aworks :: "new" american classical music

(In My) Solitude (1934). Duke Ellington /the unusual repertoire/

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Andrew Druckenbrod:

The rock-star outfit, the mind-boggling virtuosity and the unusual repertoire of young organist Cameron Carpenter already have shocked many in the world's pipe organ community. But that's just the beginning of the revolutionary changes the firebrand has in store for it.

I wouldn't call an organ arrangement of Duke Ellington's Solitude "revolutionary" but it is refreshing.

I also don't know if "virtual pipe organs" are a worthy endeavor although I do appreciate Mr. Carpenter outing himself as an atheist organist.

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emusic: cameron carpenter. youtube: cameron carpenter thrills and chills. wobbly video of the late organist virgil fox.

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I'm Beginning to See the Light (1944). Duke Ellington, Don George, Johnny Hodges, Harry James /amazon mp3 bargain/

Duke Ellington via last.fm

Amazon has a Duke Ellington "best of" on sale -- $1.99 for 26 MP3 tracks.

I'm trying to determine exactly what is this compilation. The corresponding CD  is an import although it has fewer tracks. It may be somehow related to The Best of the RCA and Columbia Years (as recommended here) and hence, won't be third-rate recordings of Ellington hits. Not that I really need more Ellington tracks in any case but here I go...

Stomp (re-lit) (1990/2009). David Schiff

In an interview, composer David Schiff makes the following comment:

[Duke] Ellington’s music influences everything I do. I go to school with his music every day and I find his melodies, rhythms, harmonies and instrumentation endlessly inspiring.

Prelude to a Kiss (1938). Duke Ellington/Irving Gordon/Irving Mills

Counterstream Radio just played the World Saxophone Quartet's version of Prelude To a Kiss. While yesterday I hinted at my interest in early Ellington, this strikes me as a good example of an updated Ellington, although still authentic. More listening required. In particular, the MP3 download is $7.92 from Amazon. I won't link to that directly as it's not clear to me Counterstream gets a cut for non-CD purchases. Here's the page with the Counterstream buy button.

This work also leads me to a site, Jazz Standards, I've never seen before but is exactly what I have been looking for in book form. It's got musical analysis, recommended recordings, history, all apparently organized by composition rather than jazz artist. For example:

The chromatic nature of “Prelude to a Kiss” produces a plaintive sound, a sad serenade that Gordon and Mills reflect in their lyrics. It’s the bridge, however, that brings true emotional release, almost to the point of seeming celebratory. Its corresponding lyrics express Ellington’s dramatic change in mood, relating the transformation of a pitiful love song into a Schubert symphony.

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last.fm: prelude to a kiss (ellington version)

Choo Choo (1924). Duke Ellington /mingus & roach are to ellington as tbd is to adams/

I'm currently stuck in a "less is more" aesthetic and feel unwilling to actually elaborate on what I'm thinking. But suffice it to say, I've spent the last several months listening to, among others, the music of Duke Ellington and I'm struck by two things:

• Choo Choo specifically and Ellington's music in the 1920s generally, are more interesting than I ever imagined. Choo Choo could be a novelty song but instead may be artistic genius. I used to want to time travel to New York circa 1964 to witness the bubbling up of minimalism (or alternatively and slightly earlier, to visit UC Berkeley, pre-Amoeba, when Riley and Young were students). But now I wish I were alive in NYC/Harlem in the twenties. Mark Tucker's Ellington: The Early Years (e.g. Chapter 9) captures the now stunning musical effect of Choo Choo in detail. Here's an introductory quote:

In the early 1920s jazz was supposed to be entertaining...Yet Ellington and his band avoid the temptation to play "Choo Choo" for laughs.

• Ellington's Money Jungle album from 1962, with Charles Mingus and Max Roach, may be the penultimate expression of improvised music, ahead of the more renowned Kind of Blue by Miles Davis. I'm still working on this theory (and god forbid I trash Miles, Coltrane, and Cannonball Adderley) but the strength of the "backing" musicians is superb as they somehow push the sometimes overly suave, if not "twee," Duke into the best piano playing of his career.

This all leads me to suggest John Adams is our era's Duke Ellington.

Here's the argument: they both understood and expressed their cultural zeitgeist, they both achieved an unexpected level of musical popularity, they both had innovative things to say individually and collectively, and both their musics transcended origins and presumably will endure...

Mood Indigo (1930). Duke Ellington, Barney Bigard, Irving Mills /in the mood/

Noted Duke Ellington advocate Michael J. West gets his new jazz column off to a good start with this statement:

We'll debate my long-held contention that Ornette Coleman is a more important figure in jazz than Miles Davis, John Coltrane, and maybe even (God forgive me) Duke Ellington.

As it happens, I'm headed in the opposite direction, having for some reason moved away from the music of Coleman and jumping back into the Ellington thing, specifically Mood Indigo.

After listening to an old version by Ellington on the Ken Burns CD set, newer versions by Count Basie, Joe Pass, Errol Garner, Thelonius Monk etc. and new versions by pop singer Debbie Boone (!?) and mandolinist David Grisman, the one that stands out is a 1957 Duke Ellington recording. In this version, Duke plays a couple of bars on piano as the introduction and then the song immediately takes off into a long and effective trumpet solo. Eventually, the band does come in to play the melody but at that point, who cares after what just transpired.

All Music has a clip of the trumpet solo. I haven't been able to find who plays this but maybe it's Clark Terry or Ray Nance.

personal note: i'm honored to have this cd from the collection of the elegant mary w.

The Queen's Suite (1958). Duke Ellington /counterstream/

Via Centripetal Notion, the pre-launch of Counterstream Radio (from the American Music Center) and its particularly clean playlist and look/feel:

Counterstream will be your online home for exploring the music of America's composers. We will broadcast a frequently updated general mix of adventurous music, as well as an eclectic assortment of guest-curated programs, genre-specific radio hours, interviews, and live concert recordings. Listen and discover the sound of music without limits.

Looks like it cycles through a short playlist. Despite that, this is a pleasing and coherent contrast to my recent experience with the jumbled results of social and analytical streaming sites.

Black, Beige and Tan (1943). Duke Ellington

Everyone's favorite oboe blogger has her performance schedule posted including the October American music concert in San Jose with works by Amram, Ellington, and Gershwin.

gable: aworks great depression/world war ii era ellington: aworks dc library del.icio.us wikipedia google news yahoo audio singingfish black, beige and tan: amazon sales rank #61,554

american red cross salvation army ezra klein on ideological casualties

Satin Doll (1953). Duke Ellington

Anne Cloudman points out the new HBO show Classical Baby, where the US cable television leader goes for a new demographic. Note that Irving Berlin and Duke Ellington are included along with Tchaikovsky, Bach, Satie, Schumann, Strauss, Bizet, Puccini and Debussy. What, no Baby Mozart?