Ellington at Newport
Encyclopedia
Ellington at Newport is a 1956 jazz
live album
by Duke Ellington
and his band, recording their historic 1956 concert at the Newport Jazz Festival
, a concert which revitalized Ellington's flagging career. Jazz promoter George Wein
describes the 1956 concert as "the greatest performance of [Ellington's] career... It stood for everything that jazz had been and could be.". It is included in the book 1001 Albums You Must Hear Before You Die
, ranking it "one of the most famous... in jazz history".
, Dizzy Gillespie
, and Thelonious Monk
, among others. Many big bands had folded completely by the mid-1950s, but Duke had kept his band working, occasionally doing shows in ice-skating rinks to stay busy. The Duke Ellington Orchestra had done some European tours during the early 1950s, and Duke was chiefly supporting the band himself through royalties earned on his popular compositions of the 1920s to 1940s. At the time of the festival, the band did not even have a record deal.
". This set was played without a few of the band's members as they were unable to be found at the start of the show.
After performances by the other groups, the remainder of the band was located and the real performance began. Duke led off with "Take the 'A' Train", followed by a new composition by Duke and Billy Strayhorn
, a suite
of three pieces: "Festival Junction", "Blues to Be There", and "Newport Up". This suite was intended to be the showstopper, but the reception was not as enthusiastic as was hoped.
Following the Festival suite, Duke called for Harry Carney
's baritone saxophone performance of "Sophisticated Lady
". Then the orchestra played "Day In, Day Out
". Following this, Duke announced that they were pulling out "some of our 1938 vintage": a pair of blues, "Diminuendo in Blue" and "Crescendo in Blue"
joined by an improvised interval, which Duke announced would be played by tenor saxophonist Paul Gonsalves
.
As performed at Newport, the experiment ended up revamping the Ellington reputation and fortune for the rest of Ellington's life. The previous experiments culminated in a 27-chorus solo by Gonsalves — simple, but powerful — backed only by bassist Jimmy Woode
, drummer Sam Woodyard
, and Ellington himself pounding punctuating piano chords and (with several audible band members as well) hollering urgings-on ("Come on, Paul — dig in! Dig in!") to his soloist. The normally sedate crowd was on their feet dancing in the aisles, reputedly provoked by a striking platinum blonde woman in a black evening dress, Elaine Anderson, getting up and dancing enthusiastically. When the solo ended and Gonsalves collapsed in exhaustion, Ellington himself took over for two choruses of piano solo before the full band returned for the "Crescendo in Blue" portion, finishing with a rousing finale featuring high-note trumpeter Cat Anderson.
." Duke's best known alto saxophonist then played two of his most famous numbers in "I Got It Bad (and That Ain't Good)
" followed by "Jeep's Blues." Still the crowd refused to disperse so Duke called for Ray Nance to sing "Tulip or Turnip." The festival's organizers tried to cut off the show at this point but once again were met with angry refusals to end this magical evening.
Duke told the announcer that he would end the show and wanted to thank the audience but instead announced he had a "very heavy request for Sam Woodyard in 'Skin Deep'", a number written by former Ellington drummer Louis Bellson. This drum solo feature was the final number featured, followed by a farewell from Duke over "Mood Indigo
". In his farewell, he thanked the crowd for the "wonderful way in which you've inspired us this evening." He then finished with his trademark statement, "You are very beautiful, very lovely and we do love you madly." With that, the historic show concluded.
In 1996, a tape was discovered in the annals of the Voice of America
radio broadcasts which changed everything. It turned out that the 1956 album which was produced had indeed been fabricated with studio performances mixed with some live recordings and artificial applause. Only about 40% of the 1956 recording was actually live. The reason for this was that Ellington felt the under-rehearsed Festival suite had not been performed up to recording release standards, and he wished to have a better version on tape if it was to be issued on record. Producer George Avakian did as Ellington asked and the band entered the studio immediately after the festival. Avakian mixed in the studio version with portions of the live performance. The applause was dubbed onto the original release to cover up the fact that Gonsalves had been playing into the wrong microphone and was often completely inaudible.
