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Duke Ellington & His World Famous Orchestra Duke Ellington - CD 014921050129

Duke Ellington's only son recalls his own relationship with his father as well as recounting Duke's musical life and relationships with women and with other musicians

Steven Hancoff Steve Hancoff's approach parallels Jelly-Roll Morton's notion of 'piano as band.' He translates the complex rhythms and polyphonies of band and piano jazz into the techniques he developed for the guitar...Amazing transcriptions and uncanny technical skills... (William Schafer, Mississippi Rag) Steve began playing guitar when he was 13 years old, captivated by the folk music craze of the 1960's. Within a year he was performing in coffee houses around Baltimore and Washington, DC. S

Duke Ellington and his Orchestra recorded multiple albums worth of material for this World Broadcasting Series between 1943 and 1945. The songs on this compilation include the best of two volumes which were originally released by Circle Records in 1985. All of the material was recorded on November 8 and 9 of 1943. The album was remastered and pressed on audiophile-grade vinyl at Pallas Group in Germany.

Limited Edition in Transparent Purple Colored Vinyl. 180 gram. New Collection Of Colored Classic LPs. Limited Edition. Direct Metal Mastering.

Duke Ellington & His Orchestra 1938 #2 Duke Ellington - CD 3307517071729

For this classic encounter, Duke Ellington "sat in" with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of "In a Sentimental Mood" is a high point, and such numbers

180 gram VINYL AUDIOPHILE PRESSING.

Duke Ellington's son Mercer has said that his father was frustrated in only one area of musical ambition: his desire to do his own Broadway show. Though Ellington wrote many theatrical pieces, he was never able to achieve success as a composer for the stage, and today his stage shows receive little attention from music historians. Nevertheless, these works occupied a significant place in Ellington's creative imagination, and many of the ideas he employed in their composition found their way into his other work. Here is the first book to acknowledge Duke Ellington's contribution to the stage. It offers a survey of every theater piece Ellington is known to have worked on during his lifetime, beginning with the 1925 revue The Chocolate Kiddies and ending with the unfinished "street opera" Queenie Pie. This large body of work includes full-length musicals, African American revues, ballets, and incidental music. The plot of each work is described and the score analyzed according to its dramatic function in the piece. Musical phrases are reproduced in the text, and associations with other well-known Ellington compositions are noted. An appendix provides a chronological listing of Ellington's shows with song titles conveniently listed under each.

It's a challenge to transform the "Nutcracker Suite's" romantic orchestra into jumpin' jazz melodies, but that's exactly what Duke Ellington and his collaborator, Billy Strayhorn, did.Ellington's band memebers were not so sure that a classical ballet could become a cool-cat jazz number. But Duke and Billy, inspired by their travels and by musical styles past and present, infused the composition with Vegas glitz, Hollywood glamour, and even a little New York jazz. CD recording of the Ellington/Strayhorn composition included.

Traces the life of the internationally acclaimed musician and composer who helped popularize jazz music

(Piano Solo). 17 classic tunes in authentic Ellington style. New piano solo arrangements by Stephen Duro based on the original big band recordings, complete with chord symbols. Songs include: Caravan * In a Sentimental Mood * Prelude to a Kiss * Satin Doll * Take the "A" Train * and more.

FOR USE IN SCHOOLS AND LIBRARIES ONLY. A brief recounting of the career of this jazz musician and composer who, along with his orchestra, created music that was beyond category.

(Piano Solo Composer Collection). Piano solo arrangements of more than 20 Ellington classics, including: Caravan * Come Sunday * Do Nothin' Till You Hear from Me * Don't Get Around Much Anymore * I'm Beginning to See the Light * In a Sentimental Mood * Mood Indigo * Prelude to a Kiss * Satin Doll * Solitude * Sophisticated Lady * Take the "A" Train * and more.

(Jazz Piano Solos). Exciting new solo arrangements with chord names of 23 beloved Duke Ellington songs, including: Caravan * Don't Get Around Much Anymore * It Don't Mean a Thing * Mood Indigo * Satin Doll * Take the "A" Train * and more.

(Piano Solo Composer Collection). Piano solo arrangements of more than 20 Ellington classics, including: Caravan * Come Sunday * Do Nothin' Till You Hear from Me * Don't Get Around Much Anymore * I'm Beginning to See the Light * In a Sentimental Mood * Mood Indigo * Prelude to a Kiss * Satin Doll * Solitude * Sophisticated Lady * Take the "A" Train * and more.

The celebrated musician and entertainer discusses his life and travels and presents profiles of personalities he has come to know as friends

Duke Ellington's only son recalls his own relationship with his father as well as recounting Duke's musical life and relationships with women and with other musicians

This new folio celebrates the 100th anniversary of Duke Ellington's life. There are 75 compositions covering the years from the 1920s to the 1960s. Included is some of Ellington's band repertoire that is hard to find: Cottontail * Half the Fun * Isfahan * Main Stem * Old King Dooji * Warm Valley. The songs are laid out according to the year written.

American composer, pianist, and orchestra leader Duke Ellington was the first genuine jazz composer of truly international status. In this book Ken Rattenbury offers the most thorough musical analysis ever written of Ellington’s works, assessing the extent to which Ellington drew on the black music traditions of blues and ragtime and the music of Tin Pan Alley, and examining how he integrated black folk music practices with elements of European art music.  Rattenbury, a professional jazz musician for over fifty years, investigates Ellington's methods of composing, focusing on works written, performed, and recorded between 1939 and 1941, years that witnessed the full flowering of Ellington's genius. He discusses the infinite care with which Ellington selected his musicians―players possessing, in addition to technical accomplishment, the unique folksy qualities of timbre and delivery necessary to contribute to the "Ellington sound."  He remarks on Ellington's gifts as a melodist and songwriter, shedding light on the commercial aspect of his involvement with Tin Pan Alley. After examining two early Ellington compositions for piano, he closely analyzes full scores of five significant pieces transcribed from their original recordings and including all extemporized solos and variations in performance.  These transcriptions range from a duo for piano and double bass, through pieces for small groups, to compositions for Ellington's full orchestra. Drawing at length from the observations of Ellington himself and of the members of Ellington's orchestra, as well as from his own, extensive musical knowledge, Rattenbury provides new perspectives on Ellington's life and music, the interpretations of some of his most creative soloists, and the evolution of the jazz tradition