For the third and final part of this post on Jason Moran, here is the video of a full concert with the pianist in the context of a big band, in this case, the Frankfurt Radio Big Band.
When playing the music of Duke Ellington and Billy Strayhorn, our preference here always is for the full instrumentation the charts for which the original charts called. There are big band performances of Ellington's music and then there are big band performances...
The video is over an hour of powerhouse performance where the ensemble really dig in to deep, truthful renditions of the music, inspired, if not spurred on, by Jason Moran's leadership from the keyboard and his astonishing flights.
Listen out particularly for the performance of Northern Lights segueing into just the first theme of East St Louis Toodle-Oo - a pile driver of a performance which does to Ellington's original band theme what Jason Moran does to Black and Tan Fantasy in the previous two parts of this post... It is Ellington for the ages...
Scaling Mount Ellington: Questions with... Jason Moran
How has the music and legacy of Duke Ellington inspired you throughout your career?
Ellington’s scale is so expansive that there is not one aspect of my career that he has not influenced. Let’s start with how Ellington plays the piano—ferociously inventive. His attack of the keys goes deeper than the key... into the root of the soil he plays from. When I think about Ellington’s compositions, I get a sense that he used his piano and band to map the world. His map was not only geographical, but emotional. This combination gave listeners a sense that Ellington was writing for and about them. He also collaborated widely with writers, fashion designers, choreographers, set designers, filmmakers, and (most famously) with his right hand, Billy Strayhorn. This wide sense of collaboration is something I mirror in my own life.
Duke Ellington has such a rich, extensive catalogue. What was your process of curating this program and choosing which works to highlight?
I chose a set of songs that fit my hand and also challenge my hand. I am led by instinct when selecting repertoire... which songs call out... and because I am a student of Thelonious Monk, who is a student of Ellington, I know that the greatest challenge is to tailor the song. Monk and Ellington are incredible stylists. I model that as well and am tailoring the songs to fit the themes and modes of today.
This concert is described as “a celebration of Ellington’s enduring legacy,” but also as a reimagination of his music. How did you go about reimagining these works and adding your own personal artistry to them—in better terms, what tools have you relied on in “scaling Mount Ellington” for this project?
I think of this set list as trail mix. I must have songs that give me energy and songs that allow me the time to take in the view. Ellington writes so openly that the piano can help me map not only the time, but the steps I take on the path.
What was it like to collaborate with photographer Gordon Parks on this project in a never-before-seen addition to the program? What are you hoping it will add?
Gordon Parks’ archive is immense. In the mid-’60s, he was on the road with Duke Ellington, following him into hotels, recording studios, television studios, conversations on balconies, etc. In these intimate portraits, we see a more private Ellington. Many of these images have never been seen in public. These images help us also settle into the face of Ellington—a distinct face with an equally distinct vision. Parks captures these characteristics with such elegance, and his images will enhance the journey.
You’re performing this concert in D.C., the birthplace of Ellington and the home of many jazz supporters. How does it feel to be able to celebrate Duke Ellington in a place that is so steeped in his history?
D.C.’s music history is immense, and Ellington has had a lasting impact in this city. I am bringing the flowers for Duke and am thrilled to share in this celebration of his life with my Kennedy Center family.
