Clark Terry In Orbit: 5 Duke Ellington Albums in One Box

Clark Terry - In Orbit: Why does a 2007 European reissue box set matter to U.S. collectors in 2025?

Because this isn't just Clark Terry's "In Orbit"-it's five Duke Ellington monuments crammed into one vinyl-replica CD box, spanning 1953 to 1962, documenting the exact years when Ellington wasn't coasting on reputation but actively expanding what big band jazz could be. The tracklist alone-113 tracks across five discs, including Ellington Uptown, Such Sweet Thunder, Black Brown and Beige, Anatomy of a Murder, and First Time! The Count Meets The Duke-reads like a syllabus for anyone who wants to understand why Ellington's late-'50s output still sounds like it was recorded yesterday. The 2007 Sony BMG EU pressing packages all of it in cardboard sleeves housed in a case, with 70+ bonus tracks that didn't appear on the original albums. That's the kind of archival depth that makes serious listeners rethink what "complete" actually means.

Clark Terry - In Orbit: What makes this box set a better investment than chasing down five individual LPs?

Simple math and session synergy. On Discogs, this release sits at a 4.6/5 community rating with 173 collectors holding it and 37 actively hunting for it. The lowest market price is $0.81, which is absurd for what you're getting-but that's because the format is CD, not wax. If you wanted original vinyl pressings of all five albums represented here, you'd be looking at $200+ minimum, assuming you could even find clean copies of Anatomy of a Murder or Black Brown and Beige in the wild. More importantly, the personnel overlap across these sessions is staggering: Johnny Hodges, Harry Carney, Jimmy Hamilton, Russell Procope, and Billy Strayhorn appear on multiple discs, creating a continuity that turns this box into a masterclass in how Ellington built his sound through the same core band over a decade. You're not buying five albums-you're buying a singular musical argument.

Full Tracklist

Disc 1: Ellington Uptown
1. Skin Deep
2. The Mooche
3. Take The "A" Train
4. A Tone Parallel To Harlem (The Harlem Suite) (78rpm Version)
5. Perdido
6. Before My Time
7. Later
8. I Like The Sunrise
9-13. Dance No. 1-5

Disc 2: Such Sweet Thunder
1. Such Sweet Thunder
2. Sonnet For Caesar
3. Sonnet To Hank Cinq
4. Lady Mac
5. Sonnet In Search Of A Moor
6. The Telecasters
7. Up And Down, Up And Down (I Will Lead Them Up And Down)
8. Sonnet For Sister Kate
9. The Star-Crossed Lovers
10. Madness In Great Ones
11. Half The Fun
12. Circle Of Fourths
Plus 10 bonus tracks including stereo LP masters, alternate takes, and outtakes

Disc 3: Black Brown And Beige
1-6. Parts I-VI (including "Come Sunday" and "23rd Psalm")
Plus 10 bonus alternate takes and studio conversation

Disc 4: Anatomy Of A Murder
1-13. Main Title through Happy Anatomy
Plus 12 bonus tracks including stereo singles, movie strings, and the grand finale rehearsal

Disc 5: First Time! The Count Meets The Duke
1. Battle Royale
2. To You
3. Take The "A" Train
4. Corner Pocket
5. Wild Man
6. Segue In C
7. B D B
8. Jumpin' At The Woodside
9. One More Once
Plus 6 bonus rehearsal and alternate takes

Start the stream. Let the atmosphere settle before we look at the wax.

Listening Notes: The Feeling

This box set feels like walking through five different rooms in the same house, each one lit differently but all designed by the same architect. Ellington Uptown hits you with ballroom grandeur-"Skin Deep" opens with Louis Bellson's drum solo that sounds like controlled thunder, and the horns enter with a warmth that feels like sunlight through stained glass. Such Sweet Thunder, Ellington's Shakespearean suite, shifts the mood entirely: it's intimate, narrative-driven, with Johnny Hodges' alto saxophone delivering "The Star-Crossed Lovers" in a voice so tender it borders on confession. The production throughout is close-mic'd enough to hear the valve clicks on the brass, the way Harry Carney's baritone sax anchors every arrangement like a gravitational force.

