Meet the Artist
Duke Ellington didn’t call it jazz. He called his music “American Music,” and liked to describe those who impressed him as “beyond category.”
But no one deserves that description more than Duke.
Throughout the 2023–2024 season, the Kennedy Center commemorates Duke Ellington’s 125 birthday with institution-wide celebrations of the American icon who changed how the world heard music. An outstanding musician, charismatic band leader, and prolific composer, the Washington, D.C. native was an innovator across an expansive and eclectic range of styles…from pop and theatrical to swing, fusion, and beyond. See what’s coming and join the party!
Wednesday, 10 April, 2024 20:00 (PDT)
Eisenhower Theatre The John F. Kennedy Center for the Performing Arts 2700 F St NW, Washington, DC 20566, USA
Solo Ellington Jason Moran
Guided by Duke Ellington’s great canon, Jason Moran takes a solo piano climb up “Mount Ellington” in this extraordinary celebration of the composer’s enduring legacy. Experience the timeless genius of Ellington’s music, brilliantly reimagined by Moran and paired with iconic images of The Duke by legendary photographer Gordon Parks.
Tuesday, 16 April, 2024 19:30 (PDT), TERRACE THEATRE
Beyond Category: The Concert Music of Duke Ellington
Jazz pianist Ellington Carthan takes us on a journey through Duke Ellington’s extraordinary yet little-known concert pieces, including Black, Brown, and Beige, the suite from the ballet The River, and the debut of Scott Silbert’s orchestration of Caravan featuring guest conguero Felix Contreras.
Wednesday 24 April, 2024 18:00 (PDT) Millennium Stage (In-Person and LivestreamOn Sale Wednesday, April 10, 2024 10:00 (PDT)
The Jefferson High School Jazz Band
Part of Jazz at Lincoln Center’s Regional Essentially Ellington Jazz Festival at Shenandoah University
Under the direction of JP Lynch, this performance by the award-winning band from Shenandoah Junction, WV, is a preview for the May 2, 2024 Regional Jazz at Lincoln Center Essentially Ellington Festival in Winchester, VA. The performance will include hits such as Take the 'A' Train, In a Mellow Tone and others.
Part of Ellington 125
Online advance reservations for a given performance date will open on a rolling basis, opening every Wednesday two weeks out from the date.
Details here.
Wednesday, 24 April, 2024 19:00 (PDT)
Terrace Theatre
Celebrating Ellington Tomeka Reid
Described as a “New Jazz Power Source” by the New York Times, cellist extraordinaire Tomeka Reid presents her groundbreaking new work inspired by Duke Ellington. Be among the first to witness this Kennedy Center co-commission as Reid seamlessly captures the essence of Ellington, all while propelling jazz into bold new territories.
Duke Ellington School of the Arts Presents...
Jazz City Celebrating the 125th Birthday of Edward Kennedy 'Duke' Ellington
Terrace Theatre
Thursday, 25 April, 2024 19:30 (PDT)
D.C.’s Duke Ellington School of the Arts presents its anticipated annual celebration of the school’s legendary namesake! Join DESA’s extraordinary Jazz Combo, Jazz Orchestra, and The Mellow Tones—along with special guest pianist Clifton Williams—as they bring to life the timeless music and remarkable legacy of the Washington, D.C. icon.
D.C.’s Duke Ellington School of the Arts presents its anticipated annual celebration of the school’s legendary namesake! Join DESA’s extraordinary Jazz Combo, Jazz Orchestra, and The Mellow Tones—along with special guest pianist Clifton Williams—as they bring to life the timeless music and remarkable legacy of the Washington, D.C. icon.
Friday, 26 April, 2024, 19:00 and 21:00 (PDT), TERRACE THEATRE
Three Keys to Ellington:
Justin Kauflin, José André Montaño, Matthew Whitaker
Justin Kauflin, José André Montaño, Matthew Whitaker
At this Duke Ellington–inspired piano showcase, we spotlight three ferociously talented award-winning musicians: Justin Kauflin, José André Montaño, and Matthew Whitaker. Join us for an evening that will delight the jazz piano lover in your life.
This performance is part of The Rosemary Kennedy Performing & Visual Arts Series.
