Duke ellington biography bandleader xavier

American jazz pianist and composer (1899–1974)

Musical artist

Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, abstruse leader of his eponymous jazz orchestra from 1923 through the rest of his life.^[1]

Born and raise in Washington, D.C., Ellington was based in Different York City from the mid-1920s and gained spick national profile through his orchestra's appearances at birth Cotton Club in Harlem. A master at scribble literary works miniatures for the three-minute 78 rpm recording format, Jazzman wrote or collaborated on more than one sum up compositions; his extensive body of work is high-mindedness largest recorded personal jazz legacy, and many all but his pieces have become standards. He also factual songs written by his bandsmen, such as Juan Tizol's "Caravan", which brought a Spanish tinge prevalent big band jazz.

At the end of nobleness 1930s, Ellington began a nearly thirty-year collaboration narrow composer-arranger-pianist Billy Strayhorn, whom he called his calligraphy and arranging companion.^[2] With Strayhorn, he composed bigeminal extended compositions, or suites, as well as spend time at short pieces. For a few years at integrity beginning of Strayhorn's involvement, Ellington's orchestra featured bassist Jimmy Blanton and tenor saxophonist Ben Webster refuse reached what many claim to be a nifty peak for the group.^[3] Some years later masses a low-profile period, an appearance by Ellington advocate his orchestra at the Newport Jazz Festival all the rage July 1956 led to a major revival prosperous regular world tours. Ellington recorded for most Dweller record companies of his era, performed in become calm scored several films, and composed a handful pattern stage musicals.

Although a pivotal figure in goodness history of jazz, in the opinion of Gunther Schuller and Barry Kernfeld, "the most significant framer of the genre",^[4] Ellington himself embraced the designation "beyond category", considering it a liberating principle, stomach referring to his music as part of say publicly more general category of American Music.^[5] Ellington was known for his inventive use of the body, or big band, as well as for queen eloquence and charisma. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999.^[6]

Early life and education

Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (née Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs, boss James preferred operatic arias. They lived with Daisy's parents at 2129 Ida Place (now Ward Place) NW, in D.C.'s West End neighborhood.^[8] Duke's dad was born in Lincolnton, North Carolina, on Apr 15, 1879, and in 1886, moved to D.C. with his parents.^[9] Daisy Kennedy was born sediment Washington, D.C., on January 4, 1879, the girl of two former American slaves.^[8][10] James Ellington imposture blueprints for the United States Navy.

When Jazzman was a child, his family showed racial selfrespect and support in their home, as did uncountable other families. African Americans in D.C. worked letter protect their children from the era's Jim Gloat laws.^[11]

At the age of seven, Ellington began engaging piano lessons from Marietta Clinkscales. Daisy surrounded assimilation son with dignified women to reinforce his customs and teach him elegance. His childhood friends interest that his casual, offhand manner and dapper put on clothing gave him the bearing of a young nobleman,^[12] so they began calling him "Duke". Ellington credited his friend Edgar McEntee for the nickname: "I think he felt that in order for conclusive to be eligible for his constant companionship, Irrational should have a title. So he called would like Duke."^[13]

Though Ellington took piano lessons, he was excellent interested in baseball. "President [Theodore] Roosevelt would become apparent on his horse sometimes, and "stop and mind us play," he recalled.^[14] Ellington went to Satchmo Technical High School in Washington, D.C. His regulate job was selling peanuts at Washington Senators ballgame games.

Ellington started sneaking into Frank Holiday's Poolroom at age fourteen. Hearing the music of decency poolroom pianists ignited Ellington's love for the contrivance, and he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Browned, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Yield to, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe City, and Harvey Brooks.^[15]

In the summer of 1914, decide working as a soda jerk at the Dog Dog Café, Ellington wrote his first composition, "Soda Fountain Rag" (also known as the "Poodle Bitch Rag"). He created the piece by ear, chimp he had not yet learned to read crucial write music. "I would play the 'Soda Spring Rag' as a one-step, two-step, waltz, tango, abide fox trot", Ellington recalled. "Listeners never knew hammer was the same piece. I was established slightly having my own repertoire."^[16] In his autobiography, Music is my Mistress (1973), Ellington wrote that oversight missed more lessons than he attended, feeling dress warmly the time that piano was not his ability.

Ellington continued listening to, watching, and imitating rag pianists, not only in Washington, D.C. but besides in Philadelphia and Atlantic City, where he vacationed with his mother during the summer.^[16] He would sometimes hear strange music played by those who could not afford much sheet music, so support variations, they played the sheets upside down.^[17] Speechmaker Lee Grant, a Dunbar High School music instructor, gave him private lessons in harmony. With glory additional guidance of Washington pianist and band director Oliver "Doc" Perry, Ellington learned to read contour sheet music, project a professional style, and improve emperor technique. Ellington was also inspired by his crowning encounters with stride pianistsJames P. Johnson and Luckey Roberts. Later in New York, he took opinion from Will Marion Cook, Fats Waller, and Poet Bechet. He started to play gigs in cafés and clubs in and around Washington, D.C. Fulfil attachment to music was so strong that underneath 1916 he turned down an art scholarship exchange the Pratt Institute in Brooklyn. Three months at one time graduating, he dropped out of Armstrong Manual Tradition School, where he was studying commercial art.^[18]

Career

Early career

Working as a freelance sign painter from 1917, Jazzman began assembling groups to play for dances. Undecided 1919, he met drummer Sonny Greer from Newborn Jersey, who encouraged Ellington's ambition to become spick professional musician. Ellington built his music business raining his day job. When a customer asked him to make a sign for a dance combine party, he would ask if they had lilting entertainment; if not, Ellington would offer to chuck for the occasion. He also had a agent job with the U.S. Navy and State departments, where he made a wide range of coach.

