The Evolution of Jazz; 22; Duke Ellington, Part Two
Not only did Ellington preserve the melodic curve of the blues but he also preserve the antipodal to voice the character of the blues so important in preventing their degeneration into over sweetness. One rarely hears in his music a single sustained melodic line or a simple unbroken series of ribs. There is always the antipathy that statement and answer found in the interplay of the solo instrument against the full band of one instrument in dialogue with another. A brass choir against reeds. But even when the solo instrument holds the scene for a series of choruses its solo lines are of the two voiced character wanted to guard the clarinetist Johnny Hodges the alto saxophone. Are masters of this kind of blues lined Ellington style and method of construction are generally based on the antiphonal contrast duet or concerto style starting within the basic themes themselves and characterizing the entire performance. I am I am
I am. I am. I AM I AM I AM I AM I AM
I AM. Ellington's method as it enabled him to make the fullest use of the creative talents of his performers allowing them to grow as individual masters of their instruments and as composers themselves Ellington's music is fundamentally his own shaped by his taste and musical thinking. Yet within these bounds the complete performance is a kind of collective creation restoring within the narrow confines of a single band the social character of New Orleans music. Are the bands Finkelstein
points out depended heavily upon solo improvisations the Duke however evolved a most subtle and inventive musical style which could set the character of an entire performance give the soloist short phrases upon which to improvise and provide a most inventive harmonic instrumental backing to bring out the best in the solo as as you've heard so far. This almost finds freedom to develop the possibilities of his instrument and his creative musical ideas the performances relaxed the soloist only speaking when he has something to say. That's Ellington's music has remained his own and yet changed its character with the entranceway departure of outstanding solo that's because as I mentioned two weeks ago Ellington writes for the particular musician in mind not for the trombone. As an abstract trombone. If the trombone can ever be abstract but in terms of lines Brown or tricky Sam Madden or his new band Britt Woodman. The solo is prompted by learning from one another. Often taking off from another style and developing their own.
That's Cody Williams The trumpet player you heard in the last section of the preceding number absorbed. Barbara Miley and also absorbed rookie Sam Madden who had been influenced by Miley. There was a double line of development to the music that of Ellington and that of the character brought by the outstanding instrumentalists but with Miley's growl on the early records like Black and Tan Fantasy as well as poignant blues and minor key melodic lines. Williams went even further and transforming this roughness into a kind of sensuous beauty as in echoes of Harlem or a Delta mood and expanding it to the full range of the instrument as in the Concerto for Kuti. My own favorite example of his development of it is this delta mood. For sure. Rug store would mix together plunger high brow muted tones open horn
tones heavily brewed on the ground a lower register. Why. Why.
When the planet for a time tended to die out elsewhere as a major band instrument until Goodman Ellington made a most consistently effective use of the instrument aided by I'm a man like Bonobo gone so deeply rooted in the blues idiom inventive and fresh melodic lines and mastery in technique. For example wisdom a guide and a small Ellington unit Minuet in the ludes. Musicians were looking
for that. But first one is valid. Here's another example of the way the more legitimate
intonation of one to his own. And then there was the gentle and lyrical and tone but always
with an expressive ber of Laurence Brown. With Johnny Hodges Ellington help make a major instrument of the alto saxophone brought into being one of the finest body of alto sax music in the history of jazz. Here's an example. Warm valley.
I am. The work of Harry Carney on baritone saxophone he was the first man in the
history of jazz to make a really meaningful instrument rather ungainly instrument. His work has become legendary in jazz and runs through Ellington's recorded output. I am.
A film star. I am. I AM I AM I AM
I AM I AM I AM I AM. I am. I am I am. I am I am I am I am. I am I am I am I am.
I am I am I am. I am I am. I
am I am. For many years with guitar and cell phone piano Wellman bro and Jimmy Blanton later on bass and he had an excellent rhythm section which is prolific use Bros. Slapping bass cut through the orchestral sound with powerful effect dozens at an odd function. Jimmy Blanton developed a solo style of great tonal beauty and power and jazz bass players speak of the instrument in terms of before and after. This is an example of Jimmy Lennon's bass. I
am. I am I am I am I am I am. I am I am I am. I am I
am. I am. I am. That was Jack the song written by tribute
who influenced James P. Johnson and also through Johnson. And itself as becomes a stand and chord rather than Especially percussive and melodic and provides generally beautiful punctuation of a solo. Next week we'll conclude our discussion of the music of Duke Ellington and begin an
analysis of the change in the. Rhythm that occurred in jazz in the 30s as a preface to a discussion of the Kansas City. Formations of influence that culminated in the band. You have been listening to the evolution of jazz recorded series prepared and produced by Nat Hentoff under the auspices of Northeastern University and presented by the Lowell Institute cooperative broadcasting Council. The evolution of jazz was recorded in the Boston studios of WGBH af and this is the national educational radio network.
- The Evolution of Jazz
- Episode Number
- Duke Ellington, Part Two
- Producing Organization
- WGBH Educational Foundation
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-9882ph4g).
- Episode Description
- This program focuses on the music of Duke Ellington.
- Series Description
- Jazz historian Nat Hentoff presents a series that traces the history of jazz, from its musical and cultural roots to its contemporary forms. "The Evolution of Jazz" was originally broadcast from WGBH in 1953-1954, and was re-broadcast by the National Educational Radio Network in 1964.
- Broadcast Date
- Asset type
- Ellington, Duke, 1899-1974--Criticism and interpretation.
- Media type
Host: Hentoff, Nat
Producer: Hentoff, Nat
Producing Organization: WGBH Educational Foundation
- AAPB Contributor Holdings
University of Maryland
Identifier: 55-32-22 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
- Chicago: “The Evolution of Jazz; 22; Duke Ellington, Part Two,” 1954-04-09, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 5, 2023, http://americanarchive.org/catalog/cpb-aacip-500-9882ph4g.
- MLA: “The Evolution of Jazz; 22; Duke Ellington, Part Two.” 1954-04-09. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 5, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-9882ph4g>.
- APA: The Evolution of Jazz; 22; Duke Ellington, Part Two. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-9882ph4g