Authors: Terry Teachout
Frontispiece
Evening Standard
, Getty Images
16 John W. Mosley Photograph Collection, Charles L. Blockson Afro-American Collection, Temple University Libraries
19 Hulton-Deutsch Collection/Corbis Images
47 Apeda Studio, Steven Lasker Collection
74 Hulton-Deutsch Collection/Corbis Images
80 Bettmann/Corbis Images
96 Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
133 Steven Lasker Collection
138 BBC/Corbis Images
157 Valentino Sarra, Smithsonian Institution
167 William P. Gottlieb Collection, Library of Congress
175 Smithsonian Institution
187 Steven Lasker Collection
203 Fred Reif Collection
218 William P. Gottlieb Collection, Library of Congress
248 Steven Lasker Collection
274 Charlotte Brooks,
LOOK Magazine
Photograph Collection, Library of Congress
289 Paul Hoeffler, Getty Images
295 CBS Photo Archive, Getty Images
326 Ron Galella, Getty Images
330 Gamma-Keystone Collection, Getty Images
344 Bettmann/Corbis Images
345 Gai Terrell, Getty Images
356 David Redfern, Getty Images
INDEX
The page numbers in this index section refer to the printed version of this book. To find the corresponding locations in the text of this digital version, please use the “search” function on your e-reader. Note that not all terms may be searchable. Page numbers in
italics
indicate photographs, illustrations, and captions
Abbott, George, 261
“Across the Track Blues,” 212–13
Adams, Stephen, 66
African Suite,
2, 164, 236–37.
See also
Black, Brown and Beige
Afro-Bossa,
315, 316
The
Afro-Eurasian Eclipse
(1971), 320
Agate, James, 165
Ailey, Alvin, 317, 318
“Alexander’s Ragtime Band,” 32
Allen, Henry “Red,” 58, 137n
Alvis, Hayes, 152, 201
American Federation of Musicians (AFM), 236, 243, 252
An
American in Paris
(Gershwin),
88n, 269
American Record Corporation, 162, 169
American Society for Composers and Publishers (ASCAP), 220–23, 254
Anatomy of a Murder,
301–2, 305, 313–14, 316
. . .
And His Mother Called Him Bill,
336, 338
Anderson, Cat, 255, 290, 307, 335, 348
Anderson, Edmund, 7
Anderson, Ivie,
128
; and the AFM strike, 236; and
Black, Brown and Beige,
238; and the Blanton-Webster band, 206, 207; departure from band, 234; hired, 128–29; and
Jump for Joy,
228, 230; and Strayhorn, 190, 192–95; and touring, 144, 146n
Anderson, John, 49
Anderson, Marian, 7, 225
Aquacade, 282, 283
Arlen, Harold, 134, 343
Armstrong, Louis: and All Stars recordings, 313–14; biography of, 363; on Broadway, 92; and
Cabin in the Sky,
252, 253; and conk hairstyle, 168; and Cootie Williams, 91; and the Cotton Club, 77; cover of
Time,
266; and “Dusk,” 109; early recordings, 54; and Ellington documentary, 336; and Ellington’s death, 358; and Ellington’s work habits, 1–2; and foreign tours, 135–36, 138–39, 318–19; and Glaser, 276; Hodges on, 271; and Hollywood stereotypes, 95; income, 127; and
It’s All True,
232; and jazz scholarship, 340; and management contracts, 70; and Marable, 202; and
New Orleans Suite,
347; popularity of, 16, 38; and race issues, 2–3, 30n; and Stewart, 150
Ashby, Harold, 341
Associated Booking Corporation, 276
Atkinson, Brooks, 93, 258–61
Auden, W. H., 267
Auer, Karl, 204
Augustus Saint-Gaudens, 21
Austin, Gene, 109
The
Autobiography of Malcolm X
(X), 168
Autry, Gene, 216
Avakian, George, 247–48, 263, 266, 275, 279, 285–86, 289–90, 298–99
Babs, Alice, 340–41
Bach, Jean, 5, 123, 129, 251
Bagar, Robert, 9
Bailey, Mildred, 210
Bailey, Ozzie, 295
Bailey, Pearl, 359
Baker, Harold “Shorty,” 247, 307
Ballard, Butch, 280
Ballet mécanique
(1924), 95–96
Balliett, Whitney, 166, 290, 297, 299, 335–36, 341, 343, 351
Barnes, Clive, 350
Barnet, Charlie, 213, 213n, 264
Bartlett, C. Julian, 328
Basie, William James “Count,” 7, 182, 213, 275, 282, 358, 359
Bass, Saul, 302
Beatty, Talley, 317
bebop, 275
Bechet, Sidney, 38, 44, 52–54, 87, 109, 135, 347
Beggar’s Holiday,
17, 257–58, 261–62, 272, 316, 318
The
Beggar’s Opera,
257–58, 261
Beiderbecke, Bix, 77, 85, 119, 150
Belafonte, Harry, 295
Bell, Aaron, 307
Bell Telephone Hour,
336
Bellson, Louis, 42, 273–76,
274,
279, 284, 330, 343, 353, 359
Bentley, Eric, 262
Berle, Milton, 266, 279
Berlin, Irving, 32, 76, 80, 94
The
Big Broadcast,
126–27
Bigard, Albany Leon “Barney”: and All Stars recordings, 313; and the ASCAP boycott, 223; and the Blanton-Webster band,
218
; and the Cotton Club years, 79, 83, 85, 87–90,
133
; and “Daybreak Express,” 145; departure from band, 233–34, 235; and the Ellington Effect, 13; and Ellington’s composing style, 13, 113; and Ellington’s concerti, 162; on Ellington’s extramarital affairs, 99; and Ellington’s gambling, 101; and Ellington’s musical style, 150, 306; and “Mood Indigo,” 106–8; on Morton’s influence, 118; and recording sessions, 163, 172–73; and songwriting credits, 116; and “St. Louis Blues,” 127; and Strayhorn, 190, 194–95, 197; and Tizol, 103; and Webster, 203–6
Bikel, Theodore, 327–28
Billboard,
53, 246, 249, 282
Birdland, 274
“Birmingham Breakdown,” 59, 65, 69, 169
birth of Ellington, 15
Birth of the Cool
sessions, 339
birthday celebration at the White House, 342–44
Black, Brown and Beige,
236–40,
241,
242–43, 242n, 243–46, 252, 254, 266, 300, 309, 316, 325–26, 328, 331; Carnegie Hall premiere, 4–10, 118; and Ellington’s composing process, 11, 14; and Harlem influence, 35; and
Reminiscing in Tempo,
157; and Sacred Concerts, 328–29
Black and Tan
(1929),
96,
96–99, 105
“Black and Tan Fantasy,” 5, 41, 59, 63, 65, 67–69, 87–88, 97, 139, 169, 244
“Black Beauty (A Portrait of Florence Mills)”, 7, 87, 137
Black Bourgeoisie
(Frazier), 28
Blake, Eubie, 32, 43, 66, 98
Blankfort, Henry, 228
Blanton, Gertrude, 203
Blanton, Jimmie, 202–5,
203,
207, 208, 210, 212, 215,
218,
233–34.