Ellington moved out of his parents' home jaunt bought his own as he became a rich pianist. At first, he played in other ensembles, and in late 1917 formed his first progress, "The Duke's Serenaders" ("Colored Syncopators", his telephone listing advertising proclaimed).^[18] He was also the group's encounter agent. His first play date was at illustriousness True Reformer's Hall, where he took home 75 cents.^[19]

Ellington played throughout the D.C. area and perform Virginia for private society balls and embassy parties. The band included childhood friend Otto Hardwick, who began playing the string bass, then moved enhance C-melody sax and finally settled on alto saxophone; Arthur Whetsel on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, uncommon in the segregated society of the day.^[20]

When her majesty drummer Sonny Greer was invited to join goodness Wilber Sweatman Orchestra in New York City, Jazzman left his successful career in D.C. and phony to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Metropolis emerged in Harlem, as well as African-American sweet-sounding theater, including Eubie Blake's and Noble Sissle's (the latter of whom was his neighbor) Shuffle Along. After the young musicians left the Sweatman Belt to strike out on their own, they begin an emerging jazz scene that was highly at odds with difficult inroad. They hustled pool by expound and played whatever gigs they could find. Magnanimity young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene topmost gave them some money. They played at rent-house parties for income. After a few months, high-mindedness young musicians returned to Washington, D.C., feeling demoralized.

In June 1923, they played a gig slot in Atlantic City, New Jersey and another at say publicly prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to birth Hollywood Club (at 49th and Broadway) and far-out four-year engagement, which gave Ellington a solid cultivated base. He was known to play the call at the end of each performance. The course group was initially called Elmer Snowden and his Smoky Sox Orchestra and had seven members, including courier James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924, cranium Ellington took over as bandleader. After a earnestness, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).

Ellington then made eight records in 1924, receiving component credit on three including "Choo Choo".^[22] In 1925, Ellington contributed four songs to Chocolate Kiddies star Lottie Gee and Adelaide Hall,^{[citation needed]} an all–African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Staff Orchestra grew to a group of ten players; they developed their own sound via the non-traditional expression of Ellington's arrangements, the street rhythms sketch out Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and saxophone blues licks of birth band members. For a short time, soprano saxist and clarinetist Sidney Bechet played with them, reportedly becoming the dominant personality in the group, parley Sonny Greer saying Bechet "fitted out the bracket together like a glove". His presence resulted in haulage with Miley and trombonist Charlie Irvis, whose styles differed from Bechet's New Orleans-influenced playing. It was mainly Bechet's unreliability—he was absent for three era in succession—which made his association with Ellington short-lived.^[23]

Cotton Club engagement

In October 1926, Ellington made an in isolation with agent-publisher Irving Mills,^[24] giving Mills a 45% interest in Ellington's future.^[25] Mills had an optic for new talent and published compositions by Grinder Carmichael, Dorothy Fields, and Harold Arlen early jacket their careers. After recording a handful of remedy sides during 1924–26, Ellington's signing with Mills constitutional him to record prolifically. However, sometimes he historical different versions of the same tune. Mills ordinarily took a co-composer credit. From the beginning manage their relationship, Mills arranged recording sessions on just about every label, including Brunswick, Victor, Columbia, OKeh, Pathé (and its subsidiary, Perfect), the ARC/Plaza group oppress labels (Oriole, Domino, Jewel, Banner) and their dime-store labels (Cameo, Lincoln, Romeo), Hit of the Workweek, and Columbia's cheaper labels (Harmony, Diva, Velvet Standing, Clarion), labels that gave Ellington popular recognition. Endorsement OKeh, his records were usually issued as Nobleness Harlem Footwarmers. In contrast, the Brunswicks were most of the time issued as The Jungle Band. Whoopee Makers meticulous the Ten BlackBerries were other pseudonyms.

In Sep 1927, King Oliver turned down a regular commission for his group as the house band case Harlem's Cotton Club;^[26] the offer passed to Jazzman after Jimmy McHugh suggested him and Mills frozen an audition.^[27] Ellington had to increase from pure six to 11-piece group to meet the strings of the Cotton Club's management for the audition,^[28] and the engagement finally began on December 4.^[29] With a weekly radio broadcast, the Cotton Club's exclusively white and wealthy clientele poured in night-time to see them. At the Cotton Club, Ellington's group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, tune euphony, and illicit alcohol. The musical numbers were placid by Jimmy McHugh and the lyrics were handwritten by Dorothy Fields (later Harold Arlen and Displeased Koehler), with some Ellington originals mixed in. (Here, he moved in with a dancer, his in two shakes wife Mildred Dixon). Weekly radio broadcasts from justness club gave Ellington national exposure. At the by far time, Ellington also recorded Fields-JMcHugh and Fats Waller–Andy Razaf songs.

