Duke Ellington
“the most significant composer of
the genre.”
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Successfully combined innovative elements of
jazz with the dance band format.
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Creative use of instrumental timbres,
orchestration, and other compositional devices.
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Use of extended and/or complex forms.
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A major contributor to the repertory of jazz and
to the “jazz language.”
As a Band Leader:
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hired players with distinctive playing
styles and wrote tunes that featured them.
 Some of his players stayed with the band for
decades.
 Appearances in films (Black and Tan
Fantasy, Check and Double Check,
Anatomy of a Murder).
 Distinctive musical style(s), including the
“jungle sound.”
The Jungle Sound
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Reeds (especially clarinets) in extremes of the
registers
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Plunger and other mutes on the brass (“wahwah” effect)
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Use of the tom-toms and other “special effects”
in the drums
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“The Mooche.”
Early Career
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Serious about music as a teenager and learned to play
the piano, began emulating local ragtime pianists.
Formed his own group “Duke Ellington’s Serenaders”
and, by 1920, was making enough at music to support
his wife (Edna) and son (Mercer).
Moved to New York in 1923 with the “Washingtonians,” a
group that included Sonny Greer, Otto Hardwick, and
Artie Whetsol. He later added Bubber Miley, Tricky Sam
Nanton, and Harry Carney
Pieces such as East St. Louis Toodle-O (1926) and Black
and Tan Fantasy (1927)
The Cotton Club (1927-32)
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one of New York's premier nightspots, located in Harlem at
142nd Street and Lenox Avenue.
Frequented by celebrities and socialites. Listeners nationwide
could hear Ellington’s orchestra via broadcasts on NBC.
The band expanded to 12 pieces – 3 reeds, 3 trumpets, 2
trombones, piano, banjo/guitar, bass, and drums. Added
musicians during this time included Johnny Hodges, Barney
Bigard, Cootie Williams, and Juan Tizol.
Many of Ellington’s pieces were exotic in character, utilizing
the “jungle sound for which he was noted.
Ellington recorded over 180 “sides” between late 1927 and
early 1931, including The Mooche (1928) and Mood Indigo
(1930).
The Swing Era
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(1943) English bandleader Jack Hylton brought the Ellington band
overseas for performances in Britain, Holland, and France.
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Performances in dance halls, theaters, and clubs; radio broadcasts;
recording; film appearances.
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In addition to extended works such as Black, Brown and Beige,
Ellington continued to compose shorter works (limited by the 3
minute format of the 78 RPM record) such as Harlem Air Shaft,
Cotton Tail, and Main Stem.
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Billy Strayhorn joined Ellington as arranger, composer, and pianist in
1939; he remained until his death in 1967. Strayhorn contributed
such works as Take the “A” Train.
1940s-50s
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On January 23, 1943, Ellington performed his extended work
Black, Brown, and Beige at Carnegie Hall.
Left the Victor record company in 1946 and, after a short time
with the Musicraft label, signed with Columbia.
Economic pressure and changes in musical preferences caused
problems for big bands.
Ellington continued to turn out longer works as well as the music
for the Otto Preminger film Anatomy of a Murder.
Ellington's triumphant appearance at the 1956 Newport Jazz
Festival
The band continued to travel in the US and in Europe (1950, 1958,
and 1959).
1960-74
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Ellington continued to write, record, and tour.
Received numerous awards, prizes, and honorary degrees.
Several international tours, which sometimes inspired new
compositions (Far East Suite 1964, the Latin America Suite 1968,
and others.
Three Sacred Concerts between 1965 and 1973.
He recorded with various other musicians, among them Louis
Armstrong, Ella Fitzgerald, Coleman Hawkins, and such younger
luminaries as John Coltrane, Charles Mingus, and Max Roach.
His memoirs, Music is My Mistress, were published in 1973.
Ellington passed away from cancer on 24 May 1974.