Tickets
Saturday, 27 April, 2024 18:00 (PDT)On Sale Wednesday, 10 April, 2024 10:00 (PDT)
MILLENNIUM STAGE (IN-PERSON AND LIVESTREAM)
Jazz Houston Orchestra
Vincent Gardner, Music Director
Bring your dancing shoes and hit our dance floor with this special dance version of Millennium Stage, complete with swingin’ live music of Duke Ellington performed by the 15-piece Jazz Houston Orchestra, Vincent Gardner, Music Director. Honored guest in attendance, Mercedes Ellington.
Please note: This is a standing room only show. Seating will be provided to patrons with disabilities.
Part of Ellington 125
Online advance reservations for a given performance date will open on a rolling basis, opening every Wednesday two weeks out from the date.
Monday, 29 April, 2024 20:00 (PDT)
Concert Hall
Duke Ellington Sacred Concert
Cyrus Chestnut
At this once-in-a-lifetime event, Cyrus Chestnut brings his epic interpretation of Duke Ellington’s Sacred Concerts to life. Don’t miss a rare performance of this joyful music embracing the gospel, jazz, blues, swing, and classical styles that defined The Duke’s work and spirituality.
Saturday, 6 April 20:00 (CET)
Opéra de Saint-Etienne, Grand Théâtre Massenet
Duke Ellington and Edvard Grieg
As in a previous season, here come together for a concert the Big Band of the Saint-Étienne Conservatory and the Saint-Étienne Loire Symphony Orchestra, under the dual direction of conductor Marc Leroy-Calatayud, and the conductor of the Big Band, Ludovic Murat.
The evening begins with two mirrored works. The Peer Gynt Suite offers some major musical themes from this work composed by Grieg in 1875, to accompany Ibsen's play. In 1958, Duke Ellington recorded extracts from the Peer Gynt Suites, in big band formation. These are the versions that Ludovic Murat's training offers us, echoing the original version. A swinging rereading of these among the most famous tunes in the repertoire, which will delight the audience.
The evening will end with two pieces by Duke Ellington performed by the two groups together. Harlem, created in 1951, was born from a commission by Arturo Toscanini, but was ultimately created by Duke Ellington himself. The work was also the subject of a new recording in Paris in 1961, mixing big band and symphony orchestra. The last work of the evening, extremely rare, will particularly speak to the heart of the Loire audience. In February 1966, Duke Ellington stayed at Goutelas, and supported the work of rebuilding the castle by addressing his hosts in these terms: “I have been welcomed in a multitude of diverse places. But never in a place like Goutelas. I am happy and proud to be here in a house which was built and rebuilt by good people, for a good cause: I salute you, brothers! » He composed Goutelas Suite in memory of this memorable day, for our greatest pleasure and the honour of the region.
Story of Maestro!
With Marc Leroy-Calatayud, conductor, and Ludovic Murat, jazz professor at the Massenet Conservatory, one hour before the performance. Free on presentation of the day's ticket.)
Details here.
Thursday 4 April 2024, 20:00Bibliothèque du cinéma François Truffaut Forum des Halles, niveau -3, 4 rue du cinéma, Paris 1e
Duke Ellington and Cinema: Anatomy of a MurderLeïla Olivesi
The François Truffaut cinema library, the Paris Music Media Library and the Paris Conservatory are joining forces to offer you an encounter around the music of Duke Ellington in the film Anatomy of a Murder by Otto Preminger.
Duke Ellington was a pioneer in many fields, he collaborated with all the arts (poetry, literature, dance, theater) and his works crossed the recording industry, radio, television and cinema. He appears in numerous films playing himself: Black and Tan Fantasy, Symphony in Black... On an idea from Orson Welles, he created a specific show for television in 1957: A Drum is a Woman.
Otto Preminger's film Anatomy of a Murder is a masterpiece in which music plays a crucial role. Leïla Olivesi, Ellington specialist, pianist and composer, invites us to delve into the genesis of this work and its music in collaboration with her alter ego Billy Strayhorn.
About Leïla Olivesi:
Leïla Olivesi is a conductor, pianist and composer. 2022 winner of the Django Reinhardt Prize from the Jazz Academy, Leïla Olivesi was born at Moulin d’Andé in Normandy. She graduated in philosophy and musicology at the Sorbonne. She notably received first prize in the Ellington Composers composition competition, the Sacem prizes and a favorite from the Académie Charles Cros. Her sixth album Astral brings together the best of French jazz including Jean-Charles Richard, Baptiste Herbin, Géraldine Laurent and Manu Codjia to create "original and harmonious music at the cutting edge of modernity" (France Musique). She has composed several pieces of music film for Karim Miské and Ilana Navaro.
