is below the Ellington standard.

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Down Beat : 12/11/1958
Martin Williams : 3 stars

There was a time when Ellington’s small groups (nominally led by Cootie, Rex, Hodges, Bigard) made a music, even when casual, very much Ellington but with a quality, texture, approach and character of its own, determined by the characteristics of the players and the size of the group. So many of the things here sound like big band charts that happened to be cut down and played by fewer men. As a matter of fact, for Bass-ment, Jones, and “A” Train at least, that’s exactly what they are, although granted that on the latter and on Sun, the trombones do interesting things with sax-like assignments. (Incidentally, neither Avalon nor Perdido are stated except in counter-lines, which for the latter is straying pretty far from Tea For Two.)

I believe that Sam Woodyard is the best drummer Ellington has had since Sonny Greer, but here he sounds mechanical, disinterested in either his section or the others, and (unless it’s the recording) a bit loud for this kind of music.

The chief fault, however, is that, except for Clark Terry’s fine lyrical improvisation, on “A” Train, none of the soloists were saying very much. Gonsalves’ Body and Soul is a throw-away, and granted that he is relatively tasteful here, Gonsalves is not the Ben Webster that Ben Webster is. Hamilton’s playing has its usual clarity, precision, musicianship, and often effective color (and so do his charts on Avalon, Autumn, and Sun), but there the matter rests. As it is, some of Ellington’s stark, almost commanding accompaniments get more interesting than the soloists.

One virtue is certainly the way St. Louis is done, with just a hint of parody that is kept quite musical.

It’s none of my business, but where were Hodges and Carney?

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Liner Notes by Irving Townsend

Choosing a small group out of the Ellington Orchestra is difficult only because there are at least a half dozen to choose from. This time Duke picked eight of his all-stars to join him in a swinging session of standard jazz tunes and, as always, a few new things he just happened to have with him. After the rhythm section, Sam Woodyard, drums, Jimmy Wood, bass, and Edward K. Ellington, piano, he chose what is known around the bandstand as the “pep section,” the three trombonists John Sanders, Britt Woodman, and Quentin “Butter” Jackson. And finally, as a trio of soloists all more or less matched in style and jazz conception, he included Jimmy Hamilton, clarinet, Paul Gonsalves, tenor, and Clark Terry, trumpet.

As for why these nine should be called “Spacemen,” historians of jazz will have to make up their own reasons. Duke used the word as the first American satellite settled in orbit, and, perhaps with plans to supply the jazz on trips to the moon, he is merely being practical about the size band that will fit into a rocket ship. Himself excluded, of course. For, unless his travel habits change, Duke Ellington will go to the moon by train.

Avalon—This is a Jimmy Hamilton arrangement of a standard that is ideally suited to this nine-man combo. With Clark Terry, Hamilton, and Paul Gonsalves all playing fine jazz, the three trombones supply the swinging support all the way.

Body and Soul—This tenor-sax standard is naturally given to Paul Gonsalves, whose fluid-drive style builds it into a new solo classic. The slow chorus is there. Then three flying choruses follow.

Bass-ment—This is a tune by Duke which the band has been playing for some time, although it took this record to earn it a title. It features the pep section, Duke in a tasteful piano solo, and Jimmy Woode.

Early Autumn—Ralph Burns’ familiar song is again a Hamilton arrangement, and Jimmy solos on the first half-chorus. Terry and Gonsalves follow, and a mellow ensemble concludes.

Jones—Named after a former band boy of Duke’s, this original is by Clark Terry and Ellington, and it swings easily. Gonsalves is featured with the ‘bones.

Perdido—If ever a tune characterized all jam sessions, this is it and it all began with Ellington. Jimmy Hamilton solos most of the way, again with the three trombones acting as launching pad.

St. Louis Blues—From one composer to another, Ellington treats the Handy song with respect, even to playing the first solo himself. After that, Terry, Gonsalves, and Hamilton alternate choruses for a long and delightful performance.

Spacemen—Duke wrote this one for Clark Terry, the trumpeter “beyond category.” And it’s a fine sample of this great jazzman’s delicate style.

Midnight Sun—This is Lionel Hampton’s standard, arranged by Jimmy Hamilton for the Spacemen. It’s a pretty ballad, featuring the clarinet most of the way.

Take the “A” Train—The session ended on a familiar note with the Ellington theme song, which, incidentally, was written by Billy Strayhorn. After the usual piano introduction, the front line takes it, with solos by Hamilton and Terry, and with the regular Ellington last chorus.

Now that the Spacemen have been officially launched, this breezy small band is a new dimension for Duke’s jazz expression. In fact, the Ellington Spacemen are ready for another session. So am I.