On the 1999 reissue, the VoA live recording and the live Columbia tapes were painstakingly pieced together using digital technology to create a true stereophonic
recording of the most well-known Ellington performance of the past fifty years, this time with Gonsalves's solo clearly heard, though the beginning of the audience cheering and noise at around the seventh or eighth chorus of the solo can still be heard as well. (Stereophonic LP records were not mass-produced until 1957, the year after the recording.) The 1999 re-issue of this record, Ellington at Newport (Complete), preserves one of the most inspired performances of the Duke Ellington Orchestra's career.
Side B
Disc two
Jazz
Jazz is a musical style that originated at the beginning of the 20th century in African American communities in the Southern United States. It was born out of a mix of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th...
live album
Album
An album is a collection of recordings, released as a single package on gramophone record, cassette, compact disc, or via digital distribution. The word derives from the Latin word for list .Vinyl LP records have two sides, each comprising one half of the album...
by Duke Ellington
Duke Ellington
Edward Kennedy "Duke" Ellington was an American composer, pianist, and big band leader. Ellington wrote over 1,000 compositions...
and his band, recording their historic 1956 concert at the Newport Jazz Festival
Newport Jazz Festival
The Newport Jazz Festival is a music festival held every summer in Newport, Rhode Island, USA. It was established in 1954 by socialite Elaine Lorillard, who, together with husband Louis Lorillard, financed the festival for many years. The couple hired jazz impresario George Wein to organize the...
, a concert which revitalized Ellington's flagging career. Jazz promoter George Wein
George Wein
George Wein is an American jazz promoter and producer who has been called "the most famous jazz impresario" and "the most important non-player... in jazz history"...
describes the 1956 concert as "the greatest performance of [Ellington's] career... It stood for everything that jazz had been and could be.". It is included in the book 1001 Albums You Must Hear Before You Die
1001 Albums You Must Hear Before You Die
1001 Albums You Must Hear Before You Die is a musical reference book edited by Robert Dimery, first published in 2005. The most recent edition consists of a list of albums released between 1955 and 2010, part of a series from Quintessence Editions Ltd...
, ranking it "one of the most famous... in jazz history".
Context
Duke and his band had slipped in popularity with the rise of bebop, the jazz style which was developed by Charlie ParkerCharlie Parker
Charles Parker, Jr. , famously called Bird or Yardbird, was an American jazz saxophonist and composer....
, Dizzy Gillespie
Dizzy Gillespie
John Birks "Dizzy" Gillespie was an American jazz trumpet player, bandleader, singer, and composer dubbed "the sound of surprise".Together with Charlie Parker, he was a major figure in the development of bebop and modern jazz...
, and Thelonious Monk
Thelonious Monk
Thelonious Sphere Monk was an American jazz pianist and composer considered "one of the giants of American music". Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "Epistrophy", "'Round Midnight", "Blue Monk", "Straight, No Chaser"...
, among others. Many big bands had folded completely by the mid-1950s, but Duke had kept his band working, occasionally doing shows in ice-skating rinks to stay busy. The Duke Ellington Orchestra had done some European tours during the early 1950s, and Duke was chiefly supporting the band himself through royalties earned on his popular compositions of the 1920s to 1940s. At the time of the festival, the band did not even have a record deal.
Beginning
Duke and his orchestra arrived to play at the Newport Jazz Festival at a time when jazz festivals were a fairly new innovation. Ellington's band was the first and last group to play at the Newport Festival. The first, short set began at 8:30 and included "The Star Spangled Banner", "Black and Tan Fantasy" and "Tea for TwoTea for Two (song)
"Tea for Two" is a song from the 1925 musical No, No, Nanette with music by Vincent Youmans and lyrics by Irving Caesar. It is a duet sung by Nanette and Tom in Act II as they imagine their future.-Analysis:...
". This set was played without a few of the band's members as they were unable to be found at the start of the show.