Thursday April 4 - 7 p.m. - François Truffaut Cinema Library - By registration on 01 40 26 29 33 or by email: bibliotheque.cinema@paris.fr)
Details here
Sunday 7 April, 2024
15:00 and 17:00 (CET)
Sunset Side, 60 Rue des Lombards, Paris e1
Jazz & Goûter fête Duke Ellingtonavec Leïla Olivesi
Single price of 15 euros per person (adult and child from 2 years old).
Jazz & Goûter, the concept that is a hit every Sunday at snack time, is back for a 16th season. You have the choice between two sessions: 3 p.m. or 5 p.m. and even 11 a.m. for certain dates! Find our tributes: Walt Disney, Ella Fitzgerald & Billie Holiday, the Beatles, Stevie Wonder, Ray Charles, Elvis Presley, Frank Sinatra, Miles Davis… as well as our essential themes: Musicals, Christmas Carols, Halloween, Carnival of Mardi Gras, Nursery Rhymes... The meeting place for children and parents every Sunday.
Please note: Jazz & Goûter is a concert and we recommend children aged 2-3 years and above. Snack formula on sale for €5 on site (cake, sweets, drink) duration of the concert 50/60mm. Doors opening 30mm in advance
Details here.
Friday 12, Saturday 13 April 2024
Le Patio de La Roche 38-40 rue des Halles - 16110 La Rochefoucauld-en-Angoumois
Concert-Conference Hommage à Duke Ellington: Ellington Flowers
Winner of the prestigious Django Reinhardt Prize awarded by the Jazz Academy to reward the best musician of the year in 2022, pianist Leïla Olivesi began performing with the P'tits Loups du jazz troupe at the age of thirteen. years. Born in Normandy, Leïla grew up in Paris in the artistic and cosmopolitan excitement of her family environment. Her latest album ASTRAL received critical acclaim: “CHOC Jazz Mag”, “Indispensable Jazz News” and she was elected “conductor of the year” by the editorial staff of BestOf 2023. Leïla also gives conferences on jazz and Duke Ellington, is preparing a musicology thesis on the same Duke and is currently vice-president of the Maison du Duke in Paris.
Prices: Ticket: €13 / Meal: €15 Concert at 7:30 p.m., buffet around 9 p.m. Reservation required on site, by email or by telephone 05 45 61 34 06)
Details here
Wednesday 3 April, 2024, 20:00 (CET) Le Bal Blomet, 33 rue Blomet 75015 Paris Multicolored Ellington Laurent Mignard Duke Orchestra avec Rachelle Plas
Special Guest : Rachelle Plas, (harmonica) – vice-championne du monde de Judo
Didier Desbois, Aurélie Tropez, Olivier Defays, Carl Schlosser, Philippe Chagne (saxophones, clarinettes)
Claude Egea, Sylvain Gontard, Gilles Relisieux, Malo Mazurié (trompettes)
Nicolas Grymonprez, Lucas Spiler, Jerry Edwards (trombones)
Philippe Milanta (piano)
Bruno Rousselet (contrebasse)
Julie Saury (batterie)
Laurent Mignard (direction)
Throughout his long career, Duke Ellington has built his work around the values of openness, respect, love, tolerance and kindness. At the dawn of the 2024 Olympic Games, his music represents a wonderful opportunity to celebrate fraternity “with a view to encouraging the establishment of a peaceful society, concerned with preserving human dignity” according to Baron Pierre de Coubertin. From America to Oceania, via Africa, South America, the Near and Middle East, Japan and Europe, an exceptional sound palette to celebrate friendship between peoples.
avec le soutien de la Spedidam, de l’Adami et de la Maison du Duke
« Le grand orchestre que nous envie l’Amérique » – Jazz Magazine
« L’esprit d’Ellington dans un corps d’aujourd’hui » – Télérama
Information here.
