DukeEllingtonStudies Duke Ellington (1899–1974) is widely considered the jazz tradi- tion’smostcelebratedcomposer.Thisengagingyetscholarlyvolume explores his long career and his rich cultural legacy from a broad range of in-depth perspectives, from the musical and historical to the political and international. World-renowned scholars and musi- cians examine Ellington’s influence on jazz music, its criticism, and itshistoriography.Thechronologicalstructureofthevolumeallows aclearunderstandingofthedevelopmentofkeythemes,withchap- ters surveying his work and his reception in America and abroad. By both expanding and reconsidering the contexts in which Elling- ton,hisorchestra,andhismusicarediscussed,DukeEllingtonStudies reflectsawealthofnewdirectionsthathaveemergedinJazzStudies, includingfocusesonmusicinmedia,classhierarchydiscourse,glob- alization,cross-culturalreception,andtheroleofmarketing,aswell asmanuscriptscorestudiesandperformancestudies. john howland is Professor of Music History at the Norwegian UniversityofScienceandTechnologyinTrondheim,Norway,andfor- merlyanassociateprofessorofMusicology,JazzStudies,andAmerican StudiesatRutgersUniversity–Newark.Heistheco-founderandfor- mer editor of the journal Jazz Perspectives, as well as the author of Ellington Uptown: Duke Ellington, James P. Johnson, and the Birth of ConcertJazz(2009). Duke Ellington Studies Editedbyjohn howland NorwegianUniversityofScienceandTechnology UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom OneLibertyPlaza,20thFloor,NewYork,NY10006,USA 477WilliamstownRoad,PortMelbourne,VIC3207,Australia 4843/24,2ndFloor,AnsariRoad,Daryaganj,Delhi–110002,India 79AnsonRoad,#06-04/06,Singapore079906 CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learning,andresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9780521764049 DOI:10.1017/9781139028226 (cid:2)C CambridgeUniversityPress2017 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2017 PrintedintheUnitedKingdombyTJInternationalLtd.PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloging-in-Publicationdata Names:Howland,John,1964– Title:DukeEllingtonstudies/editedbyJohnHowland. Description:Cambridge;NewYork,NY:CambridgeUniversityPress,2017.| Series:Cambridgecomposerstudies|Includesbibliographicalreferencesandindex. Identifiers:LCCN2017003311|ISBN9780521764049(alk.paper) Subjects:LCSH:Ellington,Duke,1899-1974–Criticismandinterpretation.| Jazz–Historyandcriticism. Classification:LCCML410.E44D862017|DDC781.65092–dc23 LCrecordavailableathttps://lccn.loc.gov/2017003311 ISBN978-0-521-76404-9Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracy ofURLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. Contents ListofIllustrations page[vii] NotesonContributors [xi] Preface [xv] Acknowledgements [xxi] NoteonReferenceAbbreviations [xxiii] 1 EllingtontheEntertainer:PageantryandProphecyin DukeEllington’sFilms [1] phil ford 2 MarketingtotheMiddlebrow:ReconsideringEllingtonia, theLegacyofEarlyEllingtonCriticism,andtheIdeaofa “Serious”JazzComposer [32] john howland 3 “ArtorDebauchery?”:TheReceptionofEllingtoninthe U.K. [76] catherine tackley 4 “NobodyWasLooking”:TheUnparalleledJazzPiano