Duke Orchestra fait revivre l'un des plus grands jazzmen de l'histoire.
Tout au long de sa longue carrière, Duke Ellington a marqué le XXe siècle de son empreinte, construisant son œuvre autour des valeurs d’ouverture, de respect, d’amour, de tolérance, de bienveillance et bien sûr de fraternité. Mêlant l’esprit du blues à l’invention orchestrale la plus raffinée, le Duke a toujours défendu l’idée d’un art pour tous, universel, délivrant un langage original et intemporel, bâti sur l’imagination, l’intelligence et l’esthétisme sonore, par-delà les styles, les époques et les frontières.
Composé d’un très beau plateau de solistes, le Duke Orchestra guide le public en terres ellingtoniennes dans un voyage époustouflant et l’emporte dans un tourbillon d’énergie et de contrastes. Laurent Mignard a minutieusement transcrit le répertoire à partir des enregistrements originaux à la recherche du parfait équilibre des timbres et d’un swing irréprochable. Le Duke Orchestra est incontestablement une grande référence du jazz.
(Duke Orchestra brings to life one of the greatest jazz players in history.
Throughout his long career, Duke Ellington left his mark on the 20th century, building his work around the values of openness, respect, love, tolerance, benevolence and of course fraternity. Mixing the spirit of the blues with the most refined orchestral invention, the Duke has always defended the idea of an art for all, universal, delivering an original and timeless language, built on imagination, intelligence and sound aesthetics, beyond styles, eras and borders.
Made up of a very fine line-up of soloists, the Duke Orchestra guides the audience into Ellingtonian lands on a breathtaking journey and takes them into a whirlwind of energy and contrasts. Laurent Mignard has meticulously transcribed the repertoire from the original recordings in search of the perfect balance of timbres and impeccable swing. The Duke Orchestra is undoubtedly a great reference in jazz.)
An exhilarating story told in dance, SUGAR HILL is set to the music of the genre-defying collaboration between jazz icons bandleader/composer Duke Ellington and gay composer Billy Strayhorn in a captivating way that has never been done before.
SUGAR HILL reveals the glamour of the 1930s as seen through the lens of the nonconformist daughter of a high-society Black family in Manhattan and her fantastic dreamworld in the Sugar Hill neighborhood of Harlem. A jazz-steeped reimagining of the classic tale, this Nutcracker dance-story sends a stirring message that champions individuality and the journey to find the power of your unique self: “Go find what makes you different to find your magic”.
With a libretto and concept by Jessica Swan, this original production is directed with choreography by Emmy Award Winner and Tony, Drama Desk and Outer Critics Award Nominee Joshua Bergasse, with choreography by Jade Hale-Christofi. The show features a world-renowned creative team of dance superstars, with additional choreography by Caleb Teicher and Emmy Award nominee Jon Boogz, and dance consultation from Lifetime Achievement Tony Award Winner Graciela Daniele. Orchestrations and Arrangements are by Grammy® Award Winner John Clayton and three-time Tony Award® Nominee Larry Blank. Casting by Mungioli Theatricals, Inc.
Ellington’s wonderful Sacred Music is both serious and swinging. It is a reverent and hip body of jazz composition, written late in his career, for jazz big band, vocal and instrumental soloists, and tap dancers.
For the past 30+ years Earshot Jazz and Seattle Repertory Jazz Orchestra have partnered to present an annual concert of Ellington’s Sacred Music. The Seattle Repertory Jazz Orchestra, led by Artistic Director Michael Brockman (who co-founded SRJO alongside Clarence Acox Jr.), features the 17-piece big band with trumpeters Jay Thomas, Nathan Breedlove, Michael Van Bebber, and Brad Allison; trombonists Dan Marcus, Scott Brown, Jerome Smith, Bill Anthony, and David Bentley. Rhythm includes Randy Halbertstadt (piano), D’Vonne Lewis (drums), Milo Peterson (guitar), and Phil Sparks (bass). This year’s vocal soloists are Robert Neal (baritone voice) and Nichol Eskridge (alto voice), the tap dancer is Cipher Goings and the two choirs are Sound of the Northwest directed by Vanessa Bruce, and Northwest Chamber Chorus directed by Jeremy Edelstein.