After performances by the other groups, the remainder of the band was located and the real performance began. Duke led off with "Take the 'A' Train", followed by a new composition by Duke and Billy Strayhorn
Billy Strayhorn
William Thomas "Billy" Strayhorn was an American composer, pianist and arranger, best known for his successful collaboration with bandleader and composer Duke Ellington lasting nearly three decades. His compositions include "Chelsea Bridge", "Take the "A" Train" and "Lush Life".-Early...
, a suite
Suite
In music, a suite is an ordered set of instrumental or orchestral pieces normally performed in a concert setting rather than as accompaniment; they may be extracts from an opera, ballet , or incidental music to a play or film , or they may be entirely original movements .In the...
of three pieces: "Festival Junction", "Blues to Be There", and "Newport Up". This suite was intended to be the showstopper, but the reception was not as enthusiastic as was hoped.
Following the Festival suite, Duke called for Harry Carney
Harry Carney
Harry Howell Carney was an American swing baritone saxophonist, clarinetist, and bass clarinetist mainly known for his 45-year tenure in Duke Ellington's Orchestra. Carney started off as an alto player with Ellington, but soon switched to the baritone. His strong, steady saxophone often served as...
's baritone saxophone performance of "Sophisticated Lady
Sophisticated Lady
"Sophisticated Lady" is a jazz standard, composed as an instrumental in 1932 by Duke Ellington and Irving Mills, to which words were added by Mitchell Parish. The words met with approval from Ellington, who described them as "wonderful—but not entirely fitted to my original conception".That...
". Then the orchestra played "Day In, Day Out
Day In, Day Out
"Day In, Day Out" is a popular song with music by Rube Bloom and lyrics by Johnny Mercer and published in 1939.According to Alec Wilder the song, 56 measures long, has a wonderful, soaring melodic line, free from pretentiousness, but full of passion and intensity which is superbly supported by the...
". Following this, Duke announced that they were pulling out "some of our 1938 vintage": a pair of blues, "Diminuendo in Blue" and "Crescendo in Blue"
Diminuendo and Crescendo in Blue
"Diminuendo and Crescendo in Blue" is a big band jazz composition written in 1937 by Duke Ellington. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue," were recorded on both sides of a 78 rpm record....
joined by an improvised interval, which Duke announced would be played by tenor saxophonist Paul Gonsalves
Paul Gonsalves
Paul Gonsalves, was an American jazz tenor saxophonist best known for his association with Duke Ellington. At the 1956 Newport Jazz Festival, Gonsalves played a 27-chorus solo in the middle of Ellington's "Diminuendo and Crescendo in Blue"...
.
The Gonsalves solo
Ellington had been experimenting with the reworking for several years before the Newport performance; a release of one of his Carnegie Hall concerts of the 1940s presented the two old blues joined by a wordless vocal passage, "Transbluecency," but in time he chose to join the pair by a saxophone solo, handing it to Gonsalves, experimenting with it in shorter performances before the Newport show, where Ellington is believed to have told Gonsalves to blow as long as he felt like blowing when the solo slot came. It came after two choruses of an Ellington piano break at what was formerly the conclusion of "Diminuendo in Blue."As performed at Newport, the experiment ended up revamping the Ellington reputation and fortune for the rest of Ellington's life. The previous experiments culminated in a 27-chorus solo by Gonsalves — simple, but powerful — backed only by bassist Jimmy Woode
Jimmy Woode
Jimmy Woode was a jazz bassist. His father, also named Jimmy Woode, was a music teacher and pianist who played with Hot Lips Page...
, drummer Sam Woodyard
Sam Woodyard
Sam Woodyard was an American jazz drummer.Woodyard was largely an autodidact on drums, and played locally in the Newark, New Jersey area in the 1940s. He gigged with Paul Gayten in an R&B group, and then played in the early 1950s with Joe Holiday, Roy Eldridge, and Milt Buckner...