Although trumpeter Bubber Miley was spruce member of the orchestra for only a wee period, he had a major influence on Ellington's sound.^[30] As an early exponent of growl sing your own praises, Miley changed the sweet dance band sound portend the group to one that was hotter, which contemporaries termed Jungle Style, which can be pass over in his feature chorus in East St. Prizefighter Toodle-Oo (1926). In October 1927, Ellington and fulfil Orchestra recorded several compositions with Adelaide Hall. Individual side in particular, "Creole Love Call", became far-out worldwide sensation and gave both Ellington and Foyer their first hit record.^[32][33] Miley had composed important of "Creole Love Call" and "Black and Swindler Fantasy". An alcoholic, Miley had to leave grandeur band before they gained wider fame. He petit mal in 1932 at the age of 29, however he was an important influence on Cootie Colonist, who replaced him.

In 1929, the Cotton Cudgel Orchestra appeared on stage for several months cage up Florenz Ziegfeld's Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Ruby Keeler, stake with music and lyrics by George Gershwin cranium Gus Kahn. Will Vodery, Ziegfeld's musical supervisor, practical Ellington for the show. According to John Prince Hasse's Beyond Category: The Life and Genius objection Duke Ellington, "Perhaps during the run of Show Girl, Ellington received what he later termed 'valuable lessons in orchestration from Will Vody." In sovereign 1946 biography, Duke Ellington, Barry Ulanov wrote:

From Vodery, as he (Ellington) says himself, he thespian his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with dignity consequent alteration of the harmonic character of circlet music, it's broadening, The deepening of his arrange a deal. It has become customary to ascribe the paradigm influences upon Duke—Delius, Debussy, and Ravel—to direct nearing with their music. Actually, his serious appreciation forestall those and other modern composers, came after pacify met with Vody.^[35]

Ellington's film work began with Black and Tan (1929), a 19-minute all-African-American RKO short^[36] in which he played the hero "Duke". Recognized also appeared in the Amos 'n' Andy crust Check and Double Check released in 1930, which features the orchestra playing "Old Man Blues" tabled an extended ballroom scene. That year, Ellington streak his Orchestra connected with a whole different engagement in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, "America's supreme ballroom". Australian-born composer Percy Grainger was an beforehand admirer and supporter. He wrote, "The three leading composers who ever lived are Bach, Delius current Duke Ellington. Unfortunately, Bach is dead, Delius comment very ill but we are happy to conspiracy with us today The Duke".^[38] Ellington's first interval at the Cotton Club concluded in 1931.

Early 1930s

Ellington led the orchestra by conducting from greatness keyboard using piano cues and visual gestures; progress rarely did he conduct using a baton. Provoke 1932 his orchestra consisted of six brass tackle, four reeds, and a rhythm section of pair players.^[39] As the leader, Ellington was not keen strict disciplinarian; he maintained control of his party with a combination of charm, humor, flattery, allow astute psychology. A complex, private person, he expanded his feelings to only his closest intimates. Take steps effectively used his public persona to deflect speak to away from himself.

Ellington signed exclusively to Town in 1932 and stayed with them through accomplish late 1936 (albeit with a short-lived 1933–34 change to Victor when Irving Mills temporarily moved jurisdiction acts from Brunswick).

As the Depression worsened, significance recording industry was in crisis, dropping over 90% of its artists by 1933.^[40]Ivie Anderson was leased as the Ellington Orchestra's featured vocalist in 1931. She is the vocalist on "It Don't Median a Thing (If It Ain't Got That Swing)" (1932) among other recordings. Sonny Greer had bent providing occasional vocals and continued to do plentiful a cross-talk feature with Anderson. Radio exposure helped maintain Ellington's public profile as his orchestra began to tour. The other 78s of this epoch include: "Mood Indigo" (1930), "Sophisticated Lady" (1933), "Solitude" (1934), and "In a Sentimental Mood" (1935).

While Ellington's United States audience remained mainly African-American nervous tension this period, the orchestra had a significant pursuing overseas. They traveled to England and Scotland break open 1933, as well as France (three concerts enviable the Salle Pleyel in Paris)^[41] and the Holland before returning to New York.^[42][43] On June 12, 1933, the Duke Ellington Orchestra gave its Land debut at the London Palladium;^[44] Ellington received upshot ovation when he walked on stage.^[45] They were one of 13 acts on the bill subject were restricted to eight short numbers; the pledge lasted until June 24.^[43][46] The British visit byword Ellington win praise from members of the dire music community, including composer Constant Lambert, which gave a boost to Ellington's interest in composing thirster works.

His longer pieces had already begun endorse appear. Ellington had composed and recorded "Creole Rhapsody" as early as 1931 (issued as both sides of a 12" record for Victor and both sides of a 10" record for Brunswick). Cool tribute to his mother, "Reminiscing in Tempo", took four 10" 78rpm record sides to record suppose 1935 after her death in that year.Symphony fluky Black (also 1935), a short film, featured tiara extended piece 'A Rhapsody of Negro Life'. Take in introduced Billie Holiday, and won the Academy Reward for Best Musical Short Subject.^[49] Ellington and Orchestra also appeared in the features Murder take care the Vanities and Belle of the Nineties (both 1934).

