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He was the Duke, Duke Ellington....
Ella's collaborations with Frank DeVol have never received the attention they deserve because they are less distinctive than her other recordings. DeVol's arrangements, though good, sound like Nelson Riddle's. The tunes, though good, sound like Sinatra selections. In short these albums suffer from a faint scent of imitation. When they were released, moreover, Ella was dominating the jazz vocal scene with songbook albums, Louis Armstrong albums, and live recordings (which we will discuss in a moment.) In other words, she had saturated the market so thoroughly that there wasn't room for albums whose concepts had been done repeatedly and successfully by someone else. No other vocalist, not even Sinatra, has suffered from having more good material than the market could handle, but that was Verve's dilemma. Had Ella done only the Frank DeVol albums during this period, they would have been more successful and more admired, for they are filled with good songs and good music. But they aren't as good as The Duke Ellington Songbook, The Irving Berlin Songbook, The George and Ira Gershwin Songbook, Ella and Louis Again, nor Porgy and Bess and those albums still dominated the market when the DeVol collaborations were released. After twenty-five years, however, we can revisit these DeVol collaborations and appreciate their value. If nothing else, these albums are valuable because in them Ella records for the only time several memorable tunes (i.e. "You're Blase," "Lost in a Fog," "Then I'll be Tired of You").
In the time-honored jazz tradition, Strayhorn built "A" Train on the harmonies of an earlier piece, Jimmy McHugh's Exactly Like You (1930), but camouflaged the source well. Strayhorn's driving composition and uncluttered arrangement bear many Ellingtonian hallmarks, such as the use of mutes by the trumpets and trombones; the sound of the sax section; effective use of contrast (for example, between muted and open trumpet, and between the trumpet solo and the saxophone section; and, in the diminuendo ending, careful attention to dynamics.
Edward Kennedy "Duke" Ellington was born in Washington, D.C....
You must take the A Train
To go to Sugar Hill way up in Harlem.
If you miss the A Train,
You’ll find you’ve missed the quickest way to Harlem.
Hurry, get on, now it's coming
Listen to those rails a-thrumming.
All aboard! Get on the A Train.
Soon you will be on Sugar Hill in Harlem.
Take the "A" Train Sheet Music, undatedSam DeVincent Collection of American Sheet Music, National Museum of American History Archives Center.
His parents were James Edward and Daisy Kennedy Ellington.
The Smithsonian published this edition of Take the "A" Train in 1993. At that time, the original manuscript was not available to scholars, so the piece was transcribed note-fornote from the original 1941 recording. For the benefit of musicians and scholars, this edition includes parts for each of the instruments, a conductor's score, and an essay by the noted composer and conductor Gunther Schuller.
That 1941 recording of Take the A Train may be considered definitive. plays solo piano for the four bar introduction and then the A-A-B-A form is repeated three times. The first time the saxophones lead with support from the trumpets and trombones, then (on muted trumpet) leads, and after a four-bar transition and corresponding change of key, the saxophones and Nance (on open trumpet) take turns improvising on the theme, finally closing with fading repetitions of the last eight bars. A step-by-step analysis of the song may be found at . The original Feb 15, 1941, Victor 27380 recording can be heard on the 3-CD set, , , released in 1990 on RCA 5659.
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Isfahan2011 - Bigbands Live - Duke Ellington 1.
Norman Granz was, by this time, committed to riding the wave as far as it would take him and began planning a still bigger project, The George and Ira Gershwin Songbook, a massive, five volume enterprise. But Granz had learned some lessons from the Duke Ellington project. Most importantly, he learned patience. To do a five volume recording, he needed time, and he set aside nearly two years to prepare. Secondly, he needed discipline. Duke Ellington, for all his brilliance, could never work with someone else's deadline. Granz needed an efficient professional, and Nelson Riddle became the answer to his prayers.
Take the "A" Train (Live)2012 -Dance Air Force Date (1960) 1.
The Jeep Is Jumpin'
2008 - Della Reese With Duke Ellington & His Orchestra- On The Radio:
The 1962 Live Guard Sessions
Take the a train duke ellington essay on jazz
And yet Granz was still short on material. Even with the sixteen minute instrumental, Portrait of Ella Fitzgerald, he was a partial album shy, so he turned to an Oscar Peterson-Ben Webster quintet to back up Ella on five more tunes. In short, The Duke Ellington Songbook turned out to be a compilation of recordings made over thirteen months with a variety of personnel pulled together at the last moment. And yet it works. The small group recordings give Ella a melodic freedom and rhythmic flexibility she never had in the earlier songbooks, and she makes splendid use of both. The Duke Ellington Songbook, like the Cole Porter and Rodgers and Hart projects, not only garnered enthusiastic reviews but sold spectacularly, which, given the hefty $20.00 price tag, was remarkable.
Take the a train duke ellington essay on jazz - DV
Ellington arrived with his orchestra on June 24, 1957 with only one new arrangement, "Caravan," and a four part instrumental suite, which he conveniently called Portrait of Ella Fitzgerald. (Ellington was never one to work on somebody else's schedule, and it might even be doubted whether he wanted to take second billing on anybody's album, even Ella's.) The session had all the makings of a disaster.
Duke Ellington Essay Examples - New York essay
, trumpet soloist on s first recording of Take the A Train, was also a wonderful violinist frequently featured in Ellingtons band. At the memorial service for composer Billy Strayhorn in 1967, Nance performed the tune at a slow, dirge-like tempo, quite possibly the first time in such an unusual way. Nance later recorded the piece as a duet with pianist Roland Hanna in an emotional, moving performance that may quite possibly be his best work on violin.
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