See also
Blanton-Webster band
Blanton-Webster band, 201–7, 207–10, 210–15, 215–19, 265
Blitzstein, Marc, 224, 255
“Blood Count,” 333, 336
Bloom, Rube, 206
Blue Rose,
285
“Blue Serge,” 222
“Blues in Orbit,” 300
Bogle, Donald, 98
Bolden, Buddy, 233, 233n, 296
Boola,
208–9, 236–38
Boston, R. A., 22
Boswell Sisters, 109
Bowles, Paul, 9,
241,
242
Boy Meets Horn
(Stewart), 151–52, 197
boycotts, 220–21
Boyer, Richard O., 199, 251, 291, 328
Braff, Ruby, 271
Braud, Wellman, 83–84,
133,
152, 201, 280, 347
Brecht, Bertolt, 257
Bridgers, Aaron, 198, 262, 332
British Broadcasting Corporation (BBC), 137,
138
Broadcast Media Incorporated (BMI), 220–21
Broadway, 327–28, 360
Brooklyn Eagle,
152
Brooks, Harvey, 31
Brooks, Percy, 138–39, 148
Brown, Lawrence: and
Beggar’s Holiday,
263; and
Black, Brown and Beige,
6; and changes to band, 234; and the Cotton Club years,
133
; departure from band, 271, 346; and Ellington’s composing style, 13; on Ellington’s extramarital affairs, 99; fight with Ellington, 346; hired by Ellington, 129–30; illness, 338; importance to band’s sound, 348; and Rainbow Grill gig, 335; and recording session, 172; and recording sessions, 316; return to band, 308, 314; and Strayhorn, 185; and superstitions of Ellington, 132; and “Take the ‘A’ Train,” 222; World War II service, 252
Brown, Les, 253
Brown, Ray, 353
Brubeck, Dave, 289, 343
Bryant, Marie, 228, 230, 259, 261–62
A
Bundle of Blues
(1933), 105
Burris, Dick, 218
Bushell, Garvin, 44, 206
Cabin in the Sky,
252
Café de Luxe, 73
Café Society, 284
Cagney, Jimmy, 182
Calloway, Cab: and
Black, Brown and Beige,
7; and Bushell, 206; at the Cotton Club, 74, 105, 124–25; and Haggart, 202; and hair styles, 168; and the Harlem Renaissance, 46; and Haughton, 235; and Hollywood, 105; and management changes, 179; and Mills, 124; and “Mood Indigo,” 109; and Webster, 206–7; and White House birthday celebration, 343
Cameron, Basil, 4
“Camp Meeting Blues,” 66–67
Capitol Records, 279, 280
“Caravan,” 102, 103, 114, 163–64
Carnegie Hall: and
Black, Brown and Beige,
3–10, 236–38, 240–41, 243–47, 252, 325, 329, 331n; and the Blanton-Webster band, 208; and
Creole Rhapsody,
124; and
Perfume Suite,
273; and Reinhardt performance, 260; and “The Clothed Woman,” 264
Carney, Harry: and
Black, Brown and Beige,
4; and the Blanton-Webster band, 212, 214n,
218,
219; and the Cotton Club years, 84–85, 87, 130,
133
; and
Diminuendo and Crescendo in Blue,
170; and Ellington’s composing style, 13; and Ellington’s death, 359; and Hodges’s return, 284; illness, 338, 352; on midforties era, 247; and “Old Man Blues,” 106; and Rainbow Grill gig, 335; and recording sessions, 172, 263, 316; and Sacred Concerts, 329–30; and Strayhorn, 195; and timing of gigs, 151; and Tizol, 102; and touring routine, 304; and White House birthday celebration, 343–44
“Carolina Shout,” 43–44
Carruth, Richard, 302
Carter, Benny, 137n, 215
Caruso, Enrico, 48
Casa Mañana, 220–21
Castle, Irene, 32
Castle, Nick, 228
Castle, Vernon, 32