Slate Reconsiders Duke Ellington

[DudeAsInCool]

The Late Show

Why Duke Ellington's late work deserves our attention.

By Stanley Crouch

Posted Wednesday, Jan. 12, 2005, at 3:36 PM PT

Like most artists of heroic proportion, Duke Ellington's sweep is difficult to comprehend. His output of original compositions and co-compositions is estimated to number between 1,000 and 3,000 works, ranging from starkly simple pieces to complex adventures in long composition, from the lowest low-down blues (the swamp water virtually runs off the notes) to the most urbane renditions of the big city (its people, its architecture, its pulse, and its dreamy, private situations). His grand aesthetic vision was to bring work songs, spirituals, blues, and ragtime together with jazz, that aesthetic idiom of great latitude. Ellington combined his sources with more blistering force, imagination, and understatement than anyone had before him, inventing variations and grooves along the way. He produced music that would not only extend the reaches of jazz but would become one of the largest and most original bodies of American music ever created. Ellington's early classics, produced between 1927 and 1940, have been often and rightly praised; his late work has been largely neglected. But the late work offers plenty of masterworks for the listener of sufficiently refined taste, or the one willing to sophisticate his or her taste. Put simply, Ellington's late work is largely a secret treasure. Anyone purporting to be civilized, or who desires to be, should have as many late Ellington recordings as possible in his or her audio collection.

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http://www.slate.com/id/2112112/