Ken Burns JAZZ Collection: Duke Ellington

Duke Ellington - Ken Burns JAZZ Collection: Duke Ellington

Ken Burns JAZZ Collection: Duke Ellington
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CD Details

Artist: Duke Ellington
Edition: Music CD
CD Release Date: 2011-03-11
Music Label: Columbia/Legacy
Soundtracks:
  1. East St. Louis Toodle-oo
  2. Black and Tan Fantasy
  3. Take It Easy
  4. The Mooche
  5. Rockin' In Rhythm
  6. Mood Indigo
  7. Creole Rhapsody
  8. It Don't Mean A Thing (If It Ain't Got That Swing)
  9. Love Call
  10. Sophisticated Lady
  11. Solitude
  12. Caravan
  13. Back Room Romp
  14. Ko-Ko
  15. Never No Lament (aka Don't Get Around Much Anymore)
  16. Cotton Tail
  17. Take The 'A' Train
  18. Satin Doll
  19. Come Sunday
  20. Black Beauty

Music reviews of Ken Burns JAZZ Collection: Duke Ellington

Music Review: A skewed survey of a big territory
Rating: 4 Stars

This disc contains a useful pocket-sized version of the early- to mid-period Ellington. The emphasis is on 1930s and 1940s Ellingtonia, a period that found Ellington gradually assembling a peerless band of highly individual, brilliant musicians, and putting together a band-book with songs and arrangements of unparalleled sophistication. By the time Ellington recorded such early-1940s sides as "Koko" he had what is undoubtedly the greatest big band in jazz, with players like Johnny Hodges, Ben Webster, Jimmy Blanton, Cootie Williams and many others. Jazz has always been strongly identified with the charismatic improvising soloist--Armstrong, Parker, Gillespie--but Ellington's achievement as a bandleader was to balance this fact with a brilliantly adventurous sense of the jazz ensemble and jazz arrangement. He was also notable for how, unlike Armstrong, he both spanned the early history of jazz in his career & remained open to "modern" developments; while Armstrong attacked bebop as incomprehensible "Chinese music", Ellington recorded with musicians like Coltrane, Mingus & Roach, and was a potent influence even on the jazz avantgarde: the link from Ellington to Monk & Mingus to musicians like Cecil Taylor is a direct one (indeed, Cecil Taylor's early recordings contain a number of versions of Ellington and Strayhorn tunes).

This compilation's music can't be argued with: this is essential music. But I'm rather surprised by the failure to represent the later Ellington. This suggests that while Wynton Marsalis's hand is perceptible in many aspects of the Ken Burns project, he wasn't involved here: Marsalis & his critic-supporter Stanley Crouch have been strong advocates for Ellington's later work. I find myself on the whole agreeing with Gunther Schuller's assessment (in _The Swing Era_) that the later Ellington only sporadically matched the heights of his 1930s and 1940s music; yet certainly there's a lot of later music one wouldn't want to miss, & I'm baffled by the exclusions here. I'm sure it's only timing considerations that kept the monumental 15-minute "Diminuendo and Crescendo in Blue" from the 1956 Newport concert off this disc--that's the track that single-handedly reversed Ellington's decline in fortunes through its astonishing extended Paul Gonsalves solo that nearly induced a riot. I am very puzzled, though, at the omission of classic tracks from recordings like _Such Sweet Thunder_ ("Star-Crossed Lovers", in particular), or _The Far East Suite_ ("Isfahan"), or _And His Mother Called Him Bill_ (with Billy Strayhorn's ultra-chromatic swansong "Bloodcount"). Such omissions speak not just to representation of highpoints in Ellington's career, but also to Ellington's ambitions: this compilation ignores Ellington's aspirations to large-scale composition. I might agree that these aspirations didn't always bear fruit (as with Charlie Parker, the 3-minute limitations of old 78s actually seemed to intensify rather than limit Ellington's music); yet they are important to one's sense of Ellington's career & achievement, & deserve representation here.

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