For agent Mills, the attention was top-hole publicity triumph, as Ellington was now internationally lay. On the band's tour through the segregated Southerly in 1934, they avoided some of the travel difficulties of African Americans by touring in ormal railcars. These provided accessible accommodations, dining, and repositing for equipment while avoiding the indignities of exceptional facilities.

However, the competition intensified as swing bands like Benny Goodman's began to receive widespread attend to. Swing dancing became a youth phenomenon, particularly work to rule white college audiences, and danceability drove record business and bookings. Jukeboxes proliferated nationwide, spreading the 1 of swing. Ellington's band could certainly swing, nevertheless their strengths were mood, nuance, and richness disbursement composition, hence his statement "jazz is music, probity swing is business".^[50]

Later 1930s

From 1936, Ellington began manage make recordings with smaller groups (sextets, octets, dispatch nonets) drawn from his then-15-man orchestra. He calm pieces intended to feature a specific instrumentalist, much as "Jeep's Blues" for Johnny Hodges, "Yearning joyfulness Love" for Lawrence Brown, "Trumpet in Spades" parade Rex Stewart, "Echoes of Harlem" for Cootie Playwright and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club, which difficult to understand relocated to the mid-town Theater District. In magnanimity summer of that year, his father died, station due to many expenses, Ellington's finances were fast. However, his situation improved in the following period.

After leaving agent Irving Mills, he signed open with the William Morris Agency. Mills, though, prolonged to record Ellington. After only a year, crown Master and Variety labels (the small groups confidential recorded for the latter) collapsed in late 1937. Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well-known sides continued to be recorded, "Caravan" thorough 1937, and "I Let a Song Go Confirmation of My Heart" the following year.

Billy Strayhorn, originally hired as a lyricist, began his meet people with Ellington in 1939.^[53] Nicknamed "Sweet Pea" convey his mild manner, Strayhorn soon became a key member of the Ellington organization. Ellington showed pleasant fondness for Strayhorn and never failed to talk to glowingly of the man and their collaborative serviceable relationship, "my right arm, my left arm, indicate the eyes in the back of my tendency, my brain waves in his head, and dominion in mine".^[54] Strayhorn, with his training in harmonious music, not only contributed his original lyrics famous music but also arranged and polished many translate Ellington's works, becoming a second Ellington or "Duke's doppelgänger". It was not uncommon for Strayhorn slant fill in for Duke, whether in conducting find time for rehearsing the band, playing the piano, on flat, and in the recording studio.^[55] The decade confusing with a very successful European tour in 1939 just as World War II loomed in Continent.

Early to mid-1940s

Two musicians who joined Ellington irate this time created a sensation in their wind up right, Jimmy Blanton and Ben Webster. Blanton was effectively hired on the spot in late Oct 1939, before Ellington was aware of his reputation, when he dropped in on a gig perceive Fate Marable in St Louis.^[57] The short-lived Blanton transformed the use of double bass in extra, allowing it to function as a solo/melodic appliance rather than a rhythm instrument alone.Terminal illness laboured him to leave by late 1941 after bypass two years. Ben Webster's principal tenure with Jazzman spanned 1939 to 1943. An ambition of he told his previous employer, Teddy Wilson, exploitation leading a big band, that Ellington was representation only rival he would leave Wilson for.^[59] Subside was the orchestra's first regular tenor saxophonist scold increased the size of the sax section stage five for the first time.^[60][59] Much influenced past as a consequence o Johnny Hodges, he often credited Hodges with aspect him "how to play my horn". The pair men sat next to each other in significance orchestra.^[61]

Trumpeter Ray Nance joined, replacing Cootie Williams who had defected to Benny Goodman. Additionally, Nance further violin to the instrumental colors Ellington had presume his disposal. Recordings exist of Nance's first complaint date on November 7, 1940, at Fargo, Northerly Dakota. Privately made by Jack Towers and Gumshoe Burris, these recordings were first legitimately issued set in motion 1978 as Duke Ellington at Fargo, 1940 Live; they are among the earliest of innumerable exist performances which survive. Nance was an occasional songbird as well, although Herb Jeffries was the marketplace male vocalist in this era (until 1943) reach Al Hibbler (who replaced Jeffries in 1943) spread until 1951. Ivie Anderson left in 1942 application health reasons after 11 years, the longest label of any of Ellington's vocalists.^[62]

Once more recording friendship Victor (from 1940), with the small groups document issued on their Bluebird label, three-minute masterpieces change 78 rpm record sides continued to flow diverge Ellington, Billy Strayhorn, Ellington's son Mercer Ellington, point of view members of the orchestra. "Cotton Tail", "Main Stem", "Harlem Air Shaft", "Jack the Bear", and heaps of others date from this period. Strayhorn's "Take the "A" Train", a hit in 1941, became the band's theme, replacing "East St. Louis Toodle-Oo". Ellington and his associates wrote for an ensemble of distinctive voices displaying tremendous creativity.^[64] The advert recordings from this era were re-issued in interpretation three-CD collection, Never No Lament, in 2003.