Note about the livestream option:
Tickets to livestream and in-person concerts are sold separately. At the time of purchase, you will receive a confirmation email with a url link to access the concert stream. A reminder email will be sent out shortly before the event begins.
The livestream concert begins at 7:30PM PST. Ticket-holders will be able to access the concert as a “video on demand” with the same link, once the initial livestream concert has aired, until January 10, 2024. Once the concert has aired live, please allow at least 24 hours for viewing as our staff needs time to set up the “video on demand” manually. Thank you for your understanding.
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Jazz At Lincoln Center's Essentially Ellington competition for 2024 has launched. The playlist (available via the usual streaming services and published below via YouTube) was launched on 20 November.
Duke Ellington and his Orchestra
Chicago, IL
9 January 1934
RCA-Victor recording session
Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Louis Bacon(t,v)Lawrence Brown, Joe Nanton(tb); Barney Bigard(cl,ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch)
Delta Serenade
Delta Serenade
Stompy Jones
Duke Ellington and his Orchestra
Chicago, IL
10 January 1934
RCA-Victor recording session
Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Louis Bacon(t,v)Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Otto Hardwick(cl,as,bsax); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch)
Solitude
Blue Feeling
Duke Ellington and his Orchestra
Los Angeles, CA
12 April 1934
RCA-Victor recording session
Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts) Johnny Hodges(ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Ebony Rhapsody v IA
Cocktails For Two (Take 1)
Cocktails For Two (Take 2)
Live And Love Tonight
Duke Ellington and his Orchestra
Los Angeles, CA
17 April 1934
RCA-Victor recording session
Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts) Johnny Hodges(cl,ss,as); Otto Hardwick(cl,as,bsax); Harry Carney(cl,bcl,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch)
I Met My Waterloo
Duke Ellington and his Orchestra
Los Angeles, CA
24 March 1934
Paramount film recording session
Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts) Johnny Hodges(cl,ss,as); Otto Hardwick(cl,as,bsax); Harry Carney(cl,bcl,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch), Mae West (v)
My Old Flame v MW
Film sound track from Paramount's Belle Of The Nineties
Duke Ellington and his Orchestra
Los Angeles, CA
9 May 1934
RCA-Victor recording session
Arthur Whetsel, Cootie Williams(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Troubled Waters v IA
Troubled Waters v IA
My Old Flame v IA
Duke Ellington and his Orchestra
New York City, NY
13 September 1934
ARC recording session
Arthur Whetsel, Cootie Williams, Freddie Jenkins(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Otto Hardwick(cl,as,bsax); Harry Carney(cl,bcl,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d,ch)
Solitude
Saddest Tale
Moonglow
Sump'n' Bout Rhythm
Duke Ellington and his Orchestra
Chicago, IL
9 January 1935
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Billy Taylor(bb); Sonny Greer(d,ch); Ivie Anderson(v)
Admiration Stomp
Farewell Blues
Let's Have A Jubileev IA
Cootie Williams, Rex Stewart(t); Juan Tizol(tb); Harry Carney(bar); Duke Ellington(p); Fred Guy(g); Wellman Braud(sb); Sonny Greer(d); n/k(mc)
Moonlight Fiesta(Porto Rican Chaos) (Session 1 - Take 2)
Duke Ellington and his Orchestra
5 March 1935
ARC recording session
Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Wellman Braud,Billy Taylor(sb); Sonny Greer(d,ch)
Margie
Cootie Williams, Rex Stewart(t); Juan Tizol(tb); Johnny Hodges(as); Harry Carney(bar); Duke Ellington(p); Fred Guy(g); Wellman Braud, Billy Taylor(sb); Sonny Greer(d); n/k(mc)
Moonlight Fiesta(Porto Rican Chaos)(Session 2 - Take 2)
Moonlight Fiesta(Porto Rican Chaos) (Session 2 - Take 1)
Duke Ellington Sextet
Same session
