Authors: Terry Teachout
Frazier, George, 152
funeral of Ellington, 16–17, 359
Gaillard, Slim, 202
Garfield, John, 224, 227
Garland, Judy, 182
Garner, Erroll, 286
Gay, John, 257
George, Don: on Ellington’s composing style, 112; and Ellington’s extramarital affairs, 250; and Ellington’s funeral, 359; and Ellington’s illness, 357; on Monte, 311; and Strayhorn, 184, 334; and
Such Sweet Thunder,
297; and superstitions of Ellington, 132; on Webster’s departure, 254
Gershwin, George, 51, 77, 88n, 90, 92, 119, 121–23, 156–57, 189, 244, 258, 269
Gershwin, Ira, 77, 225
Giddins, Gary, 230
Gillespie, Dizzy, 255, 267, 286, 343
Glaser, Joe, 175, 276, 303–4, 327, 345
Gleason, Jackie, 279
Gleason, Ralph, 220, 280–81, 303
Glenn, Tyree, 307, 358
Godkin, Paul, 296
Goldberg, Isaac, 56–57
Gonsalves, Paul: death, 358; and
The Ed Sullivan Show,
295
; and
Ellington Uptown,
275; and heroin, 277, 313; hired, 268; and Hodges’s return, 284; importance to band’s sound, 308; and
New Orleans Suite,
347; and the Newport Jazz Festival, 288–90,
289
; and Rainbow Grill gig, 335; and
The River,
351; talent as soloist, 322; and television appearances, 306
Goodman, Benny: and
Black, Brown and Beige,
7; at Carnegie Hall, 4; and Cootie Williams, 216–17, 234; and Ellington’s funeral, 359; and Ellington’s opinion of swing music, 178–80; and “Hot Bach” profile, 252; at Palomar Ballroom, 153; and racial integration, 162–63; signed with Columbia, 182; style contrasted with Ellington, 12, 213; and White House birthday celebration, 343; and World War II, 253
Gordon, Claire, 329
Gosden, Freeman, 104
Gottlieb, William,
167,
218
Gould, Jack, 297
Grace Cathedral commission, 328–32
Grainger, Percy, 4, 5, 16,
60,
140
Grammy Awards, 329
Grant, Henry, 43
Granz, Norman: and
Black, Brown and Beige,
11; and blues-oriented works, 308; on Ellington’s enigmatic nature, 360–61; on Ellington’s loneliness, 338; on Ellington’s talent, 307; and Fitzgerald recordings, 301; and foreign tours, 303–4, 318; and Hodges, 271–72, 283, 346; on
Jump for Joy,
231; on Monte, 312; and ‘New Testament’ band, 282; on recording session schedules, 292; and small-group recordings, 353; on Wild Bill Davis, 342
Great Depression, 89, 126, 162
The
Great Paris Concert,
316
Green, Abel, 49, 78
Greer, Sonny: and alcohol consumption, 174; and the ASCAP boycott, 222; and the Blanton-Webster band, 211, 215, 217–19,
218
; on break with Mills, 180; and “Caravan,” 164; and Ciro’s gig, 249; and the Cotton Club years, 83, 84–85, 90,
133
; departure from band, 270–71, 273–75; and domestic tours, 144–45; and Duke’s Serenaders,
37,
41; on “East St. Louis Toodle-O,” 65; and Ellington’s composing style, 98; and Ellington’s funeral, 358–59; on Ellington’s personality, 2; and foreign tours, 135–36, 140; and the Harlem Renaissance, 46; on Madden, 73; and Mills, 71; and
Music Is My Mistress,
354; and New Orleans jazz, 45; and recording sessions, 263; relationship with Ellington, 40–41, 41–42; and Strayhorn, 193, 199; on Swing Era, 162; and timing of gigs, 151; and Tizol, 102; on Washington, D. C., 24; and The Washingtonians,