Sunday, 21 April 15:00 (EDT)
Ellington Effect Workshop 38: Harlem Part 3
David Berger
Bring your dancing shoes and hit our dance floor with this special dance version of Millennium Stage, complete with swingin’ live music of Duke Ellington performed by the 15-piece Jazz Houston Orchestra, Vincent Gardner, Music Director. Honored guest in attendance, Mercedes Ellington.
Please note: This is a standing room only show. Seating will be provided to patrons with disabilities.
Part of Ellington 125
Online advance reservations for a given performance date will open on a rolling basis, opening every Wednesday two weeks out from the date.
Monday, 29 April, 2024 20:00 (PDT)
Concert Hall
Duke Ellington Sacred Concert
Cyrus Chestnut
At this once-in-a-lifetime event, Cyrus Chestnut brings his epic interpretation of Duke Ellington’s Sacred Concerts to life. Don’t miss a rare performance of this joyful music embracing the gospel, jazz, blues, swing, and classical styles that defined The Duke’s work and spirituality.
Saturday, 6 April 20:00 (CET)
Opéra de Saint-Etienne, Grand Théâtre Massenet
Duke Ellington and Edvard Grieg
Single price of 15 euros per person (adult and child from 2 years old).
Jazz & Goûter, the concept that is a hit every Sunday at snack time, is back for a 16th season. You have the choice between two sessions: 3 p.m. or 5 p.m. and even 11 a.m. for certain dates! Find our tributes: Walt Disney, Ella Fitzgerald & Billie Holiday, the Beatles, Stevie Wonder, Ray Charles, Elvis Presley, Frank Sinatra, Miles Davis… as well as our essential themes: Musicals, Christmas Carols, Halloween, Carnival of Mardi Gras, Nursery Rhymes... The meeting place for children and parents every Sunday.
Please note: Jazz & Goûter is a concert and we recommend children aged 2-3 years and above. Snack formula on sale for €5 on site (cake, sweets, drink) duration of the concert 50/60mm. Doors opening 30mm in advance
Details here.
Friday 12, Saturday 13 April 2024
Le Patio de La Roche 38-40 rue des Halles - 16110 La Rochefoucauld-en-Angoumois
Concert-Conference Hommage à Duke Ellington: Ellington Flowers
Winner of the prestigious Django Reinhardt Prize awarded by the Jazz Academy to reward the best musician of the year in 2022, pianist Leïla Olivesi began performing with the P'tits Loups du jazz troupe at the age of thirteen. years. Born in Normandy, Leïla grew up in Paris in the artistic and cosmopolitan excitement of her family environment. Her latest album ASTRAL received critical acclaim: “CHOC Jazz Mag”, “Indispensable Jazz News” and she was elected “conductor of the year” by the editorial staff of BestOf 2023. Leïla also gives conferences on jazz and Duke Ellington, is preparing a musicology thesis on the same Duke and is currently vice-president of the Maison du Duke in Paris.
Prices: Ticket: €13 / Meal: €15 Concert at 7:30 p.m., buffet around 9 p.m. Reservation required on site, by email or by telephone 05 45 61 34 06)
Details here
Wednesday 3 April, 2024, 20:00 (CET) Le Bal Blomet, 33 rue Blomet 75015 Paris Multicolored Ellington Laurent Mignard Duke Orchestra avec Rachelle Plas
Special Guest : Rachelle Plas, (harmonica) – vice-championne du monde de Judo
Didier Desbois, Aurélie Tropez, Olivier Defays, Carl Schlosser, Philippe Chagne (saxophones, clarinettes)
Claude Egea, Sylvain Gontard, Gilles Relisieux, Malo Mazurié (trompettes)
Nicolas Grymonprez, Lucas Spiler, Jerry Edwards (trombones)
Philippe Milanta (piano)
Bruno Rousselet (contrebasse)
Julie Saury (batterie)
Laurent Mignard (direction)
Throughout his long career, Duke Ellington has built his work around the values of openness, respect, love, tolerance and kindness. At the dawn of the 2024 Olympic Games, his music represents a wonderful opportunity to celebrate fraternity “with a view to encouraging the establishment of a peaceful society, concerned with preserving human dignity” according to Baron Pierre de Coubertin. From America to Oceania, via Africa, South America, the Near and Middle East, Japan and Europe, an exceptional sound palette to celebrate friendship between peoples.
avec le soutien de la Spedidam, de l’Adami et de la Maison du Duke
« Le grand orchestre que nous envie l’Amérique » – Jazz Magazine
« L’esprit d’Ellington dans un corps d’aujourd’hui » – Télérama
Sunday, 21 April 15:00 (EDT)
Ellington Effect Workshop 38: Harlem Part 3
David Berger
Join us for the 38th Zoom webinar in David Berger's Ellington Effect workshop series, which will focus on Ellington's iconic composition Harlem. The Ellington Effect workshops are monthly Zoom meetings where David dives into a single composition each time, analyzing it musically line by line, as well as relating pertinent stories about Duke and the band, and answering questions from attendees. This one will take place on Sunday, April 21st at 3:00pm EDT.