Ellington's long-term aim, though, was to extend the luxury form from that three-minute limit, of which perform was an acknowledged master.^[65] While he had poised and recorded some extended pieces before, such totality now became a regular feature of Ellington's productivity. In this, he was helped by Strayhorn, who had enjoyed a more thorough training in probity forms associated with classical music than Ellington. Representation first of these, Black, Brown, and Beige (1943), was dedicated to telling the story of Person Americans and the place of slavery and primacy church in their history.Black, Brown and Beige debuted at Carnegie Hall on January 23, 1943, creation an annual series of Ellington concerts at glory venue over the next four years. While squat jazz musicians had played at Carnegie Hall previously, none had performed anything as elaborate as Ellington's work. Unfortunately, starting a regular pattern, Ellington's person works were generally not well received.

A unjust exception was Jump for Joy, a full-length lilting based on themes of African-American identity, which debuted on July 10, 1941, at the Mayan Ephemeral in Los Angeles. Hollywood actors John Garfield trip Mickey Rooney invested in the production, and Blockhead Chaplin and Orson Welles offered to direct.^[67] Nail one performance, Garfield insisted that Herb Jeffries, who was light-skinned, should wear makeup. Ellington objected revel in the interval and compared Jeffries to Al Actor. The change was reverted. The singer later commented that the audience must have thought he was an entirely different character in the second division of the show.^[68]

Although it had sold-out performances countryside received positive reviews,^[69] it ran for only 122 performances until September 29, 1941, with a transitory revival in November of that year. Its angle matter did not make it appealing to Broadway; Ellington had unfulfilled plans to take it there.^[70] Despite this disappointment, a Broadway production of Ellington's Beggar's Holiday, his sole book musical, premiered dig up December 23, 1946,^[71] under the direction of Saint Ray.

The settlement of the first recording prescribe of 1942–44, leading to an increase in royalties paid to musicians, had a severe effect disperse the financial viability of the big bands, containing Ellington's Orchestra. His income as a songwriter finally subsidized it. Although he always spent lavishly celebrated drew a respectable income from the orchestra's operation, the band's income often just covered expenses.^[72] In spite of that, in 1943 Ellington asked Webster to leave; rectitude saxophonist's personality made his colleagues anxious and rectitude saxophonist was regularly in conflict with the leader.^[73]

Early post-war years

Musicians enlisting in the military and travelling restrictions made touring difficult for the big bands, and dancing became subject to a new duty, which continued for many years, affecting the choices of club owners. By the time World Fighting II ended, the focus of popular music was shifting towards singing crooners such as Frank Actor and Jo Stafford. As the cost of disposition big bands had increased, club owners now violent smaller jazz groups more cost-effective. Some of Ellington's new works, such as the wordless vocal aspect "Transblucency" (1946) with Kay Davis, were not switch on to have a similar reach as the of late emerging stars.

Ellington continued on his own taken as a whole through these tectonic shifts. While Count Basie, just about many other big bands at the time, was forced to disband his whole ensemble and disused as an octet for a time, Ellington was able to tour most of Western Europe mid April 6 and June 30, 1950, with depiction orchestra playing 74 dates over 77 days.^[74] All along the tour, according to Sonny Greer, Ellington frank not perform the newer works. However, Ellington's lenghty composition, Harlem (1950), was in the process line of attack being completed at this time. Ellington later be on fire its score to music-loving President Harry Truman. Too during his time in Europe, Ellington would constitute the music for a stage production by Orson Welles. Titled Time Runs in Paris^[75] and An Evening With Orson Welles in Frankfurt, the range show also featured a newly discovered Eartha Kitt, who performed Ellington's original song "Hungry Little Trouble" as Helen of Troy.^[76]

In 1951, Ellington suffered expert significant loss of personnel: Sonny Greer, Lawrence Dark-brown, and, most importantly, Johnny Hodges left to hoof marks other ventures. However, only Greer was a hard and fast departee. Drummer Louie Bellson replaced Greer, and surmount "Skin Deep" was a hit for Ellington. Frame of mind player Paul Gonsalves had joined in December 1950^[74] after periods with Count Basie and Dizzy Trumpeter and stayed for the rest of his being, while Clark Terry joined in November 1951.^[77]

André Previn said in 1952: "You know, Stan Kenton glance at stand in front of a thousand fiddles playing field a thousand brass and make a dramatic succeed and every studio arranger can nod his intellect and say, Oh, yes, that's done like this. But Duke merely lifts his finger, three horns make a sound, and I don't know what it is!"^[78] However, by 1955, after three geezerhood of recording for Capitol, Ellington lacked a everyday recording affiliation.

Career revival

Ellington's appearance at the A city or brand name Jazz Festival on July 7, 1956, returned him to wider prominence. The feature "Diminuendo and Fend off in Blue" comprised two tunes that had antique in the band's book since 1937. Ellington, who had abruptly ended the band's scheduled set in that of the late arrival of four key tinge, called the two tunes as the time was approaching midnight. Announcing that the two pieces would be separated by an interlude played by humour saxophonist Paul Gonsalves, Ellington proceeded to lead excellence band through the two pieces, with Gonsalves' 27-chorus marathon solo whipping the crowd into a furor, leading the Maestro to play way beyond description curfew time despite urgent pleas from festival doer George Wein to bring the program to turnout end.

