Latin Jazz Perspectives: 5 Great Versions of Classic Ellington

Pianist, composer, and band leader Edward Kennedy “Duke" Ellington has long symbolized the epitome of class and style in the straight-ahead jazz world. Born in Washington DC on April 29, 1899, the young Ellington moved in and out of music before deciding to become a professional pianist in his late teens. The young pianist struggled for a while, but by the late twenties, had formed a full big band, started composing pieces, and nailed down regular gigs at high profile New York venues like the Cotton Club and more. From there, Ellington's career flourished as his music became part of the country's popular consciousness and favorites among the growing jazz world. His image became the face of jazz first through movie appearances from the twenties through the forties, and later through television. The consistency of his performance career swayed in popularity as the attention of the country's population moved from jazz to rock and more, but Ellington never let the music stop. He simply continued to make high quality music from open sessions with younger artists to large scale multi-movement works, creating an unforgettable canon of essential jazz repertoire. He always handled himself with grace and dignity, whether playing at small clubs or receiving the Presidential Medal of Freedom. Ellington was a spokesperson for the music, an important composer, and a visionary musician who became an iconic figure in the music's history.

Jazz musicians hold an intimate relationship with Ellington's repertoire, a fact that extends to the wide ranging spectrum of Latin Jazz. As the man himself said, “There are two kinds of music—good music and the other kind." Ellington's music certainly falls under the good category and Latin Jazz musicians have found countless ways to play his music in their world. Ellington's compositions have been played in clave, re-arranged, twisted, and manipulated to find a place among Caribbean and South American rhythms for many years. Although Ellington himself never delved into the world of Latin music in a deep or authentic fashion, the connection with the jazz side of the music holds enough strength to ensure quality arrangements today. With many interpretations of Ellington behind us, we can surely imagine that we will Ellington's music inhabiting the Latin Jazz world for years to come.

In recognition of Ellington and his influence upon the greater musical world, I've gathered several Latin Jazz interpretations of his compositions. Today, I'm starting with five outstanding tracks that cover some of the master's more popular compositions. We can find numerous examples of Ellington's work being played in a Latin Jazz setting though, so this is just the beginning. I'll be back with more Latin Jazz versions of Ellington in the near future, so come back for more. For now, enjoy these versions of classic Ellington tunes!

“Take The A Train"
Latin Jazz Live From Cuba, German Velazco and Jorge Reyes
The solid compositional structure of Ellington's work provides a great opportunity to apply creative twists, as shown in this raucous live perform of the iconic “Take The A Train" from saxophonist German Velazco and bassist Jorge Reyes. A busy bass line sends the rhythm section charging into a frenzied son montuno, setting the stage for Velazco's fairly straight-ahead melodic reading. Once Velazco makes his way into his improvisation thought, the song becomes his improvisational playground. The saxophonist tears the rhythm section's frenetic pace, spinning virtuosic lines both in and out of the key center. His aggressive barrage of melodic lines evolve into a conversation, inspiring response from all corners of the rhythm section. The groups comes back down for a solo from pianist Emilio Morales, making space for a series of reserved tipico phrases. The respite only last for a moment though, as Morales bursts into a crazed attack of percussive chords and dissonant lines that brings the tension back to the forefront. A brief return to the melody transitions into an energetic exchange of ideas from conguero Adel González and drummer Osmani Sanchez, taking the song to a completely new level. Ellington's work becomes a vehicle for wild creative energy here, allowing Velazco, Reyes, and their group to view the master from a very unique perspective.

“In A Mellow Tone"
Rhythms And Reeds . . . A Tribute To The Master Duke Ellington, Henry Brun & The Latin Playerz
One of the endearing qualities of Ellington's work is the simple beauty of his compositions, a fact that percussionist Henry Brun and his group The Latin Playerz expose elegantly on their version of “In a Mellow Tone." On an album revolving around Latin Jazz interpretations of Ellington's music, Brun sets this track apart by breaking his large ensemble down to a trio on this track, utilizing saxophonist Gabriel Pintor, pianist Travis Davis, and himself on congas. Davis opens the piece with a steady cha cha cha groove, playing the guajeo and bass line while Brun swings a solid tumbao in the background. Pintor Provides a no-frills version of the melody, nailing into the heart of the original idea while Davis and Brun stay in a firmly supportive role. He flies into a bop-tinged improvisation over half of the form, winding attractive melodies through the classic chord changes. Davis takes the second half of the form, outlining the harmony with a bluesy appeal. Brun limits his embellishment to a minimum, preferring to let the song take the spotlight. Taste and musicality take the spotlight on this track, shining a clear light upon the depth of Ellington's work and making the charm and splendor of the composition.

