Duke Ellington Orchestra
Tenor Saxophone Solo: Paul Gonsalvez (1920-1974)
Otto Preminger wanted to use Duke Ellington's “Sophisticated Lady” as the theme music for his film Laura. When musical director David Raksin objected, Preminger replied, "All right, today is Friday. If you can come up with something we like by Monday, okay. If not, we use 'Sophisticated Lady'!" One of the most famous musical themes in movie history was actually born late Sunday night, a few hours before deadline.
Showing posts with label Duke Ellington. Show all posts
Showing posts with label Duke Ellington. Show all posts
Sunday, October 4, 2009
Monday, March 9, 2009
Satin Doll -- Duke Ellington
Duke Ellington & his orchestra
Ellington on piano, 5 trumpets, 3 trombones, 5 saxophones, drummer and bass.
The tune was a collaboration between Ellington and Billy Strayhorn. A few years later Johnny Mercer penned lyrics (1953) that are clever, hip and infused with slang through and through.
Cigarette holder, which wigs me
Over her shoulder, she digs me.
Out cattin' that satin doll.
Baby, shall we go out skippin?
Careful, amigo, you're flippin',
Speaks Latin, that satin doll.
She's nobody's fool so I'm playing it cool as can be.
I'll give it a whirl but I ain't for no girl catching me,
Switch-a-rooney!
Telephone numbers, well you know,
Doin' my rhumbas with uno
And that'n, my Satin Doll.
Nancy Wilson
Ellington on piano, 5 trumpets, 3 trombones, 5 saxophones, drummer and bass.
The tune was a collaboration between Ellington and Billy Strayhorn. A few years later Johnny Mercer penned lyrics (1953) that are clever, hip and infused with slang through and through.
Cigarette holder, which wigs me
Over her shoulder, she digs me.
Out cattin' that satin doll.
Baby, shall we go out skippin?
Careful, amigo, you're flippin',
Speaks Latin, that satin doll.
She's nobody's fool so I'm playing it cool as can be.
I'll give it a whirl but I ain't for no girl catching me,
Switch-a-rooney!
Telephone numbers, well you know,
Doin' my rhumbas with uno
And that'n, my Satin Doll.
Nancy Wilson
Tuesday, February 3, 2009
Lotus Blossom (waltz)
Composed by Billy Strayhorn (1947)
Performed by Duke Ellington, piano
Trivia: Ellington claimed that Lotus Blossom was the piece Strayhorn most liked hearing him play.
From Ellington's eulogy upon the death of Strayhorn:
...Billy Strayhorn successfully married melody, words, and harmony, equating the fitting with happiness. His greatest virtue, I think, was his honesty, not only to others, but to himself. His listening-hearing self was totally intolerant of his writing-playing self when, or if, any compromise was expected, or considered expedient...He spoke English perfectly and French very well, but condescension did not enter into his mind. He demanded freedom of expression and lived in what we consider the most important and moral of freedoms: freedom from hate, unconditionally; freedom from self-pity (even throughout all the pain and bad news); freedom from fear of possibly doing something that might help another more than it might help himself; and freedom from the kind of pride that could make a man feel he was better than his brother or neighbor.
Another rendition by Charles Lloyd (tenor sax) with Geri Allen (piano)
Marc Johnson (bass), Billy Hart (drums), and John Abercrombie (guitar).
2001 Montreal International Jazz Festival
Performed by Duke Ellington, piano
Trivia: Ellington claimed that Lotus Blossom was the piece Strayhorn most liked hearing him play.
From Ellington's eulogy upon the death of Strayhorn:
...Billy Strayhorn successfully married melody, words, and harmony, equating the fitting with happiness. His greatest virtue, I think, was his honesty, not only to others, but to himself. His listening-hearing self was totally intolerant of his writing-playing self when, or if, any compromise was expected, or considered expedient...He spoke English perfectly and French very well, but condescension did not enter into his mind. He demanded freedom of expression and lived in what we consider the most important and moral of freedoms: freedom from hate, unconditionally; freedom from self-pity (even throughout all the pain and bad news); freedom from fear of possibly doing something that might help another more than it might help himself; and freedom from the kind of pride that could make a man feel he was better than his brother or neighbor.
Another rendition by Charles Lloyd (tenor sax) with Geri Allen (piano)
Marc Johnson (bass), Billy Hart (drums), and John Abercrombie (guitar).
2001 Montreal International Jazz Festival
Sunday, January 18, 2009
Sophisticated Lady
Music by Duke Ellington (1932); lyrics by Irving Mills & Mitchell Parish.
Chick Corea (piano) & Gary Burton (vibes)
Note: The attribution to Billy Strayhorn, as labeled in the video, is incorrect (Strayhorn did not meet Ellington until six years after this piece was written). Also, Irving Mills (lyrics) was the manager of the Duke Ellington Orchestra until 1939; whether or not he actually wrote the lyrics for which he is credited is widely disputed. The issue was one of royalties. Ellington frequently took credit for music he didn't write; he paid a flat fee for compositions, then credited himself, so that he could collect royalties. Sadly, Billy Strayhorn, who willingly lived his life in the shadow of Ellington, was often on the losing end of many such transactions. Strayhorn, an openly gay black man in the era of extreme homophobia and prejudice, was Ellington's "right hand, left hand, and all the eyes in the back of my head", as stated by Ellington himself. Strayhorn was, however, accurately credited with composing "Take the A Train," Ellington's theme music.
Chick Corea (piano) & Gary Burton (vibes)
Note: The attribution to Billy Strayhorn, as labeled in the video, is incorrect (Strayhorn did not meet Ellington until six years after this piece was written). Also, Irving Mills (lyrics) was the manager of the Duke Ellington Orchestra until 1939; whether or not he actually wrote the lyrics for which he is credited is widely disputed. The issue was one of royalties. Ellington frequently took credit for music he didn't write; he paid a flat fee for compositions, then credited himself, so that he could collect royalties. Sadly, Billy Strayhorn, who willingly lived his life in the shadow of Ellington, was often on the losing end of many such transactions. Strayhorn, an openly gay black man in the era of extreme homophobia and prejudice, was Ellington's "right hand, left hand, and all the eyes in the back of my head", as stated by Ellington himself. Strayhorn was, however, accurately credited with composing "Take the A Train," Ellington's theme music.
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