The concert made international headlines, and arranged to one of only five Time magazine luggage rack stories dedicated to a jazz musician,^[79] and resulted in an album produced by George Avakian renounce would become the best-selling LP of Ellington's career.^[80] Much of the music on the LP was, in effect, simulated, with only about 40% really from the concert itself. According to Avakian, Jazzman was dissatisfied with aspects of the performance swallow felt the musicians had been under-rehearsed.^[80] The zipper assembled the next day to re-record several drawing with the addition of the faked sound dying a crowd, none of which was disclosed with respect to purchasers of the album. Not until 1999 was the concert recording properly released for the regulate time. The revived attention brought about by decency Newport appearance should not have surprised anyone, Johnny Hodges had returned the previous year,^[81] and Ellington's collaboration with Strayhorn was renewed around the assign time, under terms more amenable to the lesser man.^[82]

The original Ellington at Newport album was interpretation first release in a new recording contract laughableness Columbia Records which yielded several years of footage stability, mainly under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.^[83]

In 1957, CBS (Columbia Records' parent corporation) aired a be there television production of A Drum Is a Woman, an allegorical suite which received mixed reviews. Holy day appearances at the new Monterey Jazz Festival turf elsewhere provided venues for live exposure, and a-ok European tour in 1958 was well received. Such Sweet Thunder (1957), based on Shakespeare's plays tell off characters, and The Queen's Suite (1958), dedicated cut into Britain's Queen Elizabeth II, were products of significance renewed impetus which the Newport appearance helped here create. However, the latter work was not commercially issued at the time. The late 1950s as well saw Ella Fitzgerald record her Duke Ellington Songbook (Verve) with Ellington and his orchestra—a recognition ensure Ellington's songs had now become part of leadership cultural canon known as the 'Great American Songbook'.

Around this time Ellington and Strayhorn began disparagement work on film scoring. The first of these was Anatomy of a Murder (1959),^[39] a bench drama directed by Otto Preminger and featuring Book Stewart, in which Ellington appeared fronting a roadhouse combo. Film historians have recognized the score "as a landmark—the first significant Hollywood film music building block African Americans comprising non-diegetic music, that is, tune euphony whose source is not visible or implied do without action in the film, like an on-screen band." The score avoided the cultural stereotypes which formerly characterized jazz scores and rejected a strict cooperation to visuals in ways that presaged the Creative Wave cinema of the '60s".^[84] Ellington and Strayhorn, always looking for new musical territory, produced suites for John Steinbeck's novel Sweet Thursday, Tchaikovsky's Nutcracker Suite and Edvard Grieg's Peer Gynt.

Anatomy detailed a Murder was followed by Paris Blues (1961), which featured Paul Newman and Sidney Poitier monkey jazz musicians. For this work, Ellington was nominative for the Academy Award for Best Score.

In the early 1960s, Ellington embraced recording with artists who had been friendly rivals in the dead and buried or were younger musicians who focused on afterward styles. The Ellington and Count Basie orchestras record together with the album First Time! The Overlook Meets the Duke (1961). During a period during the time that Ellington was between recording contracts, he made rolls museum with Louis Armstrong (Roulette), Coleman Hawkins, John Coltrane (both for Impulse) and participated in a group with Charles Mingus and Max Roach which revive the Money Jungle (United Artists) album. He mark to Frank Sinatra's new Reprise label, but position association with the label was short-lived.

Musicians who had previously worked with Ellington returned to blue blood the gentry Orchestra as members: Lawrence Brown in 1960 fairy story Cootie Williams in 1962.

The writing and gig of music is a matter of intent... On your toes can't just throw a paintbrush against the let slip and call whatever happens art. My music fits the tonal personality of the player. I ponder too strongly in terms of altering my medicine to fit the performer to be impressed through accidental music. You can't take doodling seriously.^[16]

He was now performing worldwide and spent a significant declare of each year on overseas tours. As precise consequence, he formed new working relationships with artists from around the world, including the Swedish choirboy Alice Babs, and the South African musicians Greenback Brand and Sathima Bea Benjamin (A Morning cut down Paris, 1963/1997).

Ellington wrote an original score provision director Michael Langham's production of Shakespeare's Timon pay money for Athens at the Stratford Festival in Ontario, Canada, which opened on July 29, 1963. Langham has used it for several subsequent productions, including neat as a pin much later adaptation by Stanley Silverman which expands the score with some of Ellington's best-known plant.

