Thursday 28 March 2024

Live: April/ May 2024


Ellington 125


20 April, 2024 

Mr Tipple's, 39 Fell Street, San Francisco USA 94102

17:15 (PDT); 19:00 (PDT)


Nick Rossi presents The Jazzopaters Tribute to Duke Ellington




The Jazzopaters

Colin Hancock – Cornet

Victor Imbo – Trombone

Patrick Wolff – Alto Sax, Clarinet

Nathan Tokunaga  – Clarinet, Tenor Sax, Soprano Sax

Kamrin Ortiz – Baritone Sax, Clarinet, Alto Sax

Rob Reich – Piano

Nick Rossi – Banjo

Clint Baker– Bass

Riley Baker – Drums


NIck Rossi formed the Jazzopaters in 2023, dedicated to the “small group” Swing Era repertoire of American Music Master Duke Ellington. However, this very special performance will shift the group’s focus towards early Ellingtonia and the Jazz Age: 1924-1932. Celebrate Duke’s 125th anniversary with a program of rarely heard material and perennial favorites originally composed and arranged by the maestro. As their special guest, the group will feature Early Classic Jazz specialist Colin Hancock, who already has two Grammy nominations during his young career.

 

A lifelong West Coaster, Nick has spent the past 30 years making music in his adopted home of San Francisco. An integral part of the international Classic and Swing Jazz scene, he has performed throughout the world presenting the music in a stylish and enthusiastic manner. He is also a respected historian and educator who writes for publications such as Acoustic Guitar and the Fretboard Journal. Additionally, he has worked on archival projects for Resonance, Fresh Sounds, Ace, and RPM Records.

 

In April 2023, Nick was a featured speaker at the Annual Ellington Conference held in Paris, France. Returning from this experience with the desire to combine his love of Duke’s music, small combo swing, history, and band-leading; Nick began to develop the Jazzopaters. So named in tribute to some of the earliest Ellington Unit small band recordings released under Barney Bigard’s name, they are the only ensemble in Northern California fully dedicated to this aspect of Duke Ellington’s vast jazz repertoire.

 

Featured Player – COLIN HANCOCK

 

Colin Hancock, age 27 from Austin, Texas, is a two time-Grammy Nominated Jazz musician and historian. As a child, he was drawn to the sounds of early jazz, blues, ragtime, and old time music. Since then, he’s built his musical career around playing and recording in that style of music and the technology around it, as well as preserving historical recordings for future generations to enjoy. He currently leads the Joymakers, an 8 piece hot jazz band focused on the sounds of 1920s territory bands of the South and Southwestern US.


17:15 tickets here.


19:00 Tickets here.



24 April 2024, 20: 00 (PDT)


The Cultch, York Theatre ,639 Commercial Dr. Vancouver, BC



Beyond Category: The Music of Duke Ellington


Celebrate the 125th anniversary of the birth of Duke Ellington, one of the greatest composers of the 20th Century, with a concert featuring a selection of Ellington masterpieces performed by the 15-piece Vancouver Jazz Orchestra led by clarinetist/saxophonist James Danderfer with special guests. Don’t miss this opportunity to experience Duke’s music performed in the intimate and acoustically brilliant Historic Theatre at the Cultch.


Beyond Category: The Music of Duke Ellington is presented by Bohart


Details here



2,3,4 May 2024, 19:00 (EDT)


Duke Ellington at 125 The Lincoln Center Jazz Orchestra


The Rose Theatre, Jazz at Lincoln Center 

Broadway &, W 60th St, New York, NY 10019, USA


ABOUT THE CONCERT

Duke Ellington used his international fame for the greater good throughout his career. To celebrate the musical giant’s 125th birthday, the JLCO salutes their greatest inspiration by performing some of his more socially conscious repertoire—music directed by Ted Nash.

 

Note:  Wynton Marsalis will not perform at these concerts.

 

WHAT TO EXPECT

A celebration of 125 years of the maestro Duke Ellington.

The Jazz at Lincoln Center Orchestra salutes Ellington as a musician - and as a human.

A pre-concert lecture precedes each performance at 7pm.

Keep the party going after the show by taking your ticket stub to Dizzy's Club for a complimentary cover to that evening's Late Night Session at 11:00pm.


