Duke Ellington
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His contributions to the jazz genre are many. His bands in the ’20s and ‘30s introduced “jungle music” which incorporated African influences. Ellington was more conscious of musical form than his predecessors. He thought in orchestral terms, using the band as his instrument. He wrote specifically for his musicians, drawing on their talents as soloists and ensemble players to create the “Ellington effect,” so-called by Billy Strayhorn. He used instruments in unusual roles within the band and rarely soloed on piano, preferring the role of arranger. Because Ellington was forward looking musically he was able to keep his band together until his death when his son Mercer took over. Many of its members were with him for three decades.
Of Ellington, the man, Gene Lees in his book Meet Me at Jim & Andy’s: Jazz Musicians and Their World, has said, “He was, I think, a far more interesting man, with complex dimensions, than the hagiography of jazz has made him out to be.... He took the world as he found it, both in life and in music, tolerating discrepancies and contradictions in men and circumstance. That is how he was able to make a functioning unit of men with such disparate sounds and personalities.”
Ellington’s band gained notoriety at Harlem’s Cotton Club in 1927. The band went to Hollywood in 1930 to make the film Check and Double Check and that same year Duke received recognition as a composer for “Mood Indigo.” His band made several European tours, and in 1943 he premiered the first of his extended compositions, “Black, Brown and Beige.”
In 1959 Ellington scored the film Anatomy of a Murder in which he also played the role of a pianist named Pie Eye. In his later years he devoted himself to composing “sacred concerts” which were complex pieces to perform because of the personnel required: orchestra, choirs, soloists and dancers.
A partial list of his memorable compositions must include: “It Don’t Mean A Thing (If It Ain’t Got That Swing)” (1932), “Sophisticated Lady” (1933), “In A Sentimental Mood” (1935), “Prelude To A Kiss” (1938), “I Got It Bad (And That Ain’t Good)” (1941), “Don’t Get Around Much Anymore” (1942), “I’m Beginning To See The Light” (1944), and “Satin Doll” (1953).
- Sandra Burlingame
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Music Is My Mistress (Da Capo Paperback)
Book
John Edward Hasse
Beyond Category: The Life and Genius of Duke Ellington
Various
DownBeat - The Great Jazz Interviews (A 75th Anniversary Anthology) (Book)
Hal Leonard
Down Beat: Sixty Years of Jazz
Hal Leonard Corporation
Wynton Marsalis, Geoffrey Ward
Moving to Higher Ground: How Jazz Can Change Your Life
Random House Trade Paperbacks
Geoffrey C. Ward, Ken Burns
Jazz: A History of America's Music
Knopf
James Stewart, Lee Remick
Anatomy of a Murder (1959)
DVD
The Intimate Duke Ellington (1967)
(Includes Cootie Williams)
Duke Ellington - Live at the Tivoli Gardens (1971)
Duke Ellington, Ella Fitzgerald, Charlie Parker, Louis Armstrong
The Story of Jazz (Masters of American Music)
Count Basie, Cab Calloway, Nat ‘King' Cole, Dorothy Dandridge, Duke Ellington
Harlem Renaissance / Fats Waller, Duke Ellington, Count Basie, Nat King Cole
Kultur Video
Love You Madly/A Concert of Sacred Music at Grace Cathedral
Duke Ellington, Louis Armstrong, Gene Krupa, Louis Prima
The Golden Age of Jazz, Part 1 - Jazz Legends
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