Edward_kennedy_duke_ellington_biography_book

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Shortly after their marriage, on March 11, 1919 Edna gave birth to their only son, Mercer Kennedy Ellington. Fate doesn't want me to be famous too young."[38] In September of the same year, the first of his Sacred Concerts was given its premiere. Retrieved 2009-07-14. [dead link]

  • ^Ellington 1976, p. 156.
  • ^http://www.allaboutjazz.com/php/article_print.php?id=31974
  • ^"Jazz Musicians - Duke Ellington".

    Ellington band could certainly swing, but Ellington's strength was mood and nuance, and richness of composition, hence his statement "jazz is music; swing is business".[26] Ellington countered with two developments. His works have been revisited by artists and musicians around the world both as a source of inspiration and a bedrock of their own performing careers.

    Paul Ellington, Mercer's youngest son and executor of the Duke Ellington estate,[4] kept the Duke Ellington Orchestra going from Mercer's death onwards.[5]

    Biography

    Early life

    Edward Kennedy Ellington was born on April 29, 1899 to James Edward Ellington and Daisy Kennedy Ellington. In the late 1950s, his work in films took the shape of scoring for soundtracks, notably Anatomy of a Murder (1959), with James Stewart, in which he appeared fronting a roadhouse combo, and Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians.

    He wrote an original score for director Michael Langham's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, 1963.

    Retrieved 2008-08-26. 

  • ^"Duke Ellington". http://www.piano300.si.edu/collectn.htm. Coins and Medals. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight. ISBN 0-19-503770-7
  • Dailey, Raleigh. "Duke Ellington and his Kentucky Club Orchestra" grew to a ten-piece organization; they developed their distinct sound by displaying the non-traditional expression of Ellington’s arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members.

    He made recordings of smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard.

    In 1937 Ellington returned to the Cotton Club which had relocated to the mid-town theater district.

    Privately published two part discography with no ISBN number. The Duke Ellington Reader. The revived attention should not have surprised anyone – Hodges had returned to the fold the previous year, and Ellington's collaboration with Strayhorn had been renewed around the same time, under terms more amenable to the younger man.

    Duke Ellington: Day by Day and Film by Film. It ran for 122 performances until September 29, 1941, with a brief revival in November of that year.