Edward Kennedy Ellington Part 1

Edward Kennedy “Duke” Ellington was one of the most important creative forces in the music of the twentieth century. His influence on classical music, popular music and, of course, jazz can’t be overstated. His childhood friends noticed that his casual, offhand manner and dapper dress gave him the bearing of a young nobleman, so they began calling him “Duke.” Though Ellington took piano lessons as a child, he also loved playing outdoors. In his memoir, Ellington recounts playing baseball with his friends in Washington D.C., where he was sometimes visited by President Theodore Roosevelt on horseback!

On November 3rd 1969, Duke Ellington and his orchestra held a concert in Bergen Norway. Below are just three excerpts from that concert, which featured a band that was nearly a who’s who of jazz legends: Cootie Williams, Cat Anderson, Mercer Ellington, Harold “Money” Johnson (t); Lawrence Brown (tb); Chuck Connors (btb); Russell Procope (cl,as); Norris Turney (fl,cl,as,ts); Johnny Hodges (as); Harold Ashby (ts,cl); Paul Gonsalves (ts); Harry Carney (cl,bcl,as,bar); Duke Ellington (p); Wild Bill Davis (o); Victor Gaskin (b); Rufus Jones (d). The first tune is the Ellington/Strayhorn classic, Take the A-Train, with a trumpet solo by Cootie Williams.

Don’t Get Around Much Anymore, another Ellington composition which became a standard, features a sax solo by the great Johnny Hodges.

Rufus Jones was new with Ellington at the time, having earlier been the drumming force driving the Basie band. This brief solo, called Coming Off the Veldt, shows why he was also known as Speedy Jones!

The Christian Thing

He blazed an extraordinary trail as one of the most preeminent jazz musicians of our time. As a dynamic musician, composer and arranger, as well as a dedicated educator and mentor, bassist Christian McBride has an exceedingly wide wingspan! He has appeared on more than 300 recordings as a sideman, and is an eight-time Grammy Award winner.

The upper video, Fried Pies, features pianist Christian Sands, drummer Ulysses Owens, Jr. and McBride, of course, on bass. It was recorded in 2012 at the KNKX performance studios in downtown Seattle, Washington. The lower video, Black Narcissus Part 2 recorded in 2019, represents a sequel to Black Narcissus Part 1 written in the early 70s by George Duke for Cannonball Adderley … and is something of a departure for McBride into big band territory.

The Genius of Gil Evans

Gil Evans (no relation to Bill) was a Canadian-born composer, arranger, and band leader who is considered to be one of the greatest orchestrators in jazz history. Evans had a long and productive career, but remains best known for his celebrated collaborations with trumpeter Miles Davis. Two prime examples of that collaboration can be heard in the videos below, recorded at the 1991 Montreux Jazz Festival. These performances also combined the talents of Gil and his orchestra with Quincy Jones, in addition to featuring Miles brooding solos.

The topmost video, My Ship is a popular tune written for the 1941 Broadway musical Lady in the Dark, with music by Kurt Weill and lyrics by Ira Gershwin. The second video is Evans’ brilliant arrangement of Gershwin’s ever popular jazz standard, Summertime, from Porgy and Bess. Miles Davis soulful solo captures the essence of the song and the mood of the 1935 opera. The audio below, La Nevada, is from Gil Evans’ 1960 album Out of the Cool … one of Impulse!’s first four albums, released together.

La Nevada

by Gil Evans | Out of the Cool

Swift Jazz

Veronica Swift (no relation to the popular diva) is an amazing 23-year-old jazz and bebop chanteuse, who has already appeared with some of the biggest names in the idiom.  From a family of musicians, she cut her first album, Veronica’s House of Jazz, at the age of 9 and her second at 13! She has a most amazing voice and exciting style … as evidenced by the topmost video with Chris Botti and the Dallas Symphony Orchestra, There Will Never Be Another You.  Bottom left, she appears with the Steven Feifke Big Band, rehearsing an unusual treatment of On The Street Where You Live, while bottom right Veronica stretches out with the Feifke band on the time honored standard, Until the Real Thing Comes Along.

One If By Sax, Two If By Flute

More than a jazz saxophone and flute player, James Moody was something of a vocalist and composer as well. While playing predominantly in the bebop and hard bop styles, Moody took up the alto sax at the age of 16, eventually adding the flute and tenor to his tool bag, for its deeper resonance. He played with Dizzy Gillespie in 1964, where his colleagues in the Gillespie group––pianist Kenny Barron and guitarist Les Spann––would become important musical collaborators in the coming decades.

Mmm Hmm (top video) is a Moody original, with James playing flute, Christopher White on bass, Kenny Barron at the piano, and Rudy Collins on drums. It was recorded on the French Riviera in 1965.  Parker’s Mood (lower video) is from “Eastwood After Hours: Live at Carnegie Hall,” a 1996 live performance recorded for both record and video. Moody plays the sax on this one and the tune, of course, references ‘Bird’. Along with James Moody are Barry Harris on piano, Christian McBride on Bass, Kenny Washington playing drums, and the Carnegie Hall Jazz Band, plus strings under Lennie Niehaus..