2 May tickets here

3 May tickets here

4 May tickets here


Wednesday 9 May- Sunday 12 May, 2024 (Times vary. Check details here)


Jazz At Lincoln Center


Dizzy's Club

10 Columbus Circle, New York, NY 10019


Juilliard Jazz Orchestra: Duke's Long Pieces The Liberian Suite, The Degas Suite and Night Creature




The 19-piece Juilliard Jazz Orchestra, led by Juilliard faculty member and renown scholar Loren Schoenberg, performs Duke’s music from the 1930's through the 1970's. They will perform swing charts such as Shout 'em, Aunt Tillie, long form works such as A Tone Parallel to Harlem, selections from The Liberian Suite and The Uwis Suite, and vocal features such as Flamingo and, from the Perfume SuiteStrange Feeling. All will delight and inspire you. 


Saxophones

Langston Hughes II, Lead Alto

Sophia Kickhofel

Nick Caldwell, Lead Tenor

Aiden McKeon

Kelvin Walters, Baritone

 

Trumpets

Summer Camargo, Lead

Jack Towse

Geoff Gallante

 

Voice

Gillian Margot

 

Trombones

Andre Perlman, Lead

Nate Jones

Nick Mesler

 

Rhythm

William Schwarzmann, Piano

Bruce Acosta, Guitar

Pedro Sequeira, Vibraphone

Guillermo Lopez, Bass

Matt Lee, Drums


Tickets here.


Essentially Ellington


Jazz At Lincoln Center


9-11 May, 2024




Top 15 high school jazz bands in the U.S. commemorate Duke Ellington’s 125th birthday at Jazz at Lincoln Center’s Annual Essentially Ellington High School Jazz Band Competition & Festival on 9-11 May, 2024.


In celebration of Duke Ellington’s 125th birthday, Jazz at Lincoln Center offersnever-before-available scores of Ellington’s music to high school bands across the globe.



No figure looms larger in the story of jazz than Duke Ellington whose artistic development and sustained achievement are among the most spectacular and influential in the history of music. 

 

On 9-11 May, commemorating the 125th birthday of Duke Ellington —America’s most prolific composer of the 20th century in both number of pieces and variety of forms— the top 15 high school-aged jazz bands from across the country will converge at Jazz at Lincoln Center’s home, Frederick P. Rose Hall, in New York, NY. 

 

Students will spend three days immersed in workshops, jam sessions, rehearsals, and performances, and compete for top honors in Jazz at Lincoln Center’s 29th annual Essentially Ellington High School Jazz Band Competition & Festival, the nation’s premier jazz education event.

 

The 2024 Essentially Ellington High School Jazz Band Finalists:

 

Agoura High School (Agoura Hills, CA) 

Directed by Chad Bloom

 

Alexander W. Dreyfoos School of the Arts (West Palm Beach, FL)

Directed by Christopher M. De León

 

Beloit Memorial High School (Beloit, WI)

Directed by Chris Behrens

 

Bothell High School (Bothell, WA)

Directed by Philip Dean

 

Byron Center High School (Byron Center, MI)

Directed by Marc Townley

 

Garfield High School (Seattle, WA)

Directed by Jared Sessink

 

King Philip Regional High School (Wrentham, MA)

Directed by Michael Keough

 

Newark Academy (Livingston, NJ)

Directed by Julius Tolentino 

 

Orange County School of the Arts (Santa Ana, CA)

Directed by John Reynolds 

 

Osceola County School for the Arts (Kissimmee, FL)

Directed by Jason Anderson

 

Plano West Senior High School (Plano, TX)

Directed by Preston Pierce

 

Roosevelt High School (Seattle, WA)

Directed by Hannah Mowry

 

Susan E. Wagner High School (Staten Island, NY)

Directed by Paul Corn

 

Triangle Youth Jazz Ensemble (Raleigh, NC)

Directed by Gregg Gelb

 

Youth Jazz Ensemble of DuPage (DuPage, IL)

Directed by Robert Blazek

 

 

These finalists were selected from more than 100 high school jazz bands that submitted recordings of three tunes from the Essentially Ellington library. 

 

Details here


In addition to the Competition & Festival in New York City each May, Essentially Ellington co-produces non-competitive, education-focused festivals designed to offer high school jazz bands of all levels the opportunity to perform the music of Duke Ellington and other seminal big band composers and arrangers at various locations across the country. Participating bands receive professional feedback from JALC clinicians and other jazz professionals in their own backyard.

2024 Regional Festivals will take place at the following locations:


EAST LANSING, MI
Saturday, April 13, 2024
Michigan State University
For more information, please contact Cookey Whitaker at cookeywhitaker@gmail.com.

LIVINGSTON, NJ
Saturday, April 13, 2024
Newark Academy
For more information, please contact Julius Tolentino at jtolentino@newarka.edu.

