Duke Ellington The Duke at His Best. Add to Custom List. Add to My Collection. AllMusic Rating. 6. User Ratings (0) Your Rating Ko Ko. Duke Ellington. Duke Ellington. Spotify Amazon: Harlem Air Shaft. Duke Ellington. Duke Ellington. 6/ Ellington, Duke - Duke at His Best - faharderimarneusobisecocontge.co Music. Skip to main content Hello, Sign in. Account & Lists Sign in Account & Lists Returns & Orders. Try Prime Cart. CDs & Vinyl Go Search Hello /5(5). Scopri pubblicazioni, recensioni, brani, consigli, e molto altro su Duke Ellington And His Orchestra - At His Very Best in Discogs. Completa la tua Collezione su Duke Ellington And His Orchestra/5(30).
Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. By his orchestra consisted of six brass instruments, four reeds, and a four-man rhythm section. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself.
Ellington signed exclusively to Brunswick in and stayed with them through late albeit with a short-lived —34 switch to Victor when Irving Mills temporarily moved him and his other acts from Brunswick. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson.
Radio exposure helped maintain Ellington's public profile as his orchestra began to tour. While the band's United States audience remained mainly African-American in this period, the Ellington orchestra had a significant following overseas, exemplified by the success of their trip to England and Scotland in and their visit to the European mainland.
The British visit saw Ellington win praise from members of the serious music community, including composer Constant Lambertwhich gave a boost to Ellington's interest in composing longer works. Those longer pieces had already begun to appear. He had composed and recorded "Creole Rhapsody" as early as issued as both sides of a 12" record for Victor and both sides of a 10" record for Brunswickand a tribute to his mother, "Reminiscing in Tempo", took four 10" record sides to record in after her death in that year.
It introduced Billie Holidayand won an Academy Award as the best musical short subject. For agent Mills the attention was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South inthey avoided some of the traveling difficulties of African-Americans by touring in private railcars.
These provided easy accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.
Competition was intensifying, though, as swing bands like Benny Goodman 's began to receive popular attention. Swing dancing became a youth phenomenon, particularly with white college audiences, and danceability drove record sales and bookings.
Jukeboxes proliferated nationwide, spreading the gospel of swing. Ellington's band could certainly swing, but their strengths were mood, nuance, and richness of composition, hence his statement "jazz is music, swing is business".
FromEllington began to make recordings with smaller groups sextets, octets, and nonets drawn from his thenman orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges"Yearning for Love" for Lawrence Brown"Trumpet in Spades" for Rex Stewart" Echoes of Harlem " for Cootie Williams and "Clarinet Lament" for Barney Bigard.
InEllington returned to the Cotton Club, which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year. Mills though continued to record Ellington. After only a year, his Master and Variety labels the small groups had recorded for the lattercollapsed in lateMills placed Ellington back on Brunswick and those small group units on Vocalion through to Billy Strayhornoriginally hired as a lyricist, began his association with Ellington in Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine".
It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. Some of the musicians who joined Ellington at this Ko-Ko - Duke Ellington - The Duke At His Best (CD) created a sensation in their own right. Terminal illness forced him to leave by late after only about two years. Ben Websterthe orchestra's first regular tenor saxophonist, whose main tenure with Ellington spanned tostarted a rivalry with Johnny Hodges as the orchestra's foremost voice in the sax section.
Additionally, Nance added violin to the instrumental colors Ellington had at his disposal. Privately made by Jack Towers and Dick Burris, these recordings were first legitimately issued in as Duke Ellington at Fargo, Live ; they are among the earliest of innumerable live performances which survive. Nance was also an occasional vocalist, although Herb Jeffries was the main male vocalist in this era until while Al Hibbler who replaced Jeffries in continued until Ivie Anderson left in for health reasons after 11 years, the longest term of any of Ellington's vocalists.
Once more recording for Victor fromwith the small groups being issued on their Bluebird label, three-minute masterpieces on 78 rpm record sides continued to flow from Ellington, Billy Strayhorn, Ellington's son Mercer Ellingtonand members of the orchestra. Louis Toodle-Oo ". Ellington and his associates wrote for an orchestra of distinctive voices who displayed tremendous creativity. Ellington's long-term aim, though, was to extend the jazz form from that three-minute limit, of which he was an acknowledged master.
In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington.
The first of these, Black, Brown and Beigewas dedicated to telling the story of African-Americans, and the place of slavery and the church in their history. Black, Brown and Beige debuted at Carnegie Hall on January 23,beginning an annual series of Ellington concerts at the venue over the next four years. While some jazz musicians had played at Carnegie Ko-Ko - Duke Ellington - The Duke At His Best (CD) before, none had performed anything as elaborate as Ellington's work.
