Chapter 7: Duke Ellington (1899-1974)
 Duke Ellington was “the most creative and prolific composer-arranger in
jazz history, and he led the most stable and longest-lived big band.”
 Between 1920 and 1974, he wrote more than 2,000 original
compositions, including “Mood Indigo,” “I’m Beginning to See the
Light,” “Cottontail,” “Don’t Get Around Much Anymore,” “Take the A
Train,” and many others.
 Part of the success of his compositions lies in his arranging style.
Ellington arranged his tunes for the specific players in his band and wrote
parts that emphasized their strengths and avoided their weaknesses.
 Ellington also expanded voicing possibilities, combining different
instruments within the band, instead of voicing chords by sections of the
band. (Ex: “Mood Indigo” – clarinet, muted trumpet, muted trombone at
end)
 Ellington introduced the technique of a wordless vocal line in some of his
tunes, which became a popular arranging technique. (Ex:
“Transblucency”)
 Ellington’s band was also known for utilizing the “growl style” of brass
playing. (Ex: “Cottontail”)
 Ellington began playing in the stride style, but then progressed to his own
sparser, yet still percussive, style that fit the big band setting well. (Ex:
“Cottontail” @ 1:56)
Famous Musicians Associated with Ellington’s Band
Clarinet
Jimmy Hamilton (1917-1994)
 Hamilton had a very light sound, and provided a bridge into modern jazz.
 Ex: “Transblucency” – duet with wordless vocal
Trumpet
Cootie Williams (1910-1985)
 Williams was known for his wide range of tone qualities and musical
effects, including the growl style and incorporation of a plunger.
 Despite his calculated use of different techniques, he maintained a natural
sound.
 Ex: “Harlem Airshaft”
Clark Terry (b. 1920)
 Terry is known for his catchy, talkative style and his enthusiasm. He also
was responsible for popularizing the flugelhorn, an instrument similar to
the trumpet, but with a darker sound.
 Terry was also one of the primary influences for trumpeter Miles Davis.
 Ex: “Swahili”
Saxophone
Johnny Hodges (1907-1970)
 Hodges was the most influential alto saxophonist of the swing era.
 Hodges played lead alto with the band from 1928 until his death in 1970,
and was known for his rich sound (so rich, in fact, that he is sometimes
mistaken for a tenor saxophone).
 Hodges also pioneered the “sliding” approach, where he would slide
from one note to the next. This was particularly effective in ballads.
 Ex: “Prelude to a Kiss”
Harry Carney (1910-1974)
 Father of jazz baritone sax.
 Known for his rich, deep sound. He also established the importance of a
strong bottom of each section.
 Ex: “Cottontail” @ 1:48
Trombone
Joe “Tricky Sam” Nanton (1904-1946)
 Master of the growl style.
 Nanton also pioneered the use of plunger and plunger combined with
pixie or buzz mute.
 Ex: “Harlem Airshaft” @ 0:35
Drums
 Ellington’s drummers, while being great players, were not as essential to
the Ellington sound as rest of the band. The drummers acted primarily as
timekeepers.
Sonny Greer (1903-1982)
 Greer played in the style of early swing drummers, keeping time on the
snare drum.
 Ex: “Cottontail”
Louis Bellson (b. 1924)
 Although Bellson was only with the band for two years (1951-2), he
updated the sound of the band by moving the timekeeping from the snare
to the ride cymbal. He also was the first drummer to add a second bass
drum to his kit.
 Bellson was also featured in solos, a first in the Ellington band.
 Ex: “Skin Deep”
Bass
Jimmy Blanton (1918-1942)
 Blanton established the bass as not only a timekeeping instrument, but
soloist as well. Ellington wrote melodic parts for Blanton, which was
unheard of before this time.
 Ex: “Sepia Panorama”