Get a ticket here, or an annual membership here.
Harlem
The greatest composers are in the pantheon for their numerous (if not consistent) great works, but some pieces stand out—Beethoven’s Ninth Symphony, Mozart’s Overture to The Marriage Of Figaro, Stravinsky’s Rite Of Spring. These pieces are iconic, well-known and performed often all over the world. For Ellington, it is his 1950 A Tone Parallel To Harlem, which unlike the previously mentioned masterpieces isn’t well-known even to most jazz musicians and certainly isn’t performed often.
Originally commissioned by Arturo Toscanini’s NBC Symphony (Toscanini never conducted it and most likely had nothing to do with its commission), Ellington composed Harlem for his band while traveling from Europe back to New York by steamship. It’s unclear who wrote the orchestral orchestration. It was assumed to be Luther Henderson, who orchestrated most of Ellington’s orchestral works, but Luther said that it wasn’t him. In any event, the orchestral version rather that adding to the scope of the band piece, robs it of its unique and concise color and jazz feeling. At best, it is superfluous.
Ellington first performed the band version at the Metropolitan Opera House in New York City January 21, 1951 and recorded it on the LP Ellington Uptown for Columbia December 7, 1951. The reasons for the long delay are that the piece is extremely difficult to perform and that its 14-minute length required a long-playing record, which Columbia had just started issuing. Columbia didn’t release Ellington Uptown until 1953—smack dab in the middle of Ellington’s supposed artistic drought.
Harlem is the only long-form work of Ellington’s that he continued to perform. In fact, it remained in his book for 25 years. He performed Harlem on TV often and regularly on concerts. He even re-recorded it in the studio. There exist numerous live recordings, most notably The Great Paris Concert. Alas, there is no definitive recording of the piece. The first recording is clean, but Paris feels lived in (more personality from the players) and negotiates the tempo changes better.
So, what is it that makes this piece so great? Following Tattooed Bride, which combined three essentially dance charts into a longer story, Harlem also consists of three parts, but aside from the middle section with its blues choruses, this piece develops motifs without the crutch of song forms.
There are tempo and groove changes that rarely, if ever, occurred in jazz before, and certainly not so successfully. The difficulty of leaving the safety of the ballroom are the hazards of not swinging and of feeling contrived. Ellington’s previous attempts in 1931’s Creole Rhapsody and 1943’s Black, Brown, And Beige were awkward and lacked continuity. 1948’s Tattooed Bride was limited in this regard but more integral and convincing.
Aside from the bass and drums (there is no piano), there is no improvisation in Harlem. Every note is written. It’s a marvel of development. Duke takes us on a fascinating guided tour of his beloved Harlem, where he had lived for over a quarter of a century.
Harlem was the epicenter of Negro culture. A city within a city situated in the upper part of Manhattan. Previous to the 1920’s Black people lived mostly on the west side of midtown Manhattan. With the expansion of the subway system, the immigrant Jews who lived in Harlem were moved further uptown onto the mainland of the Bronx, and Manhattan’s Negro population was relocated uptown to Harlem. East Harlem, which had been Italian, was gradually taken over by Hispanics from the Caribbean and subsequently renamed Spanish Harlem.
This all coincided with the Great Migration of Southern Blacks up north. Harlem was the biggest recipient. It didn’t take long for the culture to thrive. The Harlem Renaissance produced artists of every discipline but most notably the new music—jazz. Jazz had flourished in New Orleans and then Chicago, but by the mid to late 1920s, Harlem was the destination for serious jazz musicians. Only a few miles south was home to the record companies, radio networks, publishers, and the financial hub of the United States. New York was where careers were made, and Harlem was where the Black musicians lived and worked.