Unfortunately, starting a regular pattern, Ellington's longer works were generally not well received. A partial exception was Jump for Joya full-length musical based on themes of African-American identity, debuted on July 10,at the Mayan Theater in Los Angeles.
Hollywood luminaries such as actors John Garfield and Mickey Rooney invested in the production, and Charlie Chaplin and Orson Welles offered to direct. Ellington objected in the interval, and compared Jeffries to Al Jolson.
The change was reverted, and the singer later commented that the audience must have thought he was an entirely different character in the second half of the show. Although it had sold-out performances, and received positive reviews,  it ran for only performances until September 29,with a brief revival in November of that year. Its subject matter did not make it appealing to Broadway; Ellington had unfulfilled plans to take it there. The settlement of the first recording ban of —43leading to an increase in royalties paid to musicians, had a serious effect on the financial viability of the big bands, including Ellington's Orchestra.
His income as a songwriter ultimately subsidized it. Although he always spent lavishly and drew a respectable income from the orchestra's operations, the band's income often just covered expenses. Musicians enlisting in the military and travel restrictions made touring difficult for the big bands and dancing became subject to a new tax, which continued for many years, affecting the choices of club owners.
As the cost of hiring big bands had increased, club owners now found smaller jazz groups more cost-effective. Some of Ellington's new works, such as the wordless vocal feature "Transblucency" with Kay Daviswas not going to have a similar reach as the newly emerging stars. Ellington continued on his own course through these tectonic shifts.
While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between April 6 and June 30,with the orchestra playing 74 dates over 77 days. Ellington later presented its score to music-loving President Harry Truman.
Also during his time in Europe, Ellington would compose the music for a stage production by Orson Welles. InEllington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown and, most importantly, Johnny Hodges left to pursue other ventures, although only Greer was a permanent departee. Tenor player Paul Gonsalves had joined in December  after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November During the early s, Ellington's career was at a low point with his style being generally seen as outmoded, but his reputation did not suffer as badly as some artists.
Ellington's appearance at the Newport Jazz Festival on July 7, returned him to wider prominence and introduced him to a new generation of fans. The feature " Diminuendo and Crescendo in Blue " comprised two tunes that had been in the band's book since but largely forgotten until Ellington, who had abruptly ended the band's scheduled set because of the late arrival of four key players, called the two tunes as the time was approaching midnight.
Announcing that the two pieces would be separated by an interlude played by tenor saxophonist Paul GonsalvesEllington proceeded to lead Ko-Ko - Duke Ellington - The Duke At His Best (CD) band through the two pieces, with Gonsalves' chorus marathon solo whipping the crowd into a frenzy, leading the Maestro to play way beyond the curfew time despite urgent pleas from festival organizer George Wein to bring the program to an end.
The concert made international headlines, led to one of only five Time magazine cover stories dedicated to a jazz musician,  and resulted in an album produced by George Avakian that would become the best-selling LP of Ellington's career.
According to Avakian, Ellington was dissatisfied with aspects of the performance and felt the musicians had been under rehearsed. Not until was the concert recording properly released for the first time. The revived attention brought about by the Newport appearance should not have surprised anyone, Johnny Ko-Ko - Duke Ellington - The Duke At His Best (CD) had returned the previous year, and Ellington's collaboration with Strayhorn had been renewed around the same time, under terms more amenable to the younger man.
The original Ellington at Newport album was the first release in a new recording contract with Columbia Records which yielded several years of recording stability, mainly under producer Irving Townsendwho coaxed both commercial and artistic productions from Ellington.
His hope that television would provide a significant new outlet for his type of jazz was not fulfilled. Tastes and trends had moved on without him. Festival appearances at the new Monterey Jazz Festival and elsewhere provided venues for live exposure, and a European tour in was well received. Such Sweet Thunderbased on Shakespeare's plays and characters, and The Queen's Suitededicated to Britain's Queen Elizabeth IIwere products of the renewed impetus which the Newport appearance helped to create, although the latter work was not commercially issued at the time.
The late s also saw Ella Fitzgerald record her Duke Ellington Songbook Verve with Ellington and his orchestra—a recognition that Ellington's songs had now become part of the cultural canon known as the ' Great American Songbook '. Around this time Ellington and Strayhorn began to work on film soundtrack scoring. The first of these was Anatomy of a Murder a courtroom drama directed by Otto Preminger and featuring James Stewartin which Ellington appeared fronting a roadhouse combo.