LegacyofDukeEllington [108] bill dobbins 5 “PeopleWrapTheirLunchesinThem”:DukeEllington andHisWrittenMusicManuscripts [157] walter van de leur 6 TheMoor’sRevenge:ThePoliticsofSuchSweetThunder [177] david schiff 7 DukeEllingtonintheLPEra [197] gabriel solis 8 AuthenticSyntheticHybrid:Ellington’sConceptsofAfrica andItsMusic [224] carl woideck v vi Contents 9 “TheMotherofAllAlbums”:RevisitingEllington’sA DrumIsaWoman [265] john wriggle Index [299] Illustrations Figures 1.1 MichaelLeavitt,MoveOn.org,ALittleGreenfromaLotof People(2008) page[8] 1.2 JustinHampton,ThatOne:History(2008) [9] 1.3 TableaufromW.E.B.DuBois,TheStarofEthiopia(Crisis, August1916) [10] 1.4 FiguresfromW.E.B.DuBois,TheStarofEthiopia(Crisis, December1915) [10] 1.5 AlecLovejoyandEdgarConnor,BlackandTan(RKO,1929) [21] 2.1 Thered-velvetcoverandaccompanyingliner-notebooklet tothe1943BrunswickRecords78-rpmalbum,Ellingtonia, vol.1,B1000 [35] 2.2 Thefrontandbackcoversofthe194678-rpmalbum,Black, BrownandBeige,SP-9(softcover) [37] 8.1 DukeEllingtonandtheSenegalesepoet,philosopher,and statesmanLe´opoldSe´darSenghor,April1966.RuthEllington Collection,ArchivesCenter,NationalMuseumofAmerican History,SmithsonianInstitution,Washington,D.C. [243] 8.2 TheEllingtonorchestrawithSenegalesepercussionistGana M’bowinDakar,April1966.RuthEllingtonCollection, ArchivesCenter,NationalMuseumofAmericanHistory, SmithsonianInstitution,Washington,D.C. [250] 8.3 DukeEllingtonwelcomedattheairportinAddisAbababy EmperorHaileSelassie’spetlion,Mecuria,in1974.Courtesy ofArtBaron.Photographerunknown [258] 8.4 TheEllingtonOrchestraattheAddisAbabaHiltonHotelon 22November1973,withEthiopianvibraphonist/ keyboardist,MulatuAstatke [261] vii viii ListofIllustrations Examples All examples in Chapter 4 are transcribed from the recordings by Bill Dobbins. 4.1 BlackBeauty(1October1928),Atheme,mm.1–4 [112] 4.2 InaMellotone(4May1940),introduction,mm.1–3 [119] 4.3 Mr.J.B.Blues(1October1940),secondblueschorus,mm. 5–8 [121] 4.4 BlueSerge(15February1941),lastfourmeasuresof Ellington’ssolo [123] 4.5 Solitude(14May1941,take2),firstchorus,lastAsection, mm.1–4 [124] 4.6 BlueBellesofHarlem(23January1943),Ellington’s“bent note”effect [126] 4.7 NewWorldA-Comin’(11December1943),Ctheme,mm. 1–4 [128] 4.8 “DancersinLove”(fromthePerfumeSuite,19December 1944),finalAphrase,mm.1–4 [130] 4.9. “NobodyWasLooking”(fromtheDeepSouthSuite,23 November1946),Atheme,mm.13–16 [132] 4.10 “Happy-Go-LuckyLocal”(fromtheDeepSouthSuite,23 November1946),firstpianosolo,mm.1–4 [133] 4.11 TheClothedWoman(27December1947),Asection,mm. 1–4 [135] 4.12 “ReflectionsinD”(14April1953),firstAsection,mm.1–3 [139] 4.13 “KindaDukish”(3December1953),32measuresbeforethe closingtheme [140] 4.14 BandCall(26April1954),Bsection,mm.5–8 [141] 4.15 NightCreature(16March1955),parttwo,mm.1–3 [142] 4.16 “TheSinglePetalofaRose”(fromTheQueen’sSuite,14 April1959),firstA1section,mm.5–8 [144] 4.17 SecondPortraitofTheLion(20June1965),secondAsection, mm.7–10 [147] 4.18 “TheShepherd”(18July1966),Btheme,mm.9–11 [148] 4.19 “AdLibonNippon”(20December1966),secondchorus, mm.1–4 [150] 4.20 MoodIndigo,comparisonoftheAtheme,mm.1–4,with correspondingEllingtonintroductionsorsolos [154]