47,
50; on Ziegfeld shows, 94
Gregory, Dick, 358
Grennard, Elliott, 239
Grissom, Jimmy, 288
Grofé, Frede, 118, 122
Guy, Fred, 50n, 71, 83, 84, 102,
133,
215–16,
218,
219, 263, 343
Haggart, Bob, 201–2
Hajdu, David, 188
Hall, Adelaide, 66–67
Hall Johnson Choir, 252
Hallock, Ted, 262–63, 276
Halperin, Daniel, 219
Hamilton, Jimmy, 247, 254–55, 273, 284, 287, 294, 297, 300, 341, 347–48,
356
Hammett, Dashiell, 224–25
Hammond, John, 10, 58, 75, 131, 133, 152,
157,
158–60, 161, 178–82, 226, 246, 263
Hampton, Lionel, 168, 276, 279
Handy, W. C., 75, 100
“Happy-Go-Lucky Local,” 245
Hardwick, Otto “Toby”: and alcohol consumption, 174; and “Black and Tan Fantasy,” 66; and the Blanton-Webster band, 216,
218,
219; on “Blood Count,” 333; and Brown, 131, 132; and the Cotton Club years, 86, 90,
133
; and Duke’s Serenaders, 40–41; and Ellington’s composing style, 13, 14; and the Harlem Renaissance, 46; and “In a Sentimental Mood,” 152; and New Orleans jazz, 45; retirement from music, 254; and “Sophisticated Lady,” 113; and Strayhorn, 185, 185n, 193; and “The Mooche,” 86n; and The Washingtonians,
47
Harlem,
316
“Harlem Air-Shaft,” 3, 209, 211, 214,
218,
241, 298, 306
Harlem Footwarmers, 107
Harlem on the Prairie,
216
Harlem Renaissance, 46
Harman, Carter, 305, 353–54
Harrison, Max, 155–56, 339, 348
Haughton, Chauncey, 235, 247, 252
Hawkins, Coleman, 85, 117, 137n, 215, 268, 314
“head arrangement,” 51n
Healy, Dan, 80–81
Hefti, Neal, 282
Hellinger, Mark, 83
Hellman, Lillian, 224–25
Hemingway, Ernest, 5
Henderson, Fletcher, 7, 51, 54, 59, 65, 78, 85, 117, 206, 213–14, 221
Henderson, Horace, 217
Henderson, Luther, 258, 260, 270, 270n, 294, 350–51
Hendler, Herb, 250, 322
Hendrix, Jimi, 65
Hentoff, Nat, 18, 249, 285, 291, 305, 326, 359
Herman, Woody, 253
Hibbler, Al, 12, 253, 255, 256, 315–16
Hicks, Granville, 159
Hindemith, Paul, 165
Hines, Earl, 7, 128, 216–17, 343, 359
Hinton, Milt, 201–2, 204
Hirschfeld, Al, 142,
143
Hitchcock, Alfred, 135
H.M. Pulham, Esquire
(Marquand), 56
Hodeir, André, 285, 339
Hodges, Johnny: and
Anatomy of a Murder,
303; and the ASCAP boycott, 223; and Babs recordings, 341; and band discipline, 322; and
Black, Brown and Beige,
4, 6, 7, 240; and the Blanton-Webster band,
203,
207, 211n, 212–16, 213n, 214n, 216n, 218,
218
; and “Blood Count,” 333; and the Cotton Club years, 86–87,
133
; death, 346–48; departure from band, 18, 271–72, 273–74; and
A Drum Is a Woman,
296; and Duke’s Serenaders, 41; and Ellington documentary, 337; and Ellington’s composing style, 13, 114; and Fitzgerald recordings, 301; and “Isfahan,” 321; and
Jump for Joy,
230; and the Newport Jazz Festival, 290; and pop song collaborations, 254; and Rainbow Grill gig, 335; and recording sessions, 163–64, 172–73, 263, 316; return to band, 283–85, 308; and songwriting, 163n; and “Sophisticated Lady,” 130; and “St. Louis Blues,” 127; and Strayhorn, 190, 191–93, 194–95; and television appearances, 306; and “The Mooche,” 86n; and timing of gigs, 151; on large-scale works, 246; and Webster, 202, 205, 207; and Wild Bill Davis, 342