, and Ellington himself pounding punctuating piano chords and (with several audible band members as well) hollering urgings-on ("Come on, Paul — dig in! Dig in!") to his soloist. The normally sedate crowd was on their feet dancing in the aisles, reputedly provoked by a striking platinum blonde woman in a black evening dress, Elaine Anderson, getting up and dancing enthusiastically. When the solo ended and Gonsalves collapsed in exhaustion, Ellington himself took over for two choruses of piano solo before the full band returned for the "Crescendo in Blue" portion, finishing with a rousing finale featuring high-note trumpeter Cat Anderson.
Ending
After that performance, pandemonium took over. Duke calmed the crowd by announcing, "If you've heard of the saxophone, then you've heard of Johnny HodgesJohnny Hodges
John Cornelius "Johnny" Hodges was an American alto saxophonist, best known for his solo work with Duke Ellington's big band. He played lead alto in the saxophone section for many years, except the period between 1932–1946 when Otto Hardwick generally played first chair...
." Duke's best known alto saxophonist then played two of his most famous numbers in "I Got It Bad (and That Ain't Good)
I Got It Bad (and That Ain't Good)
"I Got It Bad " is a pop and jazz standard with music by Duke Ellington and lyrics by Paul Francis Webster published in 1941...
" followed by "Jeep's Blues." Still the crowd refused to disperse so Duke called for Ray Nance to sing "Tulip or Turnip." The festival's organizers tried to cut off the show at this point but once again were met with angry refusals to end this magical evening.
Duke told the announcer that he would end the show and wanted to thank the audience but instead announced he had a "very heavy request for Sam Woodyard in 'Skin Deep'", a number written by former Ellington drummer Louis Bellson. This drum solo feature was the final number featured, followed by a farewell from Duke over "Mood Indigo
Mood Indigo
"Mood Indigo" is a jazz composition and song, with music by Duke Ellington and Barney Bigard with lyrics by Irving Mills.-Disputed authorship:In a 1987 interview, Mitchell Parish claimed to have written the lyrics:...
". In his farewell, he thanked the crowd for the "wonderful way in which you've inspired us this evening." He then finished with his trademark statement, "You are very beautiful, very lovely and we do love you madly." With that, the historic show concluded.
Recordings
Columbia Records recorded the concert and an album soon followed. Duke appeared soon after on the cover of Time, and his resurgent popularity lasted throughout the rest of his life. Some of his best albums occurred during the next decade and a half, until age and illness began to claim some of Duke's band members and, in 1974, Ellington himself.In 1996, a tape was discovered in the annals of the Voice of America
Voice of America
Voice of America is the official external broadcast institution of the United States federal government. It is one of five civilian U.S. international broadcasters working under the umbrella of the Broadcasting Board of Governors . VOA provides a wide range of programming for broadcast on radio...
radio broadcasts which changed everything. It turned out that the 1956 album which was produced had indeed been fabricated with studio performances mixed with some live recordings and artificial applause. Only about 40% of the 1956 recording was actually live. The reason for this was that Ellington felt the under-rehearsed Festival suite had not been performed up to recording release standards, and he wished to have a better version on tape if it was to be issued on record. Producer George Avakian did as Ellington asked and the band entered the studio immediately after the festival. Avakian mixed in the studio version with portions of the live performance. The applause was dubbed onto the original release to cover up the fact that Gonsalves had been playing into the wrong microphone and was often completely inaudible.
On the 1999 reissue, the VoA live recording and the live Columbia tapes were painstakingly pieced together using digital technology to create a true stereophonic
Stereophonic sound
The term Stereophonic, commonly called stereo, sound refers to any method of sound reproduction in which an attempt is made to create an illusion of directionality and audible perspective...
recording of the most well-known Ellington performance of the past fifty years, this time with Gonsalves's solo clearly heard, though the beginning of the audience cheering and noise at around the seventh or eighth chorus of the solo can still be heard as well. (Stereophonic LP records were not mass-produced until 1957, the year after the recording.) The 1999 re-issue of this record, Ellington at Newport (Complete), preserves one of the most inspired performances of the Duke Ellington Orchestra's career.
