My grandfather was there at the legendary Fargo show! He was a teenager living in South Dakota, and he was such a Duke Ellington fanboy he followed the band around across several states, seeing every gig he possibly could. Thanks for another great article about one of my favorite live albums of all time!
My grandfather, who was not by any means a "jazz fan", told me of the time Duke Ellington's orchestra came to his part of Oklahoma. I believe it was a converted barn they performed in. The way he described it was equivalent to a presidential visit. Both my grandparents were Okie farmers, and hearing him describe that event from his youth made me realize Ellington's contribution to American culture was so much deeper than music.
In 1956 I was a high school junior in Clarksville, Iowa, population about 1,200. My friend Kent played trombone in the school band and asked me if I wanted to hear this band that was coming to Wartburg College in nearby Waverly (much smaller than Fargo). I had never heard of Duke and had no idea of all the great musicians who were in the band. All I knew by the end of the concert was that I had heard something special and that Duke “loved us madly.” And I’ve been in love with jazz ever since and now serve on the board of the Friends of Jazz affiliated with the University of Missouri - Kansas City Jazz Studies Program in the UMKC Conservatory of Music. I can’t read or play a note of music, but I think I’v developed a pretty good ear for special music. Which Duke and his guys played to perfection.
Regarding playing for dancers, in the early 1960's my father took me to the Club Ebony in Houston to hear Dizzy Gillespie's quintet. I was mortified to see patrons dancing to "Swing Low, Sweet Cadillac" and remarked to my father how disrespectful that was. My father set me straight. Years later, when playing clubs with Clark Terry's quintet there was nothing more gratifying than seeing folks swaying to the music. Playing dances with Woody Herman's band was equally enjoyable. With that in mind I've often thought that venues like Jazz At the Philharmonic took the music out of the neighborhood clubs, bars and ballrooms, like the Ebony, and hastened its cultural and social decline.
A small quibble about Massey Hall: according to Mingus’s autobiography, he owned the recording, and released it on his Debut label. He wasn’t happy with his bass playing or the bass sound quality, so he overdubbed it. I remember when I first heard the recording (on a college student’s rudimentary record player) that the bass sounded like it was coming from a different time & place. It was.
Bravo, Ted! I've had a copy of the bootleg for many years, and have enjoyed it many times. I've also read a lot about the date, as it's been presented in various books on jazz history (now I must go to yours to see what/if you wrote about it).
I'm curious to know what you thought about Terry Teachout's biography on Duke. From what you've written here, in memory of Terry, I know you had a sympatico relationship.
I came away from his book feeling a bit let down, especially after his warm treatment of Louis Armstrong, whom he revered. He seemed a bit dismissive of Duke.
What say you, Ted? Perhaps one day you will present your list of great writing on jazz to peruse - I have a fairly large collection, some favourites and some not. But I'm sure I've missed some along the way.
Amazing recording quality. Sonny Greer, never heard him like this. Playing for dancers is great. Done a few Lindy Hop groups recently and they give you so much energy and just love it when a couple spontaneously dance in whatever limited space they have. Thanks for this. Don’t have the recording so next purchase shall be just that.
Oh my! What a treat on a rainy afternoon to listen to Duke Ellington from 1940. I can easily picture the dancers swirling and lindy-hopping their way around the floor.
Always great to see the Duke Ellington Orchestra celebrated in print. But I might argue that Ben Webster's contribution to the band--admittedly fantastic --was equalled (if not eclipsed) by the wonderful Paul Gonsalves, who was with the band for 24 years, right up till his death in 1974--only days before the death of Ellington himself.
It's interesting you mentioned Lawrence Welk coming through there. I have a story (from my Dad - who was a pretty fine Jazz & Big Band style drummer when younger). My Dad grew up around Aberdeen South Dakota. And sometimes worked at his Dad's ( my Grandpa ) restaurant in Aberdeen. My Dad told stories of Welk eating at my Grandpas place many times & doing local gigs before he was big on TV.
Wouldn't have normally mentioned Welk in a Story with the Duke as I would definitely dig the Duke's music over Welk's except for one thing: As a young kid I always dug catching Lawrence Welk's TV shows because he always featured one or the other fine Guitarists he had in the band - Buddy Merill or Neil LeVang. This was definitely one of the influences that prodded me to pick up a Guitar just a few short years later.
Great article. This would not happen today as bands fly over places like North Dakota. Did Ellington take a bus or a train? I seem to remember he had his own train car for extensive touring.
Always nice to hear different versions of this tune. The studio recording is a bit stiff-this is looser, more swinging and sounds like dance music. Also, since Duke introduces the three motives in the the first 12 bars, in three different keys no less, it's easy to over analyze. The trumpets and bones phrase more like Armstrong, the saxes closer to Lester. Quite a gem!
Wonderful piece about a recording that has long been a treasured part of my collection. It’s old but never tired. A magic “moment” captured for all time. Happy Birthday, Duke!