Gettin’ Dizzy

John Birks Gillespie got the name “Dizzy” because of his offhand manner and outlandish antics. He got the unusual-looking bent-bell trumpet in 1953, when someone accidentally fell on his trumpet stand backstage. Gillespie liked the sound of the altered instrument so much that his trumpets were specially made in that configuration from then on. More than a jazz trumpet virtuoso, bandleader, composer, educator and singer, he was a civil rights advocate who participated in marches and protests … and even ran for president as a write-in candidate in 1964!

No More Blues (top) was taken from a 1966 BBC television show, and features Dizzy on trumpet, James Moody on alto, Kenny Barron at the piano, Chris White on bass, and Rudy Collins playing drums. In the (middle) we have Dizzy with the United Nations Orchestra playing Tin Tin Deo in 1989 at the Royal Festival Hall in London. Also included in the mix are such notables as trombonist Slide Hampton, saxophonists James Moody & Paquito D’Rivera, trumpet player Arturo Sandoval, and guitarist Ed Cherry. Finally (bottom) is a tune called Brother K. It was named by Gillespie in1968 as a response to the assassinations of Martin Luther King, Jr. and Robert F. Kennedy that year.

Billie’s Blues

The perfect musical storm descended upon at CBS Studio 58 in New York City, on December 8, 1957. The chemistry among the musicians––between each other and with the vocalist––radiated a rare magic that occurs only when the stars are in utopian alignment. And the incredible Billie Holiday was at her bluesy best!

She was backed by a band featuring such legends as Doc Cheatham, Roy Eldridge, and Joe Newman on trumpets; Bob Brookmeyer on trombone; Jimmy Giuffre playing clarinet; Earle Warren on alto; Coleman Hawkins, Ben Webster, Lester Young playing tenors; Gerry Mulligan was on baritone; Freddie Green and Jim Hall played guitars; Count Basie, Thelonious Monk, Nat Pierce, and Mal Waldron played pianos for the session; Milt Hinton, was on bass; Papa Jo Jones and Osie Johnson alternated on drums.

Billie Holiday was Fine and Mellow (My Man Don’t Love Me).

The Old and The New – Lionel Hampton

Lionel Leo Hampton was an iconic jazz musician and bandleader, known for the rhythmic vitality of his playing and his showmanship as a performer. Best known for his work on the vibraphone, Hampton was also a skilled drummer (his original instrument), pianist, and singer.  During a recording session in 1930, while accompanying Louis Armstrong, Satchmo asked Lionel to play a vibraphone that had been fortuitously left in the studio. The results were “Memories of You” and “Shine,” the first jazz recordings to feature improvised vibraphone solos. From that point on, the vibes became Hampton’s main instrument.  Above, you’ll hear an excitingly different treatment of In The Mood, –– like Glenn Miller never played it –– featuring the St. Petersburg State Orchestra and Lionel Hampton, still at his finest in 1994.

Midnight Sun was originally an instrumental composed by Lionel Hampton and Sonny Burke in 1947; it is now considered a jazz standard. This performance was around 1948.

This Kennedy Center performance of Air Mail Special is from a 1982 tribute to Benny Goodman.  You’ll probably recognize several well-known dignitaries in the audience.

SCJME Meets The NY Voices

The South Carolina Jazz Masterworks Ensemble is a powerful 18 piece orchestra, comprised of the most outstanding jazz musicians, soloists, arrangers, and bandleaders from across the Carolinas. The group was created to perform the original American art form at the highest artistic level … and they consistently succeed in their mission, concert after amazing concert!  A few weeks ago, we had the pleasure of attending yet another in their regular series of performances, as they were joined by the New York Voices.   Although the quality is marginal, having been recorded from the audience with my iPhone, I couldn’t help but share a few bits and pieces of that musical evening here at The Mark of Jazz. It was much too enjoyable to simply leave the echoes hanging in the air over row ‘G’ seat 15!

The top video is the 1936 Louis Prima tune, Sing, Sing, Sing, followed by 3 audio segments, including a SC Jazz Masterworks Ensemble instrumental of a 1959 Frank Foster original, from the Count Basie album Chairman Of The Board.  The bottom video features everyone––including the audience––and closed the concert with the mildly raucous, Smack Dab in the Middle.

Symphony In Black – Duke Ellington

In September 1935, Paramount Pictures released a nine-minute movie that was particularly remarkable for the times … Symphony In Black: A Rhapsody of Negro Life.  It was one of the earliest cinematic explorations of African-American culture made for a mass audience.  It features Duke Ellington and his orchestra performing ‘The Duke’s’ first extended composition, “A Rhapsody of Negro Life”.   Just as noteworthy, it stars Billie Holiday in her first filmed performance.

The film represents a landmark in musical, cultural, and entertainment history and is a member of the first generation of non-classically arranged orchestral scores.   Perhaps most significantly, Symphony In Black is one of the first films written by an African-American, describing African-American life, to achieve wide distribution.