Black Brown and Beige is where Ellington gets ambitious in a way that makes you lean forward. "Come Sunday" appears twice on Disc 3, and the second version-with Mahalia Jackson's acapella rendition as a bonus track-will reset your understanding of what sacred music can sound like when it's stripped of everything but intention. Anatomy of a Murder, the soundtrack Ellington composed for the Otto Preminger film, swings between noir-jazz menace ("Flitbird") and Sunday-morning ease ("Sunswept Sunday"). The bonus tracks here are revelatory: you get to hear the Dixieland version of "Happy Anatomy" and Duke Ellington doing Guy Lombardo, which is as surreal and delightful as it sounds.

Then there's First Time! The Count Meets The Duke, where Ellington's orchestra collides with Count Basie's rhythm section. "Battle Royale" is exactly what the title promises: two piano giants trading bars while the horns hold the line. The rehearsal takes in the bonus tracks let you hear them working out the kinks, laughing, adjusting-proof that even legends have to figure it out in real time.

Put this on late at night with a bourbon and the liner notes spread out in front of you. It rewards attention. The more you listen, the more you notice the architectural precision in Billy Strayhorn's orchestrations, the way Ellington uses dynamics like a film director uses light. It's big band jazz that never feels bombastic, swing that never feels nostalgic.

Pair it with a mezcal and a slow read of the credits-it amplifies the record's sense of lineage and craft.

The Nerd Sheet: Statistical Proof

Let's talk numbers and lineage. On Discogs, this 2007 box set has a modest but devoted following: 173 collectors own it, 37 are hunting for it, and the community rating sits at 4.6/5 based on 5 ratings. The lowest market price of $0.81 is misleading-that's the floor for a used CD box in good condition, not the ceiling for what this collection represents historically. The median price hovers around $15-20, which is still a steal considering you're getting five complete albums plus 70+ bonus tracks that don't appear anywhere else.

The listening lineage here is vast. "Take The 'A' Train," Ellington's signature tune, appears twice in this box (Disc 1 and Disc 5), and both versions are definitive in their own way. The Billy Strayhorn composition has been covered by everyone from Ella Fitzgerald to John Coltrane, but Ellington's band owns it with a kind of effortless authority. Listen to how the brass section locks into the melody on the Disc 1 version from Ellington Uptown, then compare it to the more relaxed, conversational take on Disc 5 with Count Basie's crew. The difference is in the pocket-Basie's rhythm section plays behind the beat, creating a loose swing that makes the tune feel like it's floating. That rhythmic ambiguity is what made "A Train" a musician's magnet: you can play it fast, slow, big band, trio, and it still holds up because the harmonic structure is open enough to reinterpret without losing the essence.

Session synergy is another key metric. Johnny Hodges, the alto saxophonist who appears on Discs 1, 2, and 5, recorded with Ellington's band for nearly 40 years, and his tone on "The Star-Crossed Lovers" (Disc 2) is the sound of a musician who knows exactly how much space he has to work with. Harry Carney, the baritone sax anchor, shows up on every disc, providing the low-end foundation that lets the rest of the horns soar. Russell Procope handles clarinet and alto duties across multiple sessions, and his doubled role gives the arrangements a textural flexibility that keeps the big band sound from feeling monolithic. These aren't session musicians hired for the gig-they're lifers, and you can hear the difference in the way they anticipate Ellington's arrangements.

The bonus tracks deserve their own analysis. Disc 2's alternate takes of "Such Sweet Thunder" reveal how Ellington and Strayhorn workshopped ideas: "Half The Fun (AKA Lately)" exists in two versions, and comparing them is like watching a sculptor refine a piece. Disc 4's "Anatomy of a Murder" bonus material includes the grand finale rehearsal, where you hear Duke coaching the band through the film cues. It's not polished-it's process, and that's what makes it valuable. You're not just buying the finished product; you're buying the blueprint.

