Duke becomes critic; biggest bands reviewed by Ellington
BY DUKE ELLINGTON
California Eagle, Los Angeles, Cal.
27 July, 1939
NEW YORK July 27 – The only outstanding conviction that we know concerning the contemporary dance field is that it is essentially as yet unexplored. There is so much that remains to be done and even to be attempted. We have previously stated that we consider the influence of commercialism the most flourishing and potent evil to be combatted in our field of endeavour. Standardized commercial requirements are apt to dull the ambitions of our outstanding musicians and influence them to satisfy themselves with a musical formula calculated to please, not themselves, but the general public.
It is to be hoped that those musicians who are today standing at the top of the ladder of success will continue to permit their musical spirit of independence to function sufficiently to allow for constant experimentation and innovation, which qualities are the principal ingredients of musical progress. In commenting upon the better aspects of the outstanding contemporary bands of today we herald with a musical fanfare every significant instance of the spirit of musical independence.
AND HERE THEY ARE:
Tommy Dorsey— Has won, and justly so, the appreciation of all sincere musicians by his policy of attempting to play well many and varied types of music.
Benny Goodman— Has outstandingly proven himself to be a great leader by the fact that he has consciously separated himself, one by one, from the stars of his band and yet still shows himself to be tops.
Paul Whiteman– Deserves credit for discovering and recognizing ability or genius in composers whose works would not normally be acceptable to dance bands.
Bob Crosby— A band with an amazing amount of color. We feel that here the fan has attained a very luxurious lustre perhaps through absorption. However that may be, a truly gutbucket band, capable of really getting down there.
Jimmie Lunceford — A greatly underrated band. Capable of mighty fine interpretations the result of sincere thought and of rehearsal to the perfection point: rehearsal until the arrangements are matured. Much of the music of this band has been overlooked. He has developed a definitely individual style, mood, and color, and has never been successfully imitated.
Fred Waring– Waring has shown broad scope and a wide range, notably having put the popular musical glee club on the musical map. He is the finished product of the stage.
Count Basie— Basie's outstanding musical quality has been unpretentious and he and his boys have stuck to their guns all the way to success. Undoubtedly the greatest rhythm section in the business, they are the greatest exponent of that emotional elements [sic] of bouncing bouyancy [sic] otherwise known as swing.
Artie Shaw— Artie has used his band to great advantage in rhapsodizing his solos to the point of making them finished products in the concerto classification.
Don Redman — Redman has performed phenomenal feats in orchestration and has created several magnificent things, many of which have been copied although Redmond has rated no credit lines. We shall never forget the "Chant of the Weed" and its effectiveness.
Cab Calloway— Calloway is definitely the most dynamic personality to ever front a band. He established characters who existed in the realm of dreams, characters who attained their altitude on a curl of smoke but to us it seems unfortunate because his almost immortal characters have overshadowed his better singing. His band continues to improve all along but only to be overshadowed by Calloway's tremendous personality. I always resent the statement that "Minnie The Moocher" is not pure jazz.
Louis Armstrong— Louis also is a great personality, we say also great, not because he is lesser, but because we cannot think of further terms. Unless possibly to say he is heroic-size standard in trumpet. He is also a brilliant comedian.'
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