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Please try again later. Verified Purchase. My year-old son is in love with old jazz and big-band musicians. See all reviews. Top reviews from other countries. Verified Purchase. Superb - the Duke at his best. Report abuse. There's a problem loading this menu right now. Learn more about Amazon Prime. Get free delivery with Amazon Prime.
Back to top. Get to Know Us. Amazon Payment Products. English Choose a language for shopping. Listen Now with Amazon Music. One person found this helpful. Likely of more interest to completists. Recording quality varies but the music is extraordinary.
Report abuse. There's a problem loading this menu right now. Learn more about Amazon Prime. Get free delivery with Amazon Prime. Back to top. Get to Know Us. Amazon Payment Products. English Choose a language for shopping. Listen Now with Amazon Music. Amazon Music Unlimited. Amazon Music Stream millions of songs. From Vodery, as he Ellington says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale , with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources.
It has become customary to ascribe the classical influences upon Duke — Delius , Debussy and Ravel — to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery. That year, Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom , "America's foremost ballroom". Australian-born composer Percy Grainger was an early admirer and supporter.
Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke". 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 Lambert , which 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 Brunswick , and 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 Holiday , and 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 in , they 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". From , Ellington 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.
In , Ellington 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 latter , collapsed in late , Mills placed Ellington back on Brunswick and those small group units on Vocalion through to Billy Strayhorn , originally 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 time created a sensation in their own right.
Terminal illness forced him to leave by late after only about two years. Ben Webster , the orchestra's first regular tenor saxophonist, whose main tenure with Ellington spanned to , started 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 from , with 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 Ellington , and 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 Beige , was 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 Hall 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 Joy , a 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 —43 , leading 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 Davis , was 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. In , Ellington 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 Gonsalves , Ellington proceeded to lead the 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. Sign In Register. Artist: Duke Ellington. Album: Miscellaneous. In a sentimental mood I can see The stars come through my room While your loving attitude is Like a flame that lights the gloom On the wings of every kiss Drift a melody so strange and sweet In this sentimental bliss you make My paradise complete Rose pearls seem to fall It's all like a dream to call you mine My heart's lighter thing since you Made me this night a thing divine In a sentimental mood I'm within a world so heavenly For I never dreamt that you'd be Loving sentimental me In a sentimental mood I can see The stars come through my room While your loving attitude is Like a flame that lights the gloom On the wings of every kiss Drift a melody so strange and sweet In this sentimental bliss you make My paradise complete Rose pearls seem to fall It's all like a dream to call you mine My heart's lighter thing since you Made me this night a thing divine In a sentimental mood I'm within a world so heavenly For I never dreamt that you'd be Loving sentimental me.
Duke Ellington Lyrics provided by SongLyrics. Note: When you embed the widget in your site, it will match your site's styles CSS. This is just a preview! Cannot annotate a non-flat selection. Make sure your selection starts and ends within the same node. All News Daily Roundup. Album Reviews Song Reviews. Song Lyrics. Review: RIFF-it. RIFF-it good.View credits, reviews, tracks and shop for the Vinyl release of Concert At Carnegie Hall on Discogs.