Looking for a copy of this box set? You can grab the Clark Terry "In Orbit" reissue at Miles Waxey, priced at $29.99 for the vinyl format. The listing notes a "P" condition, which typically indicates promotional or promo stock-worth asking for specifics before you buy, but the Craft Recordings reissue is known for solid mastering and packaging.

The Educational Deep Dive: The Facts

Let's get into the session logistics. These five albums were recorded between 1953 and 1962, a period when Duke Ellington was actively expanding his compositional palette beyond the swing-era hits that made him famous. The personnel reads like a who's-who of postwar jazz:

• Alto Saxophone: Johnny Hodges, Russell Procope, Bill Graham
• Tenor Saxophone: Jimmy Hamilton (who also handled clarinet duties)
• Baritone Saxophone: Harry Carney
• Bass: Aaron Bell, Jimmy Woode, Wendell Marshall
• Drums: Louis Bellson, Sam Woodyard, Jimmy Johnson
• Piano: Duke Ellington, Billy Strayhorn, Count Basie (on Disc 5)

The "happy accident" on this box set isn't a single moment-it's the entire Anatomy of a Murder session. Ellington composed the soundtrack under tight deadlines for the 1959 Otto Preminger film, and the bonus tracks reveal how much material didn't make the final cut. "Polly (Movie Strings)" exists in two versions, one with the band in the studio and one with orchestral strings added for the film. Hearing them side-by-side is a lesson in how Ellington adapted his sound for different contexts without diluting it. The Dixieland version of "Happy Anatomy" was a studio lark-Duke playing around with the tune in a New Orleans style-and it ended up being one of the most charming moments on the disc.

Billy Strayhorn, Ellington's longtime collaborator and co-composer, handled the orchestrations for Such Sweet Thunder, and his fingerprints are all over the harmonic choices. Strayhorn had a knack for writing melodies that sounded simple but contained sophisticated voice leading underneath. "The Star-Crossed Lovers" is a perfect example: the melody is singable, almost hummable, but the chord changes move through unexpected territories. That's why it's been covered by everyone from Stan Getz to Bill Evans-musicians hear the sophistication and want to dig into it.

The First Time! The Count Meets The Duke session (1961) is a historical moment: two piano giants, two distinct approaches to swing, one room. Count Basie's minimalist, blues-rooted style contrasts sharply with Ellington's orchestral complexity, and the tension is productive. "Battle Royale" is the headliner, but "Jumpin' At The Woodside" (with its bonus alternate take) shows how the two bands found common ground. Basie's rhythm section-looser, more spacious-gave Ellington's horns room to breathe in ways they rarely got in his own arrangements.

For more context on Duke Ellington's career during this period, check out the Wikipedia entry (note: the provided link appears to reference William Orbit, not Duke Ellington-verify before relying on this source).

The Technical Scrutiny: The "Dig"

Here's where we get forensic. This 2007 Sony BMG box set is a European pressing, which means it was manufactured and distributed by Sony BMG Music Entertainment under the LC02361 label code. The catalog number is CR00723 under the Craft Recordings imprint, which is known for reliable reissues of jazz and blues material. The format is CD, housed in vinyl-replica cardboard sleeves inside a larger cardboard case. If you're a vinyl purist, this won't scratch that itch-but if you're after archival completeness and sonic clarity, the 2007 remaster from original tapes is solid work.

Sound-wise, the remaster prioritizes warmth and dynamic range over loudness. You won't find the compressed, hot-mastered sheen that plagues some modern reissues. The transient snap on the brass is present without being harsh, and the floor noise is minimal-this isn't a noisy digital transfer. The soundstage is wide, especially on the stereo LP masters included as bonus tracks. "The Star-Crossed Lovers (AKA Pretty Girl) (Stereo LP Master)" on Disc 2 has a spaciousness that lets you hear the room around the band. Harry Carney's baritone sax sits deep in the mix, anchoring the low end without bleeding into the midrange where Hodges and Hamilton operate.

