Duke Ellington is considered one of the most prolific composers of the 20th century.
Life
Edward Kennedy Ellington, son of two pianists James and Daisy Ellington, was born on April 29, 1899 in Washington D.C. Growing up in a very musical home, Ellington began playing piano at the age of seven. Ellington’s mother surrounded him with “dignified women” so that he would learn respectable manners, and he dressed in such a way that his friends said he had an air of a young nobleman. Because of this, he gained the nick name “Duke.” Ellington said his nickname originated from his friend Edgar McEntree. “I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke.”
Duke wrote his first composition in 1914 titled Soda Fountain Rag, and it was composed by ear because he had not yet learned to read or write music. Surprisingly, Ellington didn’t feel that piano was his passion - he did not feel it was his true talent - until he started sneaking in to Frank Holiday’s poolroom to hear local pianists. It was that experience that sparked his love for piano and made him take his musical studies more seriously, drawing inspiration from many ragtime artists of the time. Ellington continued to play throughout high school and was given a scholarship to attend the Platt Institute in Brooklyn, New York. He ignored the scholarship and began playing professionally at the age of 17. For a time Duke would paint signs during the day and play piano at night, and quite often, if someone wanted him to create a sign for an event, he would ask if they had entertainment and would get into the venue to play piano.
Around 1920 Duke made the decision to leave a successful career in Washington D.C. and head to Harlem. He soon became a name in the Harlem Renaissance, playing as many night clubs as possible with his sextet. Ellington made a point to seek out players for his group that had unique playing styles, like trumpeter Bubber Miley who made a “wa” sound with a plunger. By 1925 Duke, along with his group Duke Ellington and his Kentucky Club Orchestra, had recorded eight albums. They had developed their own sound with their trumpet “wa”s and trombone “growls,” and had gotten a steady string of gigs at Harlem’s famous Cotton Club. A weekly radio broadcast brought in famous clientele to see Ellington’s band.
In 1927 Ellington met Irving Mills, an agent publisher. Due to Mills’ promotional skills Ellington gained huge popularity through 1930. Mills also retained recording deals with almost every label at the time, giving Duke plenty of recognition and allowing him to record several versions of his tunes. Ellington continued working with Irving Mills until 1937, and continued working under his name, paying royalties, until 1940.
After surviving the great depression by touring extensively and doing radio performances, the 1940′s proved to be the creative peak of Duke’s career. He continued to make a point to have an orchestra with each player having a unique sound, and was composing a considerable amount of tunes, like Cotton Tail and Harlem Airshaft. Though some of his musical endeavors were not received well by the public - like a Broadway musical themed around African American Identity - Ellington’s repertoire continued to grow. He continued to have success until the mid 40′s when the music industry’s focus abruptly switched from band leaders to solo artists like Ella Fitzgerald and a young Frank Sinatra. This had a huge effect on Ellington’s career; he felt that doing TV performances would give people a new exciting outlet to hear jazz, but trends in the music industry had passed and Duke was unable to keep up. By 1955 Duke Ellington, for the first time, no longer had a steady recording deal.
It was the Newport Jazz Festival in 1956 that put Duke Ellington’s name back on the map. Nearing the end of the set, Duke stopped the performance due to late arrivals of some key players in the group, and instead of the scheduled end of the set, Duke and his orchestra played two compositions titled Diminuendo & Crescendo in Blue, which were in the Ellington book since 1931 but were largely forgotten. As Duke led the orchestra through the end of the set, the festival manager was frantically trying to get him to stop the performance as it ran long after the festival end time. The audience was raving. Duke Ellington was on the cover of the next issue of Time Magazine, a feat only two other jazz musicians, Thelonious Monk and Dave Brubeck, managed to achieve. Since then, Ellington’s name was restored to its once high standing in the music industry. He released countless albums, put on man concerts, and even appeared in a movie with Jimmy Stewart. He began to work with new names in jazz at the time like John Coltrane and Charles Mingus. In 1966 Duke won a Grammy Lifetime Achievement Award and a Legion of Honor Award in France, their highest civilian award. Duke also received an Honorary Doctorate Degree from Berklee College of Music in 1971. Duke Ellington passed away on May 4, 1974 in New York City.
In total Duke Ellington received twelve Grammy Awards from 1959 to 2000 - nine awards while he was alive.
Influence
Duke Ellington is recognized as the most important composer in jazz history, and is undoubtedly a cornerstone in American culture. Besides receiving many Grammy Awards and being offered a Pulitzer Prize, Duke received doctorate degrees at four Universities and Colleges, including Yale and Berklee College of Music. His thousands of compositions have been embraced and used by almost every major jazz musician, as well as colleges and high schools around the world. It is almost necessary now for any young jazz musician to have a set of Duke Ellington tunes in his/her repertoire. As a bandleader, Duke had the ability to bring out the absolute best in his players, each of whom had incredibly individual styles, like trumpeters Clark Terry and Willie Cook. He forever changed how jazz sounds, creating new, strange, sounds and arrangements for the big band that were never previously heard. He would inspire players like Thelonious Monk and Randy Weston.
Style & Technique
There were two sides to Duke Ellington: the pianist and the band leader. As a piano player Ellington was subtle, not complicating things with ‘out’ harmonies or strange rhythms. He had a great understanding of accompaniment and knew how to play in such a way that the tune would have a mood set from the first note. Duke never aspired to be a great soloist like Oscar Peterson or Art Tatum, though his playing was recognized for his accompaniment abilities whether he was playing with a band member or John Coltrane. Duke could swing like there was no tomorrow - whether he was playing in chordal structures or single note lines, it would always swing, and he never lost time. It was his compositions and arrangements that would push his piano playing.
The piano for Duke was usually a means to an end, a way to effectively lead the band. With the piano he would set tempos, signal band members, and set the tone for the next tune with one of his outstanding introductions. As a band leader Duke was known as one of the most liberal, letting his band work loosely until it was time to play. Saxophonist Ben Webster said, “…he was an easy going man…never seen Duke lose his tempo…But he’s got a way to let you know, let’s take care of business. You dig?” “He doesn’t say, ‘do this, do that’…it’s the little things, you know he’s so slick.” Another former band member, trumpeter Clark Terry said, “He played the band. He could masterfully psych you into doing exactly what he wanted you to do.”
THE PIANIST
THE BANDLEADER
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