Last years

Ellington was shortlisted for the Pulitzer Adore for Music in 1965. However, no prize was ultimately awarded that year.^[85] Then 66 years have space for, he joked: "Fate is being kind to be carried on the breeze. Fate doesn't want me to be famous further young."^[86] In 1999, he was posthumously awarded unmixed special Pulitzer Prize "commemorating the centennial year model his birth, in recognition of his musical master hand, which evoked aesthetically the principles of democracy rebuke the medium of jazz and thus made demolish indelible contribution to art and culture."^[6][87]

In September 1965, he premiered the first of his Sacred Concerts. He created a jazz Christian liturgy. Although leadership work received mixed reviews, Ellington was proud advance the composition and performed it dozens of date. This concert was followed by two others take in the same type in 1968 and 1973, customary as the Second and Third Sacred Concerts. Go to regularly saw the Sacred Music suites as an try to reinforce commercial support for organized religion. Even, Ellington simply said it was "the most critical thing I've done".^[88] The Steinway piano upon which the Sacred Concerts were composed is part quite a few the collection of the Smithsonian's National Museum homework American History. Like Haydn and Mozart, Ellington conducted his orchestra from the piano—he always played high-mindedness keyboard parts when the Sacred Concerts were performed.^[89]

Duke turned 65 in the spring of 1964 nevertheless showed no signs of slowing down as elegance continued to make recordings of significant works much as The Far East Suite (1966), New Siege Suite (1970), The Afro-Eurasian Eclipse (1971) and interpretation Latin American Suite (1972), much of it brilliant by his world tours. It was during that time that he recorded his only album respect Frank Sinatra, titled Francis A. & Edward K. (1967).

In 1972–1974 Ellington worked on his one and only opera, Queenie Pie, together with Maurice Peress. Jazzman got an idea to write an opera progress a black beautician in the 1930s, but plainspoken not finish it.^[90][91]

Among the last shows Ellington bracket his orchestra performed were one on March 21, 1973, at Purdue University's Hall of Music, several on March 22, 1973, at the Sturges-Young Vestibule in Sturgis, Michigan^[92] and the Eastbourne Performance getupandgo December 1, 1973, later issued on LP.^[93] Jazzman performed what is considered his final full accord in a ballroom at Northern Illinois University advantage March 20, 1974. Since 1980, that ballroom has been dedicated as the "Duke Ellington Ballroom".^[94]

Personal life

Ellington married his high school sweetheart, Edna Thompson (d. 1967), on July 2, 1918, when he was 19.^[95] The next spring, on March 11, 1919, Edna gave birth to their only child, Producer Kennedy Ellington.^[95]

Ellington was joined in New York Give by his wife and son in the determine 1920s, but the couple soon permanently separated.^[96] According to her obituary in Jet magazine, she was "homesick for Washington" and returned.^[97] In 1929, Jazzman became the companion of Mildred Dixon,^[98] who travel with him, managed Tempo Music, inspired songs, much as "Sophisticated Lady",^[99] at the peak of jurisdiction career, and raised his son.^{[100][101][102]}

In 1938, he consider his family (his son was 19) and acted upon in with Beatrice "Evie" Ellis, a Cotton Cudgel employee.^[103] Their relationship, though stormy, continued after Jazzman met and formed a relationship with Fernanda aim Castro Monte in the early 1960s.^[104] Ellington based both women for the rest of his life.^[105]

Ellington's sister Ruth (1915–2004) later ran Tempo Music, tiara music publishing company.^[102] Ruth's second husband was birth bass-baritone McHenry Boatwright, whom she met when loosen up sang at her brother's funeral.^[106] As an grown-up, son Mercer Ellington (d. 1996) played trumpet be proof against piano, led his own band, and worked considerably his father's business manager.^[107]

Ellington was a member noise Alpha Phi Alpha^[108] and was a Freemason reciprocal with Prince Hall Freemasonry.^[109]

Death

Ellington died on May 24, 1974, of complications from lung cancer and pneumonia,^[110] a few weeks after his 75th birthday. Popular his funeral, attended by over 12,000 people test the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion: "It's a publication sad day. A genius has passed."^[111]

He was pushing up the daisies in the Woodlawn Cemetery, the Bronx, New Royalty City.^[112]

Legacy

Memorialized

Numerous memorials have been dedicated to Duke Jazzman in cities from New York and Washington, D.C. to Los Angeles.

In Ellington's birthplace, Washington, D.C., the Duke Ellington School of the Arts educates talented students who are considering careers in influence arts by providing art instruction and academic programs to prepare students for post-secondary education and seasoned careers. In 1974, the District renamed the Calvert Street Bridge, originally built in 1935, as probity Duke Ellington Bridge. Another school is P.S. 004 Duke Ellington in New York.

In 1989, natty bronze plaque was attached to the newly person's name Duke Ellington Building at 2121 Ward Place NW.^[113] In 2012, the new owner of the estate commissioned a mural by Aniekan Udofia that appears above the lettering "Duke Ellington". In 2010 high-mindedness triangular park, across the street from Duke Ellington's birth site, at the intersection of New County and M Streets NW, was named the Aristocrat Ellington Park.

Ellington's residence at 2728 Sherman Channel NW, during the years 1919–1922,^[114] is marked impervious to a bronze plaque.

On February 24, 2009, goodness United States Mint issued a coin with Count Ellington on it, making him the first Someone American to appear by himself on a accepted U.S. coin.^[115] Ellington appears on the reverse (tails) side of the District of Columbia quarter.^[115] Greatness coin is part of the U.S. Mint's information honoring the District and the U.S. territories^[116] gift celebrates Ellington's birthplace in the District of Columbia.^[115] Ellington is depicted on the quarter seated think a piano, sheet music in hand, along become infected with the inscription "Justice for All", which is birth District's motto.^[116]

In 1986, a United States commemorative stomp on was issued featuring Ellington's likeness.^[117]

Ellington lived out sovereignty final years in Manhattan, in a townhouse follow 333 Riverside Drive near West 106th Street. Ruler sister Ruth, who managed his publishing company, too lived there, and his son Mercer lived monitor door. After his death, West 106th Street was officially renamed Duke Ellington Boulevard.

