It was Ellington's sense of musical drama that made him stand out. His blend of melodies, rhythms and subtle sonic movements gave audiences a new experience—complex yet accessible jazz that made the heart swing. Ellington's autobiography, Music Is My Mistress , was published in Ellington earned 12 Grammy awards from to , nine while he was alive. At the age of 19, Ellington married Edna Thompson, who had been his girlfriend since high school, and soon after their marriage, she gave birth to their only child, Mercer Kennedy Ellington.
Mood Indigo. Rockin' In Rhythm. Creole Rhapsody, Pt. Chelsea Bridge. Work Song. Blood Count. Come Sunday. Take the "A" Train Billy Strayhorn. It lacks the showbiz kick and exuberance of the first concert and even more eclectic impulses of the second, now burdened with a subdued solemnity and the sense that the ailing Ellington knew his time was drawing to a close he would be dead exactly six months later ".
From Wikipedia, the free encyclopedia. Redirected from Duke Ellington's Sacred Concerts. Duke Ellington. This listing needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Retrieved Along with his sacred music, Sunday's VocalEssence Witness concert, called "The Duke Ellington Effect," will include music by contemporary African-American composers who were inspired by the musical legend.
VocalEssence artistic director Philip Brunelle says he hopes people at the performance will come to realize that the greatness of Duke Ellington is even greater than they thought. MPR News is dedicated to bringing you clarity in coverage from our reporters across the state, stories that connect us, and conversations that provide perspectives when we need it most.
We rely on your help to do this. Your donation has the power to keep MPR News strong and accessible to all during this crisis and beyond. Donate today. The Essential Recordings. Saratoga Swing. A Portrait of Duke Ellington [Gallerie]. Classic Duke Ellington. Cocktail Hour. Centenary Celebration , Vol. Essential Masters of Jazz. Cotton Tail [History]. The Duke at His Best. Cotton Club Stomp [Disky].
The Radio Years: Cotton Club Stomp [Disc 4]. Millennium Collection [Digimode]. Golden Greats. With a Touch of Class. Stompin 'At The Savoy 6. Happy-Go-Lucky Local 5. Harlem air shaft 3.
Serious Serenade 2. It Don't Mean A Thing One O'Clock Jump 5. Honeysuckle Rose 4. In The Mood 6. Body and Soul 4. Just A Scratchin 'The Surface 3. Long Time Blues 8. Uncontrived 5. Short Sheet Cluster 2. March 19th Blues 5. In A Sentimental Mood 3.
Jump For Joy 1. Love You Madly 3. May in New York was one of the most influential American jazz musicians. As a pianist, he was one of the most important innovators of stride piano. As a composer, he wrote almost compositions songs and suites , of which soon became jazz standards.
As a band leader, he contributed to the swing as a big band style. Otto "Toby" Hardwick also took part in the rehearsals, first as a bass player, later with a C-Melody saxophone. He became the first member of the DEO; after him Barney Bigard joined the band, then Arthur Whetsol and the drummer Sonny Greer, who was closer to Ellington than any other musician in his orchestra.
The last entry of the first band was the banjo player Elmer Snowden, who, unlike the other musicians, had been working as a professional musician for a while and was the official band leader in the early days of the Washingtonians.
Back then they played at dance events and background music at receptions, mainly popular ragtime songs, waltzes and hits of the time. As a result of the success of black bands and shows, Hardwick and Sonny Greer came to New York in the wake of the clarinetist Wilbur Sweatman; finally Ellington followed. They worked at Sweatman at the Lafayette Theater in Harlem. At first, their attempts to gain a foothold in New York failed.
In the second attempt they got an engagement in a night club, the "Barron's"; there they played mostly background music and hits. In July the first recordings of the "Washingtonians" were made for the Victor label; The composer Maceo Pinkard had songs recorded. In September , they switched from the "Barron '" to the "Harper Dixie Revue" on Broadway, which took place in the tiny nightclub "Hollywood Inn", later to become the "Kentucky Club".
When they finally left the club in autumn , they were Duke Ellington's band that played Duke Ellington's music. He was considered a specialist for the "plunger" or "wah wah" damper effect.
Miley's style was in stark contrast to the rather smooth playing style of the "Washingtonians". In addition to Miley, John Anderson trumpet and trombone and Roland Smith saxophone and bassoon joined the band; but they did not stay in the group for long.
He groomed his "growl" all evening and played "gut-bucket" on his horn. So Miley was the main factor in creating the style that should make the group famous.
During this time, when Snowden was still the group leader, Ellington began to write songs.Written-By – Duke Ellington: A2: Concerto For Cootie (Do Nothin' Till You Hear From Me) Written-By – Bob Russell, Duke Ellington: A3: Harlem Air Shaft Written-By – Duke Ellington: A4: Across The Track Blues Written-By – Duke Ellington: A5: Chlo-e (Song Of The Swamp) Written-By – Gus Kahn, Neil Moret: A6: Royal Garden Blues.