Original 1956 LP: Ellington at Newport
Side A- "Festival Junction" - 10:08
- "Blues to Be There" - 8:04
- "Newport Up" - 5:33
Side B
- "Jeep's Blues" - 5:12
- "Diminuendo and Crescendo in BlueDiminuendo and Crescendo in Blue"Diminuendo and Crescendo in Blue" is a big band jazz composition written in 1937 by Duke Ellington. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue," were recorded on both sides of a 78 rpm record....
" - 14:56
Remastered 1999 CD: Ellington at Newport (Complete)
Disc one- "The Star Spangled Banner" - 1:10
- Father Norman O'Connor Introduces Duke & the Orchestra / Duke Introduces Tune & Anderson, Jackson & Procope - 3:36
- "Black and Tan FantasyBlack and Tan FantasyBlack and Tan is a musical short film written by Dudley Murphy that exhibits the ideas and thoughts of The Harlem Renaissance Movement. Duke Ellington's musical talents along with Fredi Washington's extraordinary acting potential make this movie a good example of the emergence of artistic culture...
" - 6:21 - Duke Introduces Cook & Tune - 0:26
- "Tea for TwoTea for Two (song)"Tea for Two" is a song from the 1925 musical No, No, Nanette with music by Vincent Youmans and lyrics by Irving Caesar. It is a duet sung by Nanette and Tom in Act II as they imagine their future.-Analysis:...
" - 3:34 - Duke & Band Leave Stage / Father Norman Talks About The Festival - 2:30
- "Take the 'A' Train" - 4:27
- Duke Announces Strayhorn's A Train & Nance / Duke Introduces Festival Suite, Part I & Hamilton - 0:41
- "Part I - Festival Junction" - 8:10
- Duke Announces Soloists; Introduces Part II - 0:38
- "Part II - Blues to Be There" - 7:09
- Duke Announces Nace & Procope; Introduces Part III - 0:19
- "Part III - Newport Up" - 5:33
- Duke Announces Hamilton, Gonsalves & Terry / Duke Introduces Carney & Tune - 0:25
- "Sophisticated LadySophisticated Lady"Sophisticated Lady" is a jazz standard, composed as an instrumental in 1932 by Duke Ellington and Irving Mills, to which words were added by Mitchell Parish. The words met with approval from Ellington, who described them as "wonderful—but not entirely fitted to my original conception".That...
" - 3:52 - Duke Announces Grissom & Tune - 0:17
- "Day In, Day OutDay In, Day Out"Day In, Day Out" is a popular song with music by Rube Bloom and lyrics by Johnny Mercer and published in 1939.According to Alec Wilder the song, 56 measures long, has a wonderful, soaring melodic line, free from pretentiousness, but full of passion and intensity which is superbly supported by the...
" - 3:50 - Duke Introduces Tune(s) and Paul Gonsalves Interludes - 0:23
- "Diminuendo In Blue and Crescendo In BlueDiminuendo and Crescendo in Blue"Diminuendo and Crescendo in Blue" is a big band jazz composition written in 1937 by Duke Ellington. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue," were recorded on both sides of a 78 rpm record....
" - 14:20 - Announcements, Pandemonium - 0:44
- Pause Track - 0:06
Disc two
- Duke Introduces Johnny Hodges - 0:18
- "I Got It Bad (and That Ain't Good)I Got It Bad (and That Ain't Good)"I Got It Bad " is a pop and jazz standard with music by Duke Ellington and lyrics by Paul Francis Webster published in 1941...
" - 3:38 - "Jeep's Blues" - 4:36
- Duke Calms Crowd; Introduces Nance & Tune - 0:42
- "Tulip or Turnip" - 2:49
- Riot Prevention - 1:08
- "Skin Deep" - 9:13
- "Mood IndigoMood Indigo"Mood Indigo" is a jazz composition and song, with music by Duke Ellington and Barney Bigard with lyrics by Irving Mills.-Disputed authorship:In a 1987 interview, Mitchell Parish claimed to have written the lyrics:...
