Ellington Reflections

Five Ellington related books, all published by University Press of Mississippi. Continue reading →

A birthday salute to Duke Ellington featuring Brian Priestley, Brian Landrus and the Planet D Nonet performing rarely covered Ellington compositions. Continue reading →

“The Magazine Suite is an entirely new three-part composition. The band played it a few more times in 1945 and 1946 but never thereafter. It is remarkable how many Ellington compositions were allowed to sink without trace like this, suggesting that … Continue reading →

"The Latin American Suite," from 1968 showed that despite advancing age and the recent death of his writing partner Billy Strayhorn, there was no end in Ellington's creativity. Continue reading →

A look at the years Mercer Ellington led the Duke Ellington Orchestra (1974 to 1996). Continue reading →

Part II of Portrait of Mercer Ellington, composer, arranger, trumpeter - and drummer... Continue reading →

  Happy Birthday, Duke!  Duke Ellington was born on this date 125 years ago. Today also marks the 7th anniversary for podcast/blog Ellington Reflections.  I'm currently editing my Cootie Williams biography and securing the necessary image permissions, so it may … Continue reading →

Mercer Ellington, son of Duke Ellington, is an underrated contributor to the world of Ellingtonia. Continue reading →

“Jimmy Jones is a close member of our musical family. Outside of our original version, he and Toby Hardwick were the first to do “Come Sunday.” I have had many different associations with him, the most notable being when we … Continue reading →

Duke Ellington said of trumpeter Harold "Shorty" Baker that "his way of playing a melody was absolutely personal, and he had no bad notes at all." Continue reading →

“Bill “Bojangles” Robinson and Wellman Braud were like Jelly [Roll Morton]; they’d talk as long as anyone would listen and hung around outside the Band Box. After Braud got written up in Ripley’s “Believe It or Not” column, he was … Continue reading →

The recordings heard on this podcast episode: (CD: “Duke Ellington, The Centennial Edition” RCA Victor ‎– 09026-63386-2) I Can’t Give You Anything But Love (Recorded 30 October 1928 and 10 November 1928, NYC) Arthur Whetsel, Freddie Jenkins – trumpet; Joe Nanton … Continue reading →

“As a trumpet player, [Arthur Whetsel] had a tonal personality that has never really been duplicated. Sweet, but not syrupy, nor schmaltzy, nor surrealistic, it had a superiority of extrasensory dimensions. Both as a soloist and from the point of … Continue reading →

Multi-reedman Norris Turney became the first flute soloist featured with the Duke Ellington Orchestra. He was with the band for 4 years, leaving in 1973. Continue reading →

In 1967, the west African nation of Togo released a postage stamp of Duke Ellington. Ellington reciprocated by writing the four movement Togo Brava Suite in 1971, the subject of this month's episode of Ellington Reflections. Continue reading →

“Then in 1960 we came up with Suite Thursday for the Monterey Festival that year…we tried to parallel John Steinbeck’s story, “Sweet Thursday,” which was set in Monterey’s Cannery Row.” Duke Ellington, Music is my Mistress   The recordings heard … Continue reading →

Celebrating the 124th anniversary of the birth of Duke Ellington and the 6th birthday for Ellington Reflections with a Parisian themed episode in honor of the 2023 Ellington Conference being held in the City of Lights. Continue reading →

Since 1981, Ellington experts from around the world have been meeting every year in order to exchange and share their knowledge about Duke Ellington's work and life. After the US, England, Canada, Denmark, Sweden and the Netherlands, La Maison du Duke welcomes for the first time in France the international symposium dedicated to one of the greatest creators of the 20th century. Continue reading →

Just a few items I either omitted unknowingly, or due to time, or just not having access to at the time. Continue reading →

Reminiscing In Tempo is one of Duke Ellington's most personal compositions. In was written in memory of his mother, Daisy Kennedy Ellington. Continue reading →

During his 22 year sabbatical from the Duke Ellington orchestra, Cootie Williams continued to feature music from the Ellington songbook. Continue reading →

During his 22 year sabbatical from the Duke Ellington orchestra, Cootie Williams continued to feature music from the Ellington songbook. Continue reading →

The New York Choral Society, New York's pioneering symphonic chorus that explores unique collaboration and dynamic repertory, in partnership with The New School College of Performing Arts, presents Duke Ellington's Sacred Concerts, November 18 and 19 at the Tishman Auditorium at The New School. Continue reading →