“Homenaje A Ellington"
New Conceptions, Chucho Valdes
This one is kind of cheating since Valdes weaves three Ellington classics together, but it's simply too good to miss. An unaccompanied stride piano introduction from Valdes leads right into a driving cha cha cha version of the Ellington standard “Satin Doll." After and energetic interpretation of the melody, Valdes tears through the changes with a soulful and bluesy approach. The group builds excitement with a rhythmic interlude that places the songs in a Cuban realm, but the master pianist stays true to the source material, transitioning the group into the original shout section. An abrupt stop break allows Valdes to set-up a stirring version of the classic ballad “In A Sentimental Mood." Saxophonist Roman Filiu O'Reilly plays the melody with a full range of dynamics while the rhythm section provides a rock solid bolero. O'Reilly transitions into a emotionally charged improvisation which cleverly mixes ideas from the melody with original ideas. Valdes takes a quick spin through the changes, displaying his innate gift for thematic development. A sudden stop to the groove finds Valdes jumping into a frantic piano vamp while the rhythm section flies into a double time rumba on the Juan Tizol classic “Caravan" made famous by the Ellington band. Valdes flies through an assertive improvisation while the rhythm section switches between rumba and swing, leading into a dramatic conclusion full of rhythmic variety. This whirlwind ride through these Ellington classics shows the combined power of Ellington's music and Valdes' massive musicality.

“Prelude To A Kiss"
Mejor Que Nunca, Manny Oquendo & Libre
Manny Oquendo and Libre have been known for their hard hitting Nuyorican approach to salsa for a long time, but their repertoire always included jazz classics. This witty approach to Ellington's classic ballad “Prelude To A Kiss" brings together the best of both worlds. The group eases into the piece with a bolero foundation, as the wind players elegantly perform an introduction with a symphonic texture. The trombones provide a rich chordal texture as trumpet player Charlie Sepulveda delicately interprets the melody. All these elements come together into a gentle performance of a jazz classic, far from the driving groove of a major salsa band. As the group reaches the end of the melody, the vocalist enters with a lyrical twist, digging into the classic “Misterio De Tus Besos." The band stays close to Ellington's harmony behind the vocals, creating a shimmering beauty to the whole combination. As the band returns to the original chord changes, flautist Dave Valentin moves into a reflective improvisation that smoothly wraps itself around the fragile setting. The group seamlessly transitions back into the vocal, bringing the song to a delicate close. Libre makes a several major statements here about the flexibility of Ellington's work, the power of a smart salsa band, and the depth of their ingenuity.

“Cotton Tail"
Portraits in Jazz & Clave, Ray Barretto & New World Spirit
Ellington wrote several beautiful songs, but he also knew how to piece together a rollicking good time, something that percussionist Ray Barretto taps into on his up-tempo version of “Cotton Tail." Saxophonist Joe Lovano gets the party started with a boisterous series of licks flying wildly over the sole accompaniment of Barretto's solid tumbao. The full wind section joins Lovano for the main melody while Barretto riffs around the familiar theme and drummer Vince Cherico provides a steady cascara. Guitarist Kenny Burrell races into an honest display of bop mastery in a serious solo filled with tradition and blues tinged soul. Burrell pushes the group into a frenzy with his classic lines and repeated variations, making a connection with a rhythm on a heart-felt basis. The wind players leap into sharp background lines behind Burrell which grow into a full-fledged shout section, making an exciting transition into Lovano's solo. The saxophonist enthusiastically leaps into his improvisation, spinning long streams of note filled bop lines flavored with an edgy tone and strong forward motion. As Lovano continues to evolve his lines, the group breaks down to just the soloist and drummers, allowing Lovano to enter an active conversation with Cherico. As things build to a climax, the full group returns with a marathon of background lines that send Lovano into high gear. Ending the song with a drastic contrast, the group breaks down to a wild melodic exchange between Lovano and Barretto that combines the main theme with the whims of the two master musicians.