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That Jazz - Monkey Max Music and File Download

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102<br />

Part II: <strong>Jazz</strong> Greats <strong>and</strong> Great <strong>Jazz</strong>: An Evolutionary Riff<br />

Figure 6-1:<br />

Duke<br />

Ellington is<br />

one of the<br />

most<br />

influential<br />

jazz<br />

musicians in<br />

history.<br />

©William P. Gottlieb, www.jazzphotos.com<br />

Like other inventors of sophisticated big b<strong>and</strong> music, Ellington had formal<br />

training. He moved to New York in 1922 <strong>and</strong> two years later took over Elmer<br />

Snowden’s b<strong>and</strong>, a six-piece unit, which was typical of the time. Inspired by<br />

James P. Johnson’s classically influenced ragtime compositions, Ellington<br />

began to write music of his own.<br />

By 1926, Ellington’s group had grown to 12 pieces, but the stiff music couldn’t<br />

compare with Louis Armstrong’s or Jelly Roll Morton’s (see Chapter 5 for more<br />

about them). Trumpeter Bubber Miley pushed Ellington toward a looser, swinging<br />

sound, <strong>and</strong> by the late 1920s, Ellington’s arrangements featured swelling<br />

horns by soloists Miley, alto saxman Johnny Hodges, clarinetist Barney Bigard,<br />

<strong>and</strong> trombonist Tricky Sam Nanton.<br />

Ellington created waves of tension by setting sections against each other,<br />

then making them “play nice” together. Blaring trumpets cut across silky<br />

smooth saxes; melodies batted back <strong>and</strong> forth; tempos changed for dramatic<br />

emphasis <strong>and</strong> the music swung with syncopated rhythms. Ellington sometimes<br />

composed at a piano with his b<strong>and</strong> around him, <strong>and</strong> he wrote their<br />

improvised melodies into his scores.

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