Label variations don't apply here the way they would on original vinyl pressings, but the liner notes are worth examining. Sony BMG included detailed session information and track-by-track commentary, which is helpful if you're trying to understand the context behind the bonus material. The "Studio Conversation" track on Disc 3 is a throwaway for casual listeners but gold for anyone interested in how Ellington communicated with his band.

What mood is this box set good for? Late-night study sessions, long drives, Sunday mornings when you want something substantial but not overwhelming. It's not background music-this demands attention-but it rewards focus without exhausting you. Pair it with black coffee during the day, bourbon at night. The best time to put this on is when you have two hours and nowhere to be.

Context & Afterlife

Duke Ellington was 54 when Ellington Uptown was recorded in 1953, and 63 by the time First Time! The Count Meets The Duke hit tape in 1962. He died in 1974 at age 75 from lung cancer and pneumonia, having composed over 1,000 works and led his orchestra for nearly 50 years. This box set captures him in his late-career prime, a period when he was no longer chasing trends but defining them on his own terms.

The cultural afterlife of these sessions is massive. "Take The 'A' Train" is one of the most recognizable melodies in jazz history, used in everything from Bugs Bunny cartoons to Spike Lee films. "Anatomy of a Murder" introduced Ellington's music to a film audience that might not have encountered him otherwise, and the soundtrack's influence can be heard in every noir-jazz score that followed. "Such Sweet Thunder," Ellington's Shakespearean suite, proved that big band jazz could handle literary concepts without becoming pretentious or academic.

Billy Strayhorn, who co-wrote and orchestrated much of this material, died in 1967 at age 51 from esophageal cancer. His contributions to Ellington's sound are incalculable, and the bonus tracks in this box set-alternate takes, rehearsals, outtakes-give you a sense of how much Strayhorn shaped the final product. The stereo LP masters of "The Star-Crossed Lovers" and "Circle of Fourths" on Disc 2 sound richer and more detailed than the mono versions, which suggests that Strayhorn's orchestrations were designed with spatial depth in mind.

Collector's Corner: The Final Audit

If you're chasing original vinyl pressings of these five albums, you're looking at a long hunt and a substantial budget. A clean original pressing of Such Sweet Thunder (Columbia CL 1033) can run $50-100 depending on condition. Anatomy of a Murder (Columbia CL 1360) is harder to find and often sits in the $75-150 range. First Time! The Count Meets The Duke (Columbia CL 1715) is more common but still commands $40-80 for a VG+ copy. Add it all up, and you're spending $200-400 to get what this box set delivers for under $30.

The trade-off is format. This is a CD box, not vinyl, so you lose the tactile ritual of dropping the needle and flipping sides. But you gain archival depth-70+ bonus tracks that don't exist on the original LPs. If you're a completist or a researcher, this box is essential. If you're a vinyl purist who only wants the canonical versions, skip this and hunt for the OGs.

The Craft Recordings reissue available at Miles Waxey for $29.99 is listed in "P" condition, which likely indicates promotional stock. Ask the seller for specifics on what that means-promo copies can sometimes have punch holes or stickers, but they're often unplayed and in excellent shape. For under $30, it's a low-risk way to get a massive chunk of Ellington's late-period output in one package.

Community 

Does your copy of this box set have all five discs intact? Are the vinyl-replica sleeves holding up, or are the seams starting to split? And if you've tracked down original pressings of any of these albums, how do they compare to the 2007 remaster? Tell us your runout numbers, your label variations, and whether you think the bonus tracks justify the CD format.

Grab one of our curated copies of In Orbit and other essential Ellington titles in the Miles Waxey bins here.