The palette of Duke Ellington, jazz's first notable colorist—and arguably its greatest—drew on a range of instrumental hues that might still be unmatched in jazz history. Picking one as the essential pigment in the Orchestra's sound is a fool's errand. But here goes: it was Harry Carney's baritone saxophone, without which the Ellington sonic signature is inconceivable. So it makes perfect sense that Brian Landrus, a baritone specialist, drew from the deep well of Ellingtonia for Plays Ellington and Strayhorn (Palmetto Records/Blue Land, 2024). "Agra," an often-overlooked movement from 1967's "Far East Suite," was a feature for Carney's burly and bighearted lyricism, but Landrus' reading is more tender than tough. The arrangement for a fragrant ensemble of woodwinds, all played by the leader, is lovely, but the most outstanding contribution comes from the peerless Billy Hart, a Washingtonian whose atmospheric mallet work recalls Sonny Greer and Sam Woodyard, and just might be overseen by the shade of his hometown's—and America's—most distinguished musical son.
Contact John Chacona on All About Jazz.
John Chacona is a freelance journalist, content writer and producer in Cleveland.
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Contact John Chacona on All About Jazz.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