My grandfather was there at the legendary Fargo show! He was a teenager living in South Dakota, and he was such a Duke Ellington fanboy he followed the band around across several states, seeing every gig he possibly could. Thanks for another great article about one of my favorite live albums of all time!
My grandfather, who was not by any means a "jazz fan", told me of the time Duke Ellington's orchestra came to his part of Oklahoma. I believe it was a converted barn they performed in. The way he described it was equivalent to a presidential visit. Both my grandparents were Okie farmers, and hearing him describe that event from his youth made me realize Ellington's contribution to American culture was so much deeper than music.
In 1956 I was a high school junior in Clarksville, Iowa, population about 1,200. My friend Kent played trombone in the school band and asked me if I wanted to hear this band that was coming to Wartburg College in nearby Waverly (much smaller than Fargo). I had never heard of Duke and had no idea of all the great musicians who were in the band. All I knew by the end of the concert was that I had heard something special and that Duke “loved us madly.” And I’ve been in love with jazz ever since and now serve on the board of the Friends of Jazz affiliated with the University of Missouri - Kansas City Jazz Studies Program in the UMKC Conservatory of Music. I can’t read or play a note of music, but I think I’v developed a pretty good ear for special music. Which Duke and his guys played to perfection.
Regarding playing for dancers, in the early 1960's my father took me to the Club Ebony in Houston to hear Dizzy Gillespie's quintet. I was mortified to see patrons dancing to "Swing Low, Sweet Cadillac" and remarked to my father how disrespectful that was. My father set me straight. Years later, when playing clubs with Clark Terry's quintet there was nothing more gratifying than seeing folks swaying to the music. Playing dances with Woody Herman's band was equally enjoyable. With that in mind I've often thought that venues like Jazz At the Philharmonic took the music out of the neighborhood clubs, bars and ballrooms, like the Ebony, and hastened its cultural and social decline.
A small quibble about Massey Hall: according to Mingus’s autobiography, he owned the recording, and released it on his Debut label. He wasn’t happy with his bass playing or the bass sound quality, so he overdubbed it. I remember when I first heard the recording (on a college student’s rudimentary record player) that the bass sounded like it was coming from a different time & place. It was.
Fabulous find thank you.
Bravo, Ted! I've had a copy of the bootleg for many years, and have enjoyed it many times. I've also read a lot about the date, as it's been presented in various books on jazz history (now I must go to yours to see what/if you wrote about it).
I'm curious to know what you thought about Terry Teachout's biography on Duke. From what you've written here, in memory of Terry, I know you had a sympatico relationship.
I came away from his book feeling a bit let down, especially after his warm treatment of Louis Armstrong, whom he revered. He seemed a bit dismissive of Duke.
What say you, Ted? Perhaps one day you will present your list of great writing on jazz to peruse - I have a fairly large collection, some favourites and some not. But I'm sure I've missed some along the way.
An eventual necessary addition to my collection of Ellington recordings.
Amazing recording quality. Sonny Greer, never heard him like this. Playing for dancers is great. Done a few Lindy Hop groups recently and they give you so much energy and just love it when a couple spontaneously dance in whatever limited space they have. Thanks for this. Don’t have the recording so next purchase shall be just that.
Oh my! What a treat on a rainy afternoon to listen to Duke Ellington from 1940. I can easily picture the dancers swirling and lindy-hopping their way around the floor.
Always great to see the Duke Ellington Orchestra celebrated in print. But I might argue that Ben Webster's contribution to the band--admittedly fantastic --was equalled (if not eclipsed) by the wonderful Paul Gonsalves, who was with the band for 24 years, right up till his death in 1974--only days before the death of Ellington himself.
All this and no mention of Billy Strayhorn?
It's interesting you mentioned Lawrence Welk coming through there. I have a story (from my Dad - who was a pretty fine Jazz & Big Band style drummer when younger). My Dad grew up around Aberdeen South Dakota. And sometimes worked at his Dad's ( my Grandpa ) restaurant in Aberdeen. My Dad told stories of Welk eating at my Grandpas place many times & doing local gigs before he was big on TV.
Wouldn't have normally mentioned Welk in a Story with the Duke as I would definitely dig the Duke's music over Welk's except for one thing: As a young kid I always dug catching Lawrence Welk's TV shows because he always featured one or the other fine Guitarists he had in the band - Buddy Merill or Neil LeVang. This was definitely one of the influences that prodded me to pick up a Guitar just a few short years later.
Great article. This would not happen today as bands fly over places like North Dakota. Did Ellington take a bus or a train? I seem to remember he had his own train car for extensive touring.
Always nice to hear different versions of this tune. The studio recording is a bit stiff-this is looser, more swinging and sounds like dance music. Also, since Duke introduces the three motives in the the first 12 bars, in three different keys no less, it's easy to over analyze. The trumpets and bones phrase more like Armstrong, the saxes closer to Lester. Quite a gem!
Wonderful piece about a recording that has long been a treasured part of my collection. It’s old but never tired. A magic “moment” captured for all time. Happy Birthday, Duke!