Rex Stewart(t); Johnny Hodges(ss,as); Harry Carney(bar); Duke Ellington(p); Wellman Braud,Billy Taylor(sb)
Tough Truckin' (Take 2)
Tough Truckin' (Take 1)
Indigo Echoes (Take 2)
Indigo Echoes (Take 1)
Duke Ellington and his Orchestra
New York City, NY
30 April 1935
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Billy Taylor(sb); Sonny Greer(d,ch)
In A Sentimental Mood
Showboat Shuffle
Merry Go Round
Admiration Stomp
Duke Ellington and his Orchestra
New York City, NY
19 August 1935
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Ben Webster(ts); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Billy Taylor(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Cottonv IA
Truckin'v IA
Accent On Youth
Duke Ellington and his Orchestra
New York City, NY
12 September 1935
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Billy Taylor, Hayes Alvis(sb); Sonny Greer(d,ch)
Reminiscing in Tempo Part 1
Reminiscing in Tempo Part 2
Reminiscing in Tempo Part 3
Reminiscing in Tempo Part 4
Duke Ellington and his Orchestra
Chicago, IL
20 January 1936
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as);Otto Hardwick (cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Billy Taylor(sb); Sonny Greer(d,ch); Ivie Anderson(v)
I Don't Know Why I Love You So (Take 2)
I Don't Know Why I Love You So (Take 1)
Dinah Lou vIA (Take 3)
Dinah Lou vIA (Take 1)
Duke Ellington and his Orchestra
New York City, NY
27 February 1936
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Billy Taylor(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Isn't Love The Strangest Thing? vIA
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Otto Hardwick(cl,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Hayes Alvis(sb); Sonny Greer(d,ch); Ivie Anderson(v)
(There Is) No Greater Love
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Hayes Alvis(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Clarinet Lament
Echoes Of Harlem
Duke Ellington and his Orchestra
New York City, NY
28 February 1936
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Pete Clark(as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Hayes Alvis(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Love Is Like A Cigarette v IA
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Pete Clark(as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Billy Taylor, Hayes Alvis(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Kissin' My Baby Goodnight v IA
(Billy Taylor out)
Oh Babe! Maybe Someday v IA
Duke Ellington and his Orchestra
New York City, NY
17 July 1936
ARC recording session
Arthur Whetsel, Cootie Williams, Rex Stewart(t); Lawrence Brown, Joe Nanton, Juan Tizol(tb); Barney Bigard(cl,ts); Johnny Hodges(ss,as); Pete Clark(as); Harry Carney(cl,as,bar); Duke Ellington(p); Fred Guy(g); Hayes Alvis(sb); Sonny Greer(d,ch); Ivie Anderson(v)
Shoe Shine Boy v IA
It Was A Sad Night In Harlemv IA
Trumpet In Spades
Yearning For Love
Interesting to compare Leonard Feather's Notes on the Program from two different brochures: Kleinhan's Music Hall, Buffalo, New York, the 1950s (1951? The ticket is torn - further research needed!) and the famous Metropolitan Opera House Concert on 21 January 1951.
El 24 de novembre de 1969, Duke Ellington va protagonitzar un històric concert de música sacra a Santa Maria del Mar que va ser un crit a la llibertat en ple franquisme, com ens explica el crític de jazz, Jaume Tauler i director del programa ‘Jaz It’.
On November 24, 1969, Duke Ellington starred in a historic sacred music concert in Santa Maria del Mar that was a cry for freedom in the midst of Francoism, as jazz critic Jaume Tauler and director of the program 'Jaz It'.
Una figura clau de la música
A key figure in music
Duke Ellington va visitar Barcelona per primer cop el 25 de gener de 1966 per dos concerts de tarda i nit al Palau de la Música. En aquella ocasió va actuar acompanyat de la cantant Ella Fitzgerald, en el moment més àlgid de la seva carrera. Joan Rosselló, propietari del Jamboree, va ser l’organitzador del concert i fruit de l’èxit va iniciar el Festival de Jazz de Barcelona el 1966.
