1899 - 1974
Edward Kennedy "Duke" Ellington 1899-1974
Duke Ellington, born on April 29, 1899, in Washington, D.C., was one of the most influential American jazz musicians, composers, and bandleaders of the 20th century. Raised in a middle-class African American family, he showed musical talent at an early age and began playing the piano at the age of seven. Although he briefly received an art scholarship, he decided to follow his passion for music.
In the early 1920s, Ellington moved to New York City and became a key figure in the Harlem Renaissance. In 1923, he took over the leadership of a band called The Washingtonians, which would later become world famous as the Duke Ellington Orchestra. His performances at the Cotton Club in Harlem in the late 1920s brought him and his orchestra national fame through radio broadcasts.
Ellington was an extremely prolific composer who wrote nearly 2,000 pieces of music during his career spanning more than 50 years, including numerous jazz standards such as “It Don't Mean a Thing (If It Ain't Got That Swing),” “Sophisticated Lady,” “Mood Indigo,” and “Take the ‘A’ Train” (the latter composed by his longtime musical partner Billy Strayhorn). His orchestra was distinguished by its unique timbre and the individuality of its musicians, for whom Ellington wrote tailor-made arrangements. He expanded the traditional forms of jazz and also created longer works such as suites. Examples include “Black, Brown and Beige” (with Mahalia Jackson) and the so-called “Sacred Concerts.”
Duke Ellington toured extensively throughout the United States and around the world, contributing significantly to the popularization of jazz. He received numerous awards, including 12 Grammy Awards and the Presidential Medal of Freedom. His influence on 20th-century music is immense, and his work continues to inspire musicians of various genres to this day. Duke Ellington died on May 24, 1974, in New York City.
Mahalia Jackson and Duke Ellington.
A musical and personal connection.
Duke Ellington was an admirer of Mahalia's talent and recognized her importance as a key figure in gospel singing. Their connection began in the early 1950s, even before they met in person, when Ellington sent Mahalia a fruit basket after her hysterectomy.
The sources highlight the significant relationship between Mahalia Jackson and Duke Ellington, which encompassed both musical and personal aspects. Ellington was an admirer of Jackson's talent and recognized her importance as a key figure in gospel singing. Their connection began in the early 1950s, even before they met in person, when Ellington sent Jackson a fruit basket after she had surgery.
Joint projects
The most famous collaboration between Jackson and Ellington took place in 1958, when they worked together on the “Come Sunday” movement of his work “Black, Brown and Beige,” both in the studio and at the Newport Jazz Festival. However, sources emphasize that their relationship went beyond this one project and included mutual appreciation and friendship.
The Artists Society of America
An example of Ellington's commitment to Mahalia can be seen in his decision to appoint her vice president of the Artists Society of America (ASA) in 1953. The ASA was a nonprofit organization founded by Ellington to support young Black artists in the entertainment industry. Mahalia's position in the ASA underscores not only Ellington's respect for her talent, but also their shared interest in promoting the careers of Black artists.
Ellington's respect for Mahalia
The sources leave no doubt about Ellington's admiration for Mahalia Jackson. He called her the “Queen of Gospel” and recognized the power and influence of her singing. Ellington's humor is particularly evident in his memoir Music is My Mistress, in which he praised Mahalia's cooking skills as well as her vocal talents. These remarks illustrate the personal warmth and respect that characterized their relationship.
Mahalia's influence on Ellington's music
Although Mahalia took two years to agree to Ellington's request to sing the spiritual part of “Black, Brown and Beige,” he was convinced from the outset that she was the ideal singer for this piece. Ellington's decision to include a tone poem entitled “Portrait of Mahalia Jackson” in his New Orleans Suite in 1970 underscores the lasting impression Mahalia made on him.
Mahalia's performances at the Newport Jazz Festival
Mahalia's performances at the Newport Jazz Festival were another aspect of her connection to Duke Ellington. She performed there in 1957 and 1958, once with the Duke Ellington Orchestra. These performances helped raise Mahalia's profile in the jazz scene and demonstrated the versatility of her singing, which was equally impressive in a gospel context as in a jazz setting.
For “Come Sunday” and Black, Brown and Beige from 1958, Ellington collaborated with Mahalia both in the studio and at the Newport Jazz Festival on the composition of his extensive work Black, Brown and Beige. Ellington had first performed the Black, Brown and Beige suite in 1943 and continued to work on it in the following years. He expanded on a spiritual theme in the piece and added lyrics to the fourth section, which he called “Come Sunday.” Ellington asked Jackson to replace Johnny Hodges' original figure in “Come Sunday” and revive the work fifteen years after its premiere.
Ellington was thrilled by Mahalia's influence on him and his sacred music, saying that she made him “a much better person in the right light.” He asked her to bring her Bible to the Black, Brown, and Beige recording session, open it to Psalm 23, and sing along to the accompaniment of the Ellington orchestra.During rehearsals for “Come Sunday” in a hotel room, the Duke and Mahalia worked closely together. Irving Townsend of Columbia Records persuaded Mahalia to collaborate. Townsend reported that it was difficult because both were strong personalities and Jackson was not entirely comfortable with this type of music.
Nevertheless, both were very satisfied with the result in the end. George Wein noted that Mahalia's performance of “Come Sunday” at the Newport Jazz Festival was loved by the audience but met with rejection from some critics who found the combination of Mahalia and Duke inappropriate in this context.
Further mentions
Ellington and Jackson had already established a personal relationship in the early 1950s. Mahalia once told Duke Ellington that she would never sing his kind of music..
Ellington later dedicated the tone poem “Portrait of Mahalia Jackson” to her for his 1970 New Orleans Suite. At a meeting in 1955, Mahalia mentioned that Kenton didn't like Duke's music but copied him. Mahalia praised Ellington as a genius after he performed with her at the Newport Jazz Festival. Overall, the collaboration between Mahalia Jackson and Duke Ellington was characterized by mutual respect and admiration, even though their musical backgrounds and styles were different.
Their joint work on “Come Sunday” is considered a significant event in the history of both gospel and jazz music.