Famous for its nightlife, most notably the Cotton Club and the integrated Savoy Ballroom, musicians also challenged each other in smaller clubs like Smalls Paradise and Minton’s, where bebop incubated in the early 1940s.
Ellington was always quick to point out that although Harlem was known worldwide for its high- living clubs, there were more churches than bars. I don’t know if his numbers are correct—probably not, but there were a lot of churches in Harlem and a deep spirituality.
Alcohol was always a problem with some inhabitants, but after World War II, the introduction of heroin by organized crime ravaged the community and ultimately destroyed the cultural fabric. At the same time, the real estate industry created sections of Brooklyn and suburban towns exclusively for Black people. This started an exodus of more affluent Blacks from Harlem and a watering down of the culture that had been established. Oddly, the opportunity that integration brought at the same time diluted the culture to where it lost its once vital force. As always, progress doesn’t always move in a straight line.
In his depiction of Harlem, Ellington invites us into his community in its heyday. He clearly knows it and loves it—every wide boulevard, side street and corner. Albert Murray has said that Ellington’s music best describes what it feels like to be an American. A Tone Parallel To Harlem best describes what it felt to be in Harlem.
This month’s final section of Harlem centers around the spiritual theme.—fertile ground for Ellington. His previous spiritual themes were highlights of Creole Rhapsody, Symphony In Black, and Black, Brown And Beige. Harlem does not disappoint. The theme is couched in a funeral procession and climaxes in a full afirmation of glorious life. Along the way, we are treated to a brass chorale and some of the greatest contrapuntal writing in all of jazz. After the thrilling climax, there is a short drum solo leading us into the spectacular coda, which was perfectly written by Billy Strayhorn, who always knew what Duke’s music needed.
Personnel
Recorded December 7, 1951 Columbia C050717-take 1
Conductor: Duke Ellington
Reeds: Willie Smith, Russell Procope, Jimmy Hamilton, Paul Gonsalves, Harry Carney
Trumpets: Cat Anderson, Willie Cook, Shorty Baker, Clark Terry, Ray Nance, Francis Williams
Trombones: Britt Woodman, Quentin “Butter” Jackson, Juan Tizol
Bass: Wendell Marshall
Drums: Louis Bellson
N.B. Six trumpet players are listed in the personnel, Anderson, Baker, Terry, and Nance are clearly audibly identifiable. There are five written parts. Most likely Cook is playing 2nd Trumpet, and Francis Williams is not playing, but it is possible that Cook is the odd man out.
The greatest composers are in the pantheon for their numerous (if not consistent) great works, but some pieces stand out—Beethoven’s Ninth Symphony, Mozart’s Overture to The Marriage Of Figaro, Stravinsky’s Rite Of Spring. These pieces are iconic, well-known and performed often all over the world. For Ellington, it is his 1950 A Tone Parallel To Harlem, which unlike the previously mentioned masterpieces isn’t well-known even to most jazz musicians and certainly isn’t performed often.
Originally commissioned by Arturo Toscanini’s NBC Symphony (Toscanini never conducted it and most likely had nothing to do with its commission), Ellington composed Harlem for his band while traveling from Europe back to New York by steamship. It’s unclear who wrote the orchestral orchestration. It was assumed to be Luther Henderson, who orchestrated most of Ellington’s orchestral works, but Luther said that it wasn’t him. In any event, the orchestral version rather that adding to the scope of the band piece, robs it of its unique and concise color and jazz feeling. At best, it is superfluous.
Ellington first performed the band version at the Metropolitan Opera House in New York City January 21, 1951 and recorded it on the LP Ellington Uptown for Columbia December 7, 1951. The reasons for the long delay are that the piece is extremely difficult to perform and that its 14-minute length required a long-playing record, which Columbia had just started issuing. Columbia didn’t release Ellington Uptown until 1953—smack dab in the middle of Ellington’s supposed artistic drought.
Harlem is the only long-form work of Ellington’s that he continued to perform. In fact, it remained in his book for 25 years. He performed Harlem on TV often and regularly on concerts. He even re-recorded it in the studio. There exist numerous live recordings, most notably The Great Paris Concert. Alas, there is no definitive recording of the piece. The first recording is clean, but Paris feels lived in (more personality from the players) and negotiates the tempo changes better.