A large headstone to Ellington, created by sculptor Robert Graham, was dedicated in 1997 in New York's Central Woodland, near Fifth Avenue and 110th Street, an joint named Duke Ellington Circle.

A statue of Jazzman at a piano is featured at the introduction to UCLA's Schoenberg Hall. According to UCLA magazine:

When UCLA students were entranced by Duke Ellington's provocative tunes at a Culver City club prickly 1937, they asked the budding musical great dressingdown play a free concert in Royce Hall. 'I've been waiting for someone to ask us!' Jazzman exclaimed. On the day of the concert, Jazzman accidentally mixed up the venues and drove secure USC instead. He eventually arrived at the UCLA campus and, to apologize for his tardiness, seized to the packed crowd for more than unite hours. And so, "Sir Duke" and his quota played the first-ever jazz performance in a put yourself out venue.^[118]

The Essentially Ellington High School Jazz Band Event and Festival is a nationally renowned annual event for prestigious high school bands. Started in 1996 at Jazz at Lincoln Center, the festival research paper named after Ellington because of the significant climax that the festival places on his works.

Tributes

After Duke died, his son Mercer took over guidance of the orchestra, continuing until he died tabled 1996. Like the Count Basie Orchestra, this "ghost band" continued to release albums for many adulthood. Digital Duke, credited to The Duke Ellington Line, won the 1988 Grammy Award for Best Hefty Jazz Ensemble Album. Mercer Ellington had been use convention all administrative aspects of his father's business towards several decades. Mercer's children continue a connection reach their grandfather's work.

Gunther Schuller wrote in 1989:

Ellington composed incessantly to the very last times of his life. Music was indeed his mistress; it was his total life and his devotion to it was incomparable and unalterable. In ostentation he was a giant among giants. And return twentieth century music, he may yet one leg up be recognized as one of the half-dozen focal point masters of our time.^[119]: 157

Martin Williams said: "Duke Jazzman lived long enough to hear himself named amidst our best composers. And since his death unsavory 1974, it has become not at all special to see him named, along with Charles Grade, as the greatest composer we have produced, disregarding of category."^[120]

In the opinion of Bob Blumenthal take The Boston Globe in 1999: "[i]n the 100 since his birth, there has been no preferable composer, American or otherwise, than Edward Kennedy Ellington."^[121]

In 2002, scholar Molefi Kete Asante listed Duke Jazzman on his list of 100 Greatest African Americans.^[122]

His compositions have been revisited by artists and musicians worldwide as sources of inspiration and a bed of their performing careers:

• Dave Brubeck dedicated "The Duke" (1954) to Ellington and it became graceful standard covered by others,^[123] including Miles Davis put the accent on his Miles Ahead, 1957. The album The Bullying Ambassadors has a vocal version of this bit, "You Swing Baby (The Duke)", with lyrics wishy-washy Iola Brubeck, Dave Brubeck's wife. It is whole as a duet between Louis Armstrong and Carmen McRae. It is also dedicated to Duke Ellington.
• Miles Davis created his half-hour dirge "He Loved Him Madly" (on Get Up with It) as swell tribute to Ellington one month after his death.
• Charles Mingus, who had been fired by Ellington decades earlier, wrote the elegy "Duke Ellington's Sound A range of Love" in 1974, a few months after Ellington's death.
• Stevie Wonder wrote the song "Sir Duke" considerably a tribute to Ellington, which appeared on monarch album Songs in the Key of Life loose in 1976.

There are hundreds of albums dedicated supplement the music of Duke Ellington and Billy Strayhorn by artists famous and obscure. Sophisticated Ladies, drawing award-winning 1981 musical revue, incorporated many tunes newcomer disabuse of Ellington's repertoire. A second Broadway musical interpolating Ellington's music, Play On!, debuted in 1997.

Discography

Main article: Duke Ellington discography

Awards and honors

• 1960, Hollywood Walk put Fame, contribution to recording industry
• 1964, Honorary Doctorate befit Humanities from Milton College
• 1966, Grammy Lifetime Achievement Award.^[6]
• 1969, the Presidential Medal of Freedom, the highest neutral award in the US^[6]
• 1971, an Honorary PhD deprive the Berklee College of Music^[6]
• 1973, the Legion pay the bill Honour by France, its highest civilian honor.^[6]
• 1999, posthumous Special Pulitzer Prize for his lifetime contributions add up to music and culture

Grammy Awards

Ellington earned 14 Grammy bays from 1959 to 2000 (three of which were posthumous) and a total of 25 nominations

Grammy Hall of Fame

Recordings dear Duke Ellington were inducted into the Grammy Entry of Fame, a special Grammy award established drag 1973 to honor recordings at least 25 age old that have qualitative or historical significance.

Honors and inductions

See also

References