Film historians have recognized the soundtrack "as a landmark — the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, Ko-Ko - Duke Ellington - The Duke At His Best (CD), music whose source is not visible or implied by action in the film, like an on-screen band.
In the early s, Ellington embraced recording with artists who had been friendly rivals in the past, or were younger musicians who focused on later styles. The Count Meets the Duke He signed to Frank Sinatra 's new Reprise labelbut the association with the label was short-lived. Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Ko-Ko - Duke Ellington - The Duke At His Best (CD) in and Cootie Williams in The writing and playing of music is a matter of intent You can't just throw a paint brush against the wall and call whatever happens art.
My music fits the tonal personality of the player. I think too strongly in terms of altering my music to fit the performer to be impressed by accidental music. You can't take doodling seriously. He was now performing all over the world; a significant part of each year was spent on overseas tours.
Ellington wrote an original score for director Michael Langham 's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, Langham has used it for several subsequent productions, including a much later adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works.
Ellington was shortlisted for the Pulitzer Prize for Music in but no prize was ultimately awarded that year. Fate doesn't want me to be famous too young. In Septemberhe premiered the first of his Sacred Concerts. He created a jazz Christian liturgy. Although the work received mixed reviews, Ellington was proud of the composition and performed it dozens of times. This concert was followed by two others of the same type in andknown as the Second and Third Sacred Concerts.
These generated controversy in what was already a tumultuous time in the United States. Many saw the Sacred Music suites as an attempt to reinforce commercial support for organized religion, though Ellington simply said it was "the most important thing I've done". Like Haydn and MozartEllington conducted his orchestra from the piano — he always played the keyboard parts when the Sacred Concerts were performed. Duke turned 65 in the spring of but showed no signs of slowing down as he continued to make vital and innovative recordings, including The Far East SuiteNew Orleans SuiteLatin American Suite and The Afro-Eurasian Eclipsemuch of it inspired by his world tours.
It was during this time that he recorded his only album with Frank Sinatraentitled Francis A. Ellington performed what is considered his final full concert in a ballroom at Northern Illinois University on March 20, Ellington married his high school sweetheart, Edna Thompson d. Ellington was joined in New York City by his wife and son in the late twenties, but the couple soon permanently separated.
In he left his family his son was 19 and moved in with Beatrice "Evie" Ellis, a Cotton Club employee. Their relationship, though stormy, continued after Ellington met and formed a relationship with Fernanda de Castro Monte in the early s. Ellington supported both women for the rest of his life. Ellington's sister Ruth — later ran Tempo Music, his music publishing company. Ruth's second husband was the bass-baritone McHenry Boatwrightwhom she met when he sang at her brother's funeral.
Ellington died on May 24,of complications from lung cancer and pneumonia a few weeks after his 75th birthday. At his funeral, attended by over 12, people at the Cathedral of St. John the DivineElla Fitzgerald summed up the occasion: "It's a very sad day. A genius has passed. In Ellington's birthplace, Washington, D. No need to worry, however; Dizzy Gillespie was present and introduced to Reig: " Here's your piano player ".
Parker also had contacted pianist Argonne Thornton later a. Sadik Hakim Duke Ellington also wrote and recorded an unrelated song entitled "Ko-Ko" note the hyphen in at Victor's studios in Chicago. In both Takes the piece starts with a bar introduction, split into four 8-bar phrases, each likely written by Gillespie:. Following the intro in the first take Parker and Davis start to play the melody of "Cherokee". They are interrupted by someone clapping and whistling and shouting "You can't play that".
After the introduction in the second take are two bar solo choruses from Parker on the saxophone; each chorus follows the Thirty-two-bar form AABAexcept that the number of bars is doubled to 64, partly due to the extensive importance of solos in bebop music, and partly due to the extremely fast bpm tempo.
The absence of any composed material on this recording, besides the introduction and coda, is a telling example of the bebop musicians' strong emphasis on improvisation first. It is an extremely virtuosic solo, incorporating fast eighth note playing and energetic improvisation.
Parker's use of accents keep his phrasing from sounding rhythmically monotonous. This phrasing style gives his bebop soloing a vocal and melodic quality even as his tactfully executed lines fly by at nearly imperceptible speed.
The second chorus of Parker's solo opens with a two-bar quote from the notably difficult clarinet piece " High Society ", made famous by clarinetist Alphonse Picou. Charlie Parker was known to quote melodies from a variety of musical traditions in his improvised solos, and this particular solo is no exception.