Duke Ellington visited Barcelona for the first time on January 25, 1966 for two afternoon and evening concerts at the Palau de la Música. On that occasion he performed accompanied by the singer Ella Fitzgerald, at the height of his career. Joan Rosselló, owner of the Jamboree, was the organizer of the concert and, as a result of its success, started the Barcelona Jazz Festival in 1966.
Ellington està considerat un dels compositors de jazz més importants de la història, però també se’l considera un dels compositors de tota mena de música més importants del segle XX. La seva orquestra és responsable d’èxits com In a sentimental mood, Perdido, Caravan o Take the 'A' train, entre moltes d’altres sintonies que s’han fet inoblidables.
Ellington is considered one of the most important jazz composers in history, but he is also considered one of the most important composers of all kinds of music of the 20th century. His orchestra is responsible for hits such as In a sentimental mood, Perdido, Caravan or Take the 'A' train, among many other tunes that have become unforgettable.
L’any 1969, el Festival Internacional de Jazz de Barcelona va arribar a la seva quarta edició. A les tres anteriors, havia portat les figures més grans del moment. Es podia considerar, doncs, un festival consolidat. A l’edició del 69, va recuperar Ellington en dos àmbits diferents: el 23 de novembre, amb un concert al palau on s’interpreten els seus grans èxits; el 24, a Santa Maria del Mar per interpretar els seus concerts sacres. Els concerts sacres eren una oprtunitat per Ellington de mostrar al món la seva religiositat.
Per als assintents al concert, la peça més important era “Freedom”, llibertat. En aquesta peça, diferents cantants de la coral, en aquest cas, la Coral Sant Jordi dirigida per Oriol Martorell, cridaven la paraula llibertat en diferents llengües, entre elles, el català. Quan això va succeir, la resposta del públic va ser entusiasta.
Ellington diu a les seves memòries que al concert de Barcelona el públic es va integrar al gran final de l’obra, es va aixecar de les cadires, va sortir als passadissos i es va posar a ballar. Aquesta reacció va fer que Ellington recordés aquest concert la resta de la seva vida.
In 1969, the Barcelona International Jazz Festival reached its fourth edition. In the previous three, he had brought the biggest figures of the moment. It could therefore be considered a consolidated festival. In the 1969 edition, Ellington was brought back in two different areas: on November 23, with a concert at the palace where his greatest hits were performed; on the 24th, in Santa Maria del Mar to perform his sacred concerts. The sacred concerts were an opportunity for Ellington to show the world his religiosity.
For those attending the concert, the most important piece was "Freedom". In this piece, different singers from the choir, in this case, the Sant Jordi Choir directed by Oriol Martorell, shouted the word freedom in different languages, including Catalan. When this happened, the public response was enthusiastic.
Ellington says in his memoirs that at the Barcelona concert the audience joined the great finale of the work, got up from their chairs, went out into the corridors and began to dance. This reaction made Ellington remember this concert for the rest of his life.
L’any següent, el 1970, Ellington va tornar a Europa i va presentar el seu segon concert sacre a la ciutat francesa d’Orange. Tenia tan bon record del concert de Barcelona, que va tornar a cridar la Coral Sant Jordi.
El novembre de 1973, la vuitena edició del Festival Internacional de Jazz de Barcelona, va tornar a contractar Ellington per interpretar el seu tercer concert sacre. Però el representant d’Ellington va oblidar comunicar-li l’objecte del contracte a l’artista i aquest es va presentar a Barcelona sense ni tan sols la partitura del concert sacre. Ellington, per tant, va haver d’improvisar bona part del concert, que tot i ser un gran concert, no va arribar a l’alçada del de 1969.
The following year, in 1970, Ellington returned to Europe and presented his second sacred concert in the French city of Orange. He had such good memories of the concert in Barcelona, that he called the Sant Jordi Choir again.
In November 1973, the eighth edition of the Barcelona International Jazz Festival, he hired Ellington again to perform his third sacred concert. But Ellington's representative forgot to communicate the purpose of the contract to the artist and he showed up in Barcelona without even the score of the sacred concert. Ellington, therefore, had to improvise a large part of the concert, which, despite being a great concert, did not reach the level of the 1969 one.
