DEMS 12/1-32
One of the first jazz records in my life, over 50 years ago, was Creole Love Call, the 1932 Brunswick version. I never liked the idea, circulating at the time, of two different clarinet soloists, because it didn't fit with what I heard and I felt it unnecessary. I was glad and satisfied when DESOR decided for one man only and, better, when they changed from Barney Bigard to Harry Carney. Moreover, when Duke came to Italy in 1973, I met the guys in the band in Bologna and asked Carney about it. Just to be sure we were talking about the same thing he asked me if I meant the solo with the long descending glissando, thus showing that he was talking exactly about THAT PARTICULAR CHORUS, and then confirmed that IT BELONGED TO HIM. I believe this should close all arguments.
-Vittorio Castelli

In the old Desor, page 41, session 99, the description of Creole Love Call shows the first (5°) chorus by Barney Bigard and the second (6°) chorus also by Barney Bigard. So long ago, we did not yet make references to the sources of corrections when we implemented them in our notes. Anyway we corrected the first of the two choruses into Harry Carney. The second remained as being played by Barney Bigard. And indeed, listening to these choruses on take -A on CD 1 track 7, makes you believe that the soloist could be different from the one in the first of both choruses. But it could also very well have been Harry Carney. This difference is less convincing on the alternate take -B, CD 1 track 20. Now we have Harry's own statement about this second (actually 6°) chorus which has the mentioned glissando, I agree with Vittorio Castelli (and with the New DESOR) that we should make a correction in the liner notes by Steven Lasker on page 10 of his award-winning booklet for the Mosaic MD11-248, 11 CD release (DEMS 10/3-5). Chorus 5° and chorus 6° are both by Harry Carney.
DEMS