LAS CRUCES, NM
Friday, April 19, 2024
New Mexico State University
Click here for more information.

WINCHESTER, VA
Thursday, May 2, 2024
Shenandoah Conservatory
For more information, please contact Matt Niess at mattniess@mac.com or (703) 732-2639.


24 May, 2024
Stanford Jazz Workshop, Campbell Recital Hall
541 Lasuen Mall, Stanford, CA 94305, USA
19:30 (PDT)

Duke's Small Groups Nick Rossi's Jazzopaters Play Ellington

ABOUT THE MUSIC AND MUSICIANS

Join us for an exhilarating evening where jazz history comes alive! Acclaimed guitarist and Ellington aficionado, Nick Rossi, leads his dynamic Jazzopaters on a captivating journey into the heart of Duke Ellington’s electrifying small group repertoire.

Beyond the grandeur of his big band, Duke crafted intimate masterpieces for nimble 7-10 piece ensembles, drawing out the brilliance of his star soloists. Immerse yourself in the captivating sounds of these rarely performed gems, composed between the mid-1930s and mid-1940s, a pivotal era in jazz history.

This is more than just a concert — Nick Rossi will invite you to discuss the fascinating context behind these musical treasures. Explore how Ellington’s artistic vision intertwined with the economic and social forces of the time. Discover how these small groups compared to the work of Swing Era contemporaries and their lasting impact on jazz.

Nick and his Jazzopators — which includes rising young stars such as Nathan Tokunaga, Riley Baker, and James Dunning as well as Bay Area jazz masters like SJW faculty artist Patrick Wolff — will delve into the lives and contributions of the original composers and Ellington’s iconic soloists, placing them within the rich tapestry of Ellingtonia and jazz history. Prepare to be introduced to legendary names like Billy Strayhorn, Johnny Hodges, and Ben Webster, as we uncover the magic they conjured within these smaller ensembles.

This night is for music lovers, history buffs, and anyone curious to discover a hidden facet of Ellington’s genius. Get ready to tap your feet, engage your mind, and be transported to a bygone era where swing reigned supreme.

PERSONNEL

Nick Rossi, guitar and leader
Patrick Wolff, alto saxophone and director
Nathan Tokunaga, clarinet
Kamrin Ortiz, baritone saxophone
James Dunning, trumpet
Victor Imbo, trombone
Rob Reich, piano
Mikiya Matsuda, bass
Riley Baker, drums


Nick writes:

"Tickets are available now for the Nick Rossi's Jazzopaters: an Ellingtonia Unit at the Stanford Jazz Workshop as part of their Jazz Inside Outseries on Friday, 24th  May at the Campbell Recital Hall on Stanford University campus. This will be a great opportunity to see and hear the band perform their core Swing Era repertoire in a true concert setting with the bonus of a deep level of audience + artist interaction."


Details here


And, finally, the ship may have already sailed on this. Nick Rossi writes:

"I am very proud to announce that Nick Rossi's Jazzopaters: an Ellingtonia Unit will be performing at this year's Healdsburg Jazz gala dinner event at Montage Healdsburg, on Friday, April 19th. And for fundraising event's Roaring '20s theme, we are putting together a program of Jazz Age Duke Ellington material for your listening and dancing pleasure. Join us up in Healdsburg for an elegant night in support of a great Bay Area arts organization.


... Pleased and proud to announce that this year's Healdsburg Jazz Gala featuring a special 1920s Jazz Age Ellingtonia performance from the Jazzopaters is SOLD OUT! Thank you for everyone who purchased tables and tickets. There is a waitlist for those interested."

 

 




Returns may be available. Details here.



 

Tuesday 26 March 2024

Live: April 2024



Meet the Artist

Duke Ellington influenced millions of people both around the world and at home. He gave American music its own sound for the first time. In his fifty year career, he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live on and will endure for generations to come.


It is advisable to book any event listed here in advance when possible and check with the promoter/ organiser to ensure any performance is going ahead as planned before travelling.


Beyond Category

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.

Tickets





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.

Tickets



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.


Tickets


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.

Tickets

Friday, 26 April, 2024, 19:00 and 21:00 (PDT), TERRACE THEATRE


Three Keys to Ellington:
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.

Tickets

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, 20:00
Bibliothèque du cinéma 
François Truffaut Forum des Halles, niveau -3, 4 rue du cinéma, Paris 1e

Duke Ellington and Cinema: Anatomy of a Murder
Leïla 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 Ellington
avec 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



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.