Ellington Reflections

Drummer/Composer/Arranger Louie Bellson (1924-2009) was a musician's musician. Although he was only with the Ellington for a short period, he created a huge impact in the Ellington legacy. Continue reading →

Duke Ellington premiered "The Perfume Suite" at his third Carnegie Hall concert in December, 1944. Continue reading →

“In 1946, we might remind ourselves, the American South was a one-party apartheid society, the Klu Klux Klan still operated without police intervention and lynchings were still an accepted form of justice; in Congress, Southern senators and representatives prevented the … Continue reading →

The second part of a survey of Russell Procope's work with the Ellington band. Continue reading →

“Russell Procope…. a man of dignity and gentility, of clean and gentlemanly appearance. What is more, he became a conscientious, all-around musician, one always to be depended on.” Duke Ellington, Music is my Mistress This documentary features interviews of Russell … Continue reading →

“So I went out and wrote Creole Rhapsody, and I did so much music for it that we had to cut t up and do two versions. One came out on Brunswick and the other, longer one, on Victor. Irving … Continue reading →

The second part of a survey of seldom covered Ellington compositions. Continue reading →

Another look at less commonly covered Ellington compositions. Continue reading →

“Meanwhile, I was looking around for musicians who were sympathetic to my musical ideas and would fit my plans. I now wanted to incorporate Duke Ellington’s harmonic approach and tone colors with Count Basie’s rhythmic drive.” Charlie Barnet, Those Swinging … Continue reading →

“Charlie Barnet has always been a wonderful friend to me. Because of his musicianship, good judgement, and good taste, he has always had people working for him whose potential was immense. Some who come to my mind are Lena Horne, … Continue reading →

A small sampling of Ellington songs played by his sidemen outside of the setting of the Ellington orchestra. Continue reading →

The third episode featuring the recordings of clarinetist/saxophonist Jimmy Hamilton Continue reading →

Part two of recordings featuring Jimmy Hamilton Continue reading →

“[Jimmy Hamilton] usually manages anything musical that he sets his mind to, and there, I think, is the key to any attempt at describing him. He has the capacity to discipline himself and the diligence to study in order to … Continue reading →

Featuring the singing trumpeters of the Duke Ellington Orchestra. Continue reading →

Here's a selection of what my iPod says are my most listened-to Ellington songs. Continue reading →

“Tyree, to me, is a very beautiful trombone player. He plays real good legit trombone, and when he applied the plunger to it his tone remained very precise and clean, so that you were tempted to like it better than … Continue reading →

Joya Sherrill was a featured vocalist with the Ellington orchestra from 1944 to 1946, but returned periodically in subsequent years. One of Ellington's best vocalists, she deserves wider recognition. Continue reading →

Valve trombonist Juan Tizol (1900-84) was an important member of the Ellington band. Besides instrumental duties, he was a composer, arranger and copyist. Continue reading →

“Sometimes we would write something that seemed or was expected to be below bland, but when Sam added his thing to it, immediately it took on a new dimension, exotic, zesty, or maybe lecherous soul. Sam the Man, who began … Continue reading →

Billy Strayhorn wrote "Take the "A" Train," which became the band's theme song in 1941. We survey a number of diverse treatments from a thirty year period. Continue reading →

Rex Stewart played cornet in the Ellington and from 1934-45. Part II of a look at Stewart's work with the band and the years beyond. Continue reading →

Rex Stewart played cornet in the Ellington and from 1934-45. Part I of a look at Stewart's work with the band. Continue reading →

Most Duke Ellington tribute concerts and recordings rely on just a handful of his compositions (Mood Indigo, Satin Doll, In A Sentimental Mood, etc.). The Duke Ellington Society refers  to these songs as “the usual suspects.” While they are worthy … Continue reading →

Dr. Lisa M. Clark’s thesis, Synchrony of the Sublime: A Performer ‘s Guide to Duke Ellington’s Wordless Melodies for Soprano can be found here Adelaide Hall [1901-1993] “The Victor recording of Creole Love Call introduces a device which Ellington was … Continue reading →