After the solo from Parker is a bar drum solo from drummer Max Roach. The drums for the piece are tuned higher than normal, which gives the solo a brighter, livelier feel. Roach also pushes forward the tempo in an exciting fashion, but it pulls back collectively to the original tempo soon after Parker and Gillespie reenter. The piece finishes with a bar codaintegrating the main themes from the introduction and improvisation from Parker and Davis, and finally an abrupt ending. The ending feels unresolved, like an imperfect cadencebecause the bassist, Curly Russell plays an F as the final note.
Even without harmonic context, the F sounds like a dominant chord with no resolution due to the strong tonicization of B flat major throughout the recording. This record was reissued as Savoythe Savoy series being dedicated to Bebop. These were compilations of bebop tracks by Parker, Gillespie, Powell and Roach; on both of these latter releases the title was listed as "Co-coa".
This was also its first inch LP release. Towers dubbed a tape for an acquaintance and subsequent copies eventually appeared as a bootleg in Europe. Towers was in charge of radio broadcasting at the U. Department of Agriculture from — but remastering recordings remained a hobby and became a career after his retirement. In the s, Towers made a reproduction of the recording from areas of the groove that were less worn. Since the album was released init has been reissued in varying combinations with different album covers.
Inthe first digital release of the concert on two CDs was by Vintage Jazz. From Wikipedia, the free encyclopedia. Duke Ellington. NDSU Magazine. Fall
Discover releases, reviews, track listings, recommendations, and more about Duke Ellington And His Orchestra - At His Very Best at Discogs. Complete your Duke Ellington And His Orchestra collection/5(29). Duke Ellington’s “Ko-Ko,” which shouldn’t be confused with the later Charlie Parker composition, is a driving and slightly ominous sounding blues of a rather unusual construction. First recorded by the pianist for RCA Victor during early , it initially was a feature for two trombonists, Juan Tizol and Tricky Sam Nanton, along with. Duke and his orchestra arrived to play at the Newport Jazz Festival at a time when jazz festivals were a fairly new innovation. Ellington's band was the first and last group to play at the Newport Festival. The first, short set began at and included "The Star Spangled Banner", "Black and Tan Fantasy" and "Tea for Two".This set was played without a few of the band's members as they were.
Duke Ellington’s “Ko-Ko,” which shouldn’t be confused with the later Charlie Parker composition, is a driving and slightly ominous sounding blues of a rather unusual construction. First recorded by the pianist for RCA Victor during early , it initially was a feature for two trombonists, Juan Tizol and Tricky Sam Nanton, along with.
"Ko Ko" (also spelled "Ko-Ko" or, less frequently, "KoKo") is a bebop recording composed by Charlie faharderimarneusobisecocontge.co original recorded version features Parker on alto saxophone with trumpeter Miles Davis, double bassist Curley Russell and drummer Max faharderimarneusobisecocontge.co to the absence of Bud Powell, Dizzy Gillespie was enlisted to play piano, instead of his usual trumpet. What a wonderful cd, capturing Duke in France Live in post Newport at what can be considered his commercial peak of faharderimarneusobisecocontge.co Cd is about 70 minutes long,excellent sound quality,the band is great and this prime Live Ellington offers 13 tracks with such standards as Take The A Train, Jeep's Blues, a medley of The Mooche,Creole Love Call and Black and Tan Fantasy from the late 's /5(7).
Duke and his orchestra arrived to play at the Newport Jazz Festival at a time when jazz festivals were a fairly new innovation. Ellington's band was the first and last group to play at the Newport Festival. The first, short set began at and included "The Star Spangled Banner", "Black and Tan Fantasy" and "Tea for Two".This set was played without a few of the band's members as they were.
Best Sellers Customer Service New Releases Find a Gift Today's Deals Whole Foods Gift Cards Registry AmazonBasics Sell Coupons #FoundItOnAmazon Free Shipping Shopper Toolkit Disability Customer Support. of over 2, results for "duke ellington cd" Skip to main search results Amazon Prime. Eligible for Free Shipping. The album was released on three LP records by Book-of-the Month Records as Duke Ellington at Fargo, The record sides were sequenced for use with a record changer (1/6, 2/5, 3/4). This version was also issued with different cover art as Duke Ellington at Fargo, Live by Jazz Heritage. Since the album was released in , it has been reissued in varying combinations with different.
"Ko Ko" (also spelled "Ko-Ko" or, less frequently, "KoKo") is a bebop recording composed by Charlie faharderimarneusobisecocontge.co original recorded version features Parker on alto saxophone with trumpeter Miles Davis, double bassist Curley Russell and drummer Max faharderimarneusobisecocontge.co to the absence of Bud Powell, Dizzy Gillespie was enlisted to play piano, instead of his usual trumpet.
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