Holiday, Billie, 147–48, 276, 286
Holliday, Frank, 31, 34
Hollywood, 95
The Hollywood (club), 48–49, 53
Hollywood Theatre Alliance, 225
Holman, Libby, 259
Holmes, Fanny, 40
Holmes, Oliver Wendell, Jr., 40
homosexuality, 189, 197–98, 245n, 273, 299–300
Honegger, Arthur, 145
Hoover, J. Edgar, 226, 266
Horne, Lena, 197, 252, 272, 333
“The Hot Bach” (Boyer), 20, 199, 251–52
Hot Chocolate
(floor show), 83
House Un-American Activities Committee (HUAC), 225
Houseman, John, 17, 257, 258–59, 261
Howard Theatre, 22, 31, 42, 44, 263
Howard University, 22, 28, 44
Hughes, Langston, 30, 46, 76, 159, 223, 225
Hughes, Luther, 24–25
Hughes, Spike: and the Blanton-Webster band, 213; and Brown, 131; and the Cotton Club years, 74, 75, 80; and
Creole Rhapsody,
123; and foreign tours, 135, 137, 137n; and Mills, 56; and
Reminiscing in Tempo,
155, 158; and “Rude Interlude,” 149
Hurd, Peter, 291
Hurricane Restaurant, 247–49
Hurston, Zora Neale, 46
Husing, Ted, 89, 107
Hutton, Ina Ray, 179
Hylton, Jack, 135
hypochondria of Ellington, 352
“I Let a Song Go Out of My Heart,” 16, 172–73
Imitation of Life
(1933), 98
improvisation, 82, 102, 343–44
“In a Sentimental Mood,” 35, 130, 152
In Dahomey,
52
integration, 162–63
Internal Revenue Service (IRS), 323, 360
“Intimacy of the Blues,” 336
Irvis, Charlie,
47,
50–51, 61
“It Don’t Mean a Thing (If It Ain’t Got That Swing)”, 57, 129, 139, 246
It’s All True,
232–33
Jack Mills, Inc., 57, 68
“Jack the Bear,” 6, 207–8, 306
Jackson, Mahalia, 300, 328, 343, 347
Jackson, Quentin, 306–7
Jackson, Rudy, 66–67, 85
Jacobs, Phoebe, 251
James, Daniel, 278
James, Harry, 253, 254, 273–74, 279
Jazz Masters of the Thirties
(Stewart), 151
The
Jazz Singer
(1927), 77, 95
Jeffries, Herb, 146n, 197–98, 207–8, 227–28, 231, 233
Jenkins, Freddie “Posey”: and the Blanton-Webster band, 217; and
Check and Double Check,
104–5; and the Cotton Club jubilee, 279; and the Cotton Club years, 82, 85–86, 88,
133
; departure from band, 150; and Ellington’s finances, 140; and “Old Man Blues,” 106; and recording sessions, 173; and
Time
profile of band, 140
Jenkins, Gordon, 279
Jewell, Derek, 197
Jim Crow segregation, 24
Johnson, Howard “Stretch,” 81–82
Johnson, Jack, 73
Johnson, James P., 32, 42–45, 52, 54, 96, 212
Johnson, James Weldon, 46
Jolson, Al, 77, 227
Jones, Claude, 130
Jones, Hank, 359
Jones, Herbie, 288
Jones, Jimmy, 102, 317, 337
Jones, Jo, 289
Jones, Quincy, 186, 355
Jones, Richard B., 125
Jones, Rufus, 341
Jones, Wallace, 174n, 216,
218,
219, 252
Joplin, Scott, 32–33
Jordan, Louis, 267–68
Jump For Joy,
222,
223–25, 227–36, 257–60, 318
“jungle music,” 90
“Junk Man Rag,” 31
Kalmar, Bert, 104
“Kansas City Man Blues,” 44
Kaye, Sammy, 279
Keeler, Ruby, 92
Kenton, Stan, 279
Kern, Jerome, 7, 105–6
Kerr, Brooks, 300–301, 348, 358