Smithsonian Jazz Masterworks Orchestra: Ellington Masterworks

When the topic of Duke Ellington's masterworks arises (rarely, it is true, but not implausibly so), the leading candidates usually comprise such popular standards as "Sophisticated Lady," "Mood Indigo," "Prelude to a Kiss" and "Satin Doll"—not one of which is included in the Smithsonian Jazz Masterworks Orchestra's chronicle of Ellington Masterworks, recorded live in April 2024 at MCG Jazz in Pittsburgh, PA.

With more than a thousand of Ellington's compositions from which to choose, the SJMO and its music director, Charlie Young, no doubt had more trouble narrowing the list than choosing any particular masterwork. It was decided that for this purpose, the agenda would be limited to those compositions written between 1940 and 1968. One consequence, intended or accidental, was that most if not all of these archetypes would be unknown to all but the most assiduous and devoted Ellington enthusiasts.

The earliest, "The Flaming Sword" and "Jack the Bear," both from 1940, open and close the album. "Sword," a Latin tune based on the chords of the New Orleans standard "Panama," opens with a fanfare for trumpets, includes colorful passages for trombones, clarinet and trumpets, and brief solo space for trumpet and clarinet. "The Tattooed Bride," the session's longest number at more than twelve minutes, undergoes several dramatic changes in mood and tempo to underscore pleasing solos by trombone and clarinet, and yeoman work by the ensemble.

The tender ballad "Race," from 1968, has nothing to do with the African-American experience but was written for an unreleased documentary, a part of whose premise was Edgar Degas' impressionist paintings of horse races. Here, it serves as a lyrical showcase for alto saxophonist Steve Williams, superbly sitting in for one of Ellington's legendary soloists, Johnny Hodges. The eccentric "Madness in Great Ones" was a centerpiece of the 1957 Shakespearean suite, Such Sweet Thunder, and featured the high-note artistry of lead trumpeter Cat Anderson, represented here by the SJMO's section leader, Josh Kauffman.

"Ad Lib on Nippon," inspired by the Ellington orchestra's 1964 tour of Japan, begins softly before morphing into a straight-on swinger energized by pianist Tony Nalker and clarinetist Scott Silbert. Four years later, "Oclupaca" (Acapulco spelled backward) was written to commemorate the orchestra's visit to Central and South America and as a feature for tenor saxophonist Paul Gonsalves whose extended solo is reshaped here by Luis Hernandez. "The Shepherd," a slow blues, was dedicated to the Rev. John Gensel, who ministered to New York City's "night flock" including jazz musicians, among others. Nalker's piano sets the stage for Williams' plunger-muted solo. The SJMO closes with the playful "Jack the Bear," honoring a legendary stride pianist who was never recorded, enhanced by astute solos from baritone Leigh Pilzer, muted trombonist Jennifer Krupa and bassist Amy Shook.

While these Ellington Masterworks may not be as well-known as some—or even many—of his other works, Ellington's exceptional talents as a composer and arranger are conspicuous in every number. With that in mind, there should be ample room—and reason—to unveil even more masterworks by one of the twentieth century's preeminent jazz composers.