Drummer/Composer/Arranger Louie Bellson (1924-2009) was a musician's musician. Although he was only with the Ellington for a short period, he created a huge impact in the Ellington legacy. Continue reading →

Duke Ellington premiered "The Perfume Suite" at his third Carnegie Hall concert in December, 1944. Continue reading →

“In 1946, we might remind ourselves, the American South was a one-party apartheid society, the Klu Klux Klan still operated without police intervention and lynchings were still an accepted form of justice; in Congress, Southern senators and representatives prevented the … Continue reading →

The second part of a survey of Russell Procope's work with the Ellington band. Continue reading →

“Russell Procope…. a man of dignity and gentility, of clean and gentlemanly appearance. What is more, he became a conscientious, all-around musician, one always to be depended on.” Duke Ellington, Music is my Mistress This documentary features interviews of Russell … Continue reading →

“So I went out and wrote Creole Rhapsody, and I did so much music for it that we had to cut t up and do two versions. One came out on Brunswick and the other, longer one, on Victor. Irving … Continue reading →

The second part of a survey of seldom covered Ellington compositions. Continue reading →

Another look at less commonly covered Ellington compositions. Continue reading →

“Meanwhile, I was looking around for musicians who were sympathetic to my musical ideas and would fit my plans. I now wanted to incorporate Duke Ellington’s harmonic approach and tone colors with Count Basie’s rhythmic drive.” Charlie Barnet, Those Swinging … Continue reading →

“Charlie Barnet has always been a wonderful friend to me. Because of his musicianship, good judgement, and good taste, he has always had people working for him whose potential was immense. Some who come to my mind are Lena Horne, … Continue reading →

A small sampling of Ellington songs played by his sidemen outside of the setting of the Ellington orchestra. Continue reading →

The third episode featuring the recordings of clarinetist/saxophonist Jimmy Hamilton Continue reading →

Part two of recordings featuring Jimmy Hamilton Continue reading →

“[Jimmy Hamilton] usually manages anything musical that he sets his mind to, and there, I think, is the key to any attempt at describing him. He has the capacity to discipline himself and the diligence to study in order to … Continue reading →

Featuring the singing trumpeters of the Duke Ellington Orchestra. Continue reading →

Here's a selection of what my iPod says are my most listened-to Ellington songs. Continue reading →

“Tyree, to me, is a very beautiful trombone player. He plays real good legit trombone, and when he applied the plunger to it his tone remained very precise and clean, so that you were tempted to like it better than … Continue reading →

A look at the great, underrated tenor saxophonist in Ellington's late band, Harold Ashby. Continue reading →

Joya Sherrill was a featured vocalist with the Ellington orchestra from 1944 to 1946, but returned periodically in subsequent years. One of Ellington's best vocalists, she deserves wider recognition. Continue reading →

Valve trombonist Juan Tizol (1900-84) was an important member of the Ellington band. Besides instrumental duties, he was a composer, arranger and copyist. Continue reading →

“Sometimes we would write something that seemed or was expected to be below bland, but when Sam added his thing to it, immediately it took on a new dimension, exotic, zesty, or maybe lecherous soul. Sam the Man, who began … Continue reading →

Billy Strayhorn wrote "Take the "A" Train," which became the band's theme song in 1941. We survey a number of diverse treatments from a thirty year period. Continue reading →

Rex Stewart played cornet in the Ellington and from 1934-45. Part II of a look at Stewart's work with the band and the years beyond. Continue reading →

Rex Stewart played cornet in the Ellington and from 1934-45. Part I of a look at Stewart's work with the band. Continue reading →

Most Duke Ellington tribute concerts and recordings rely on just a handful of his compositions (Mood Indigo, Satin Doll, In A Sentimental Mood, etc.). The Duke Ellington Society refers  to these songs as “the usual suspects.” While they are worthy … Continue reading →

Dr. Lisa M. Clark’s thesis, Synchrony of the Sublime: A Performer ‘s Guide to Duke Ellington’s Wordless Melodies for Soprano can be found here Adelaide Hall [1901-1993] “The Victor recording of Creole Love Call introduces a device which Ellington was … Continue reading →

More covers of Ellington compositions that deserve wider exposure. Continue reading →

Con Chapman discusses his new biography of Johnny Hodges. Continue reading →