Monday Side-Session: Baritone Bedrock - Harry Carney Steps Out

Yesterday we enjoyed Duke Ellington’s Rockin’ in Rhythm, so today we turn the spotlight on that song’s co‑writer - longtime Ellington baritone sax man Harry Carney.

Carney didn’t step out front often — he didn’t need to. His baritone was the foundation of the Ellington orchestra, the thing everything else rested on. But when he did record under his own name, the results are absolutely worth a listen.

The 1940s — Harry Carney’s Big Eight (H.R.S., 1946)

First up are a couple of sides from Harry Carney’s Big Eight, recorded for the H.R.S. label in 1946.

Here’s Harry’s composition Candy Cane:

And the flipside, pianist Jimmy Jones’s Minor Mirage:

A look at the label shows that the “Eight” are definitely big - in addition to Harry and Jimmy, there’s trombonist Lawrence Brown, alto saxist Otto Hardwick, and bassist Billy Taylor, all Ellington men. They’re joined by top session players Ted Nash on tenor sax, Joe Thomas on trumpet, and my favorite, Jimmy Crawford on drums!

The 1950s — Harry Carney with Strings (Clef, 1955)

Jumping to 1955, jazz impresario Norman Granz had Harry record his first‑ever album, the descriptively titled “Harry Carney with Strings” for the Clef label.

Here’s the single featuring the oldie Moonlight on the Ganges:

And on the flipside, Harry’s own composition We’re in Love Again:

In addition to the strings, Ellington bandmates Ray Nance (trumpet) and Jimmy Hamilton (clarinet) join Harry on these lovely, warm sides.

The 1960s — Harry Carney and the Duke’s Men (Columbia, 1961)

A few years later, in 1960/61, Harry recorded an album for Columbia titled Rock Me Gently, featuring arrangements and compositions by British musician Kenny Graham in his self‑described “Afro‑Cubist” style.

Two of the tracks were paired on a British 45 rpm single.

Here’s the very British‑titled Blues for Blokes:

And the flipside, with the decidedly non‑British title of Mabulala:

The album and single are credited to “Harry Carney and the Duke’s Men,” with said men including Ray Nance and tenor saxist Paul Gonsalves.

So there we go — Three decades, three projects, and a lifetime of being the "rhythm" in Duke's rock. Do you prefer Harry in a small-group swing setting, or wrapped in the lush strings of the 1950s?