So, what is it that makes this piece so great? Following Tattooed Bride, which combined three essentially dance charts into a longer story, Harlem also consists of three parts, but aside from the middle section with its blues choruses, this piece develops motifs without the crutch of song forms.
There are tempo and groove changes that rarely, if ever, occurred in jazz before, and certainly not so successfully. The difficulty of leaving the safety of the ballroom are the hazards of not swinging and of feeling contrived. Ellington’s previous attempts in 1931’s Creole Rhapsody and 1943’s Black, Brown, And Beige were awkward and lacked continuity. 1948’s Tattooed Bride was limited in this regard but more integral and convincing.
Aside from the bass and drums (there is no piano), there is no improvisation in Harlem. Every note is written. It’s a marvel of development. Duke takes us on a fascinating guided tour of his beloved Harlem, where he had lived for over a quarter of a century.
Harlem was the epicenter of Negro culture. A city within a city situated in the upper part of Manhattan. Previous to the 1920’s Black people lived mostly on the west side of midtown Manhattan. With the expansion of the subway system, the immigrant Jews who lived in Harlem were moved further uptown onto the mainland of the Bronx, and Manhattan’s Negro population was relocated uptown to Harlem. East Harlem, which had been Italian, was gradually taken over by Hispanics from the Caribbean and subsequently renamed Spanish Harlem.
This all coincided with the Great Migration of Southern Blacks up north. Harlem was the biggest recipient. It didn’t take long for the culture to thrive. The Harlem Renaissance produced artists of every discipline but most notably the new music—jazz. Jazz had flourished in New Orleans and then Chicago, but by the mid to late 1920s, Harlem was the destination for serious jazz musicians. Only a few miles south was home to the record companies, radio networks, publishers, and the financial hub of the United States. New York was where careers were made, and Harlem was where the Black musicians lived and worked.
Famous for its nightlife, most notably the Cotton Club and the integrated Savoy Ballroom, musicians also challenged each other in smaller clubs like Smalls Paradise and Minton’s, where bebop incubated in the early 1940s.
Ellington was always quick to point out that although Harlem was known worldwide for its high- living clubs, there were more churches than bars. I don’t know if his numbers are correct—probably not, but there were a lot of churches in Harlem and a deep spirituality.
Alcohol was always a problem with some inhabitants, but after World War II, the introduction of heroin by organized crime ravaged the community and ultimately destroyed the cultural fabric. At the same time, the real estate industry created sections of Brooklyn and suburban towns exclusively for Black people. This started an exodus of more affluent Blacks from Harlem and a watering down of the culture that had been established. Oddly, the opportunity that integration brought at the same time diluted the culture to where it lost its once vital force. As always, progress doesn’t always move in a straight line.
In his depiction of Harlem, Ellington invites us into his community in its heyday. He clearly knows it and loves it—every wide boulevard, side street and corner. Albert Murray has said that Ellington’s music best describes what it feels like to be an American. A Tone Parallel To Harlem best describes what it felt to be in Harlem.
This month’s final section of Harlem centers around the spiritual theme.—fertile ground for Ellington. His previous spiritual themes were highlights of Creole Rhapsody, Symphony In Black, and Black, Brown And Beige. Harlem does not disappoint. The theme is couched in a funeral procession and climaxes in a full afirmation of glorious life. Along the way, we are treated to a brass chorale and some of the greatest contrapuntal writing in all of jazz. After the thrilling climax, there is a short drum solo leading us into the spectacular coda, which was perfectly written by Billy Strayhorn, who always knew what Duke’s music needed.
Personnel
Recorded December 7, 1951 Columbia C050717-take 1
Conductor: Duke Ellington
Reeds: Willie Smith, Russell Procope, Jimmy Hamilton, Paul Gonsalves, Harry Carney
Trumpets: Cat Anderson, Willie Cook, Shorty Baker, Clark Terry, Ray Nance, Francis Williams
Trombones: Britt Woodman, Quentin “Butter” Jackson, Juan Tizol
Bass: Wendell Marshall
Drums: Louis Bellson
N.B. Six trumpet players are listed in the personnel, Anderson, Baker, Terry, and Nance are clearly audibly identifiable. There are five written parts. Most likely Cook is playing 2nd Trumpet, and Francis Williams is not playing, but it is possible that Cook is the odd man out.
No comments:
Post a Comment