After my post last week on 16 jazz geniuses, I predictably received a flood of emails asking why Duke Ellington was missing from my list. As I explained, while Duke was exceptional, his piano didn't change the direction of jazz nor did a school emerge that emulated his approach. But the emails did give me pause. Perhaps Duke's influence was more subliminal, I thought. That's when it came to me. Ellington's genius was beauty and greater artistic self-worth. Prior to Ellington in the 1920s, jazz was largely frantic, syncopated dance music. By the early 1930s, the Ellington band was producing elegant, sensual jazz unlike any other band. The results crossed over to the mainstream. These songs included Mood Indigo (1930), Sophisticated Lady (1933), (In My) Solitude (1934) and In a Sentimental Mood (1935), among others.
In addition, Ellington created impressionistic works that cast Harlem not as a cartoonish enclave or the nocturnal playground of wealthy white couples but a neighborhood of families, a romantic place of poetic beauty and an area with its own intelligentsia and culture. Songs of this genre included Black and Tan Fantasy (1927), Harlem River Quiver (1927), Ebony Rhapsody (1934) and Echoes of Harlem (1936). They not only captured Harlem life but also gave Black jazz musicians a sense of pride and self-worth.
So yes, Ellington's genius was spiritual, combining orchestral syncopation with the essence of the Black church and community. His works rubbed off on many Black and white jazz artists who incorporated beauty and grace into their own works.
Speaking of Ellington, Storyville Records has just released Duke Ellington & His Orchestra: Berlin 1959, a terrific live album with great sound and luxurious music. Partially released in past years on shabby bootlegs, this album gives us this concert with pristine sound. Don't cherry-pick songs when listening. The only way to enjoy this album is by listening from start to finish. Only then can you absorb the depth of the Ellington band's full spectrum of moods and the Duke's piano. Be aware that tracks 17 to 27 are part of an Ellington medley and aren't full songs. As a result, each song is short.
JazzWax tracks: You'll find Duke Ellington & His Orchestra: Berlin 1959 (Storyville) here.
JazzWax clip: Here's Such Sweet Thunder...
Here's Creole Love Call...
And here's The Mooche...
In addition, Ellington created impressionistic works that cast Harlem not as a cartoonish enclave or the nocturnal playground of wealthy white couples but a neighborhood of families, a romantic place of poetic beauty and an area with its own intelligentsia and culture. Songs of this genre included Black and Tan Fantasy (1927), Harlem River Quiver (1927), Ebony Rhapsody (1934) and Echoes of Harlem (1936). They not only captured Harlem life but also gave Black jazz musicians a sense of pride and self-worth.
So yes, Ellington's genius was spiritual, combining orchestral syncopation with the essence of the Black church and community. His works rubbed off on many Black and white jazz artists who incorporated beauty and grace into their own works.
Speaking of Ellington, Storyville Records has just released Duke Ellington & His Orchestra: Berlin 1959, a terrific live album with great sound and luxurious music. Partially released in past years on shabby bootlegs, this album gives us this concert with pristine sound. Don't cherry-pick songs when listening. The only way to enjoy this album is by listening from start to finish. Only then can you absorb the depth of the Ellington band's full spectrum of moods and the Duke's piano. Be aware that tracks 17 to 27 are part of an Ellington medley and aren't full songs. As a result, each song is short.
JazzWax tracks: You'll find Duke Ellington & His Orchestra: Berlin 1959 (Storyville) here.
JazzWax clip: Here's Such Sweet Thunder...
Here's Creole Love Call...
And here's The Mooche...
This story appears courtesy of JazzWax by Marc Myers.
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