" - 1:30 - Studio Concert (Excerpts) - 1:15
- Father Norman O'Connor Introduces Duke Ellington / Duke Introduces New Work, Part I & Hamilton - 1:02
- "Part I - Festival Junction" - 8:46
- Duke Announces Soloists; Introduces Part II - 0:32
- "Part II - Blues To Be There" - 7:48
- Duke Announces Nance & Procope; Introduces Part III" - 0:16
- "Part III - Newport Up" - 5:20
- Duke Announces Hamilton, Gonsalves & Terry / Pause / Duke Introduces Johnny Hodges - 0:41
- "I Got It Bad (And That Ain't Good)" - 3:47
- "Jeep's Blues" - 4:31
- Pause Track - 0:06
- Tracks 9-19 on CD2 were not part of the original performance.
Personnel
- Harry CarneyHarry CarneyHarry Howell Carney was an American swing baritone saxophonist, clarinetist, and bass clarinetist mainly known for his 45-year tenure in Duke Ellington's Orchestra. Carney started off as an alto player with Ellington, but soon switched to the baritone. His strong, steady saxophone often served as...
- Baritone sax - John Willie Cook - TrumpetTrumpetThe trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
- Duke EllingtonDuke EllingtonEdward Kennedy "Duke" Ellington was an American composer, pianist, and big band leader. Ellington wrote over 1,000 compositions...
- PianoPianoThe piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal... - Paul GonsalvesPaul GonsalvesPaul Gonsalves, was an American jazz tenor saxophonist best known for his association with Duke Ellington. At the 1956 Newport Jazz Festival, Gonsalves played a 27-chorus solo in the middle of Ellington's "Diminuendo and Crescendo in Blue"...
- Tenor sax - Jimmy Grissom - VoiceVoiceVoice may refer to:* Human voice* Voice control or voice activation* Writer's voice* Voice acting* Voice vote* Voice message-In film:* Voice , a 2005 South Korean film* The Voice , a 2010 Turkish horror film directed by Ümit Ünal...
- Jimmy HamiltonJimmy HamiltonJimmy Hamilton was an American jazz clarinetist, tenor saxophonist, arranger, composer, and music educator, best known for his twenty-five years with Duke Ellington....
- Tenor sax - Johnny HodgesJohnny HodgesJohn Cornelius "Johnny" Hodges was an American alto saxophonist, best known for his solo work with Duke Ellington's big band. He played lead alto in the saxophone section for many years, except the period between 1932–1946 when Otto Hardwick generally played first chair...
- Alto sax - Quentin JacksonQuentin JacksonQuentin "Butter" Jackson was an American jazz trombonist. In the early stage of his career he worked with Cab Calloway and was in the Duke Ellington Orchestra...
- Trombone - William "Cat" Anderson - Trumpet
- Ray NanceRay NanceRay Willis Nance was a jazz trumpeter, violinist and singer.Nance is best known for his long association with Duke Ellington through most of the 1940s and 1950s, after he was hired to replace Cootie Williams in 1940...
- Voice - Willis R. Nance - Trumpet
- Russell ProcopeRussell ProcopeRussell Procope , an American clarinettist and alto saxophonist, was known best for his long tenure in the reed section of Duke Ellington's orchestra, where he was one of its two signature clarinet soloists....
- Alto sax - John Sanders - Trombone
- Clark TerryClark TerryClark Terry is an American swing and bop trumpeter, a pioneer of the fluegelhorn in jazz, educator, NEA Jazz Masters inductee, and recipient of the 2010 Grammy Lifetime Achievement Award...
- Trumpet - James WoodeJimmy WoodeJimmy Woode was a jazz bassist. His father, also named Jimmy Woode, was a music teacher and pianist who played with Hot Lips Page...
- Bass - Britt WoodmanBritt WoodmanBritt Woodman was a jazz trombonist. He is perhaps best known for his work with Duke Ellington and Charles Mingus....
- Trombone - Sam WoodyardSam WoodyardSam Woodyard was an American jazz drummer.Woodyard was largely an autodidact on drums, and played locally in the Newark, New Jersey area in the 1940s. He gigged with Paul Gayten in an R&B group, and then played in the early 1950s with Joe Holiday, Roy Eldridge, and Milt Buckner...
- Drums