Authors: Terry Teachout
“A Portrait of Bert Williams,” 6
Portrait of New York,
269
Pousse-Café,
327–28
Powell, Adam Clayton, 181, 226
Pratt Institute, 34
Preer, Andy, 76
Preminger, Hope, 301–2
Preminger, Otto, 301, 343
Preparatory High School for Colored Youth, 22
Previn, André, 5, 106
Procope, Russell, 127, 213–14, 254–55, 284, 317, 338, 344, 358–59
Prohibition, 55
Pulitzer Prize, 18, 325–28, 360–61
Pullman sleeper cars, 144, 159–60, 277
Queenie Pie,
357
The
Queen’s Suite,
304n, 343
Quintero, José, 327
race issues: and Armstrong, 30n; and
Black, Brown and Beige,
7–8; and the civil rights movement, 226; and Cold War politics, 319; and the Cotton Club, 74–76; Ellington’s awareness of, 181–82, 278; and Ellington’s childhood, 30; and Ellington’s image,
16,
18, 157, 168; and Goodman’s band, 217; and Hollywood stereotypes, 95; integration of bands, 162–63, 217; and
Jump for Joy,
227, 231; and music publishing industry, 57; and
My People,
316–17; and segregation, 15, 23–24, 277–78; and Swaffer, 2–3; and touring in the South, 142–48; and Washington, D. C., 23–24, 26, 44
radio, 89–94, 126, 137,
138,
165–66, 247–49, 255–56
Raft, George, 249
ragtime music, 32–33, 43
Ramey, Gene, 84
Raskin, Milt, 337
Ravel, Maurice, 155, 195, 212–13, 240
Ray, Johnny, 279
Razaf, Andy, 80n
RCA, 243, 336
Reconstruction, 23
Record Making with Duke Ellington and His Orchestra
(1937), 168–69
Redman, Don, 7, 117
Reiner, Fritz, 7
Reinhardt, Django, 260, 260n
Reisenweber’s Cafe, 36
religious observance of Ellington, 278, 328
Remick, Lee, 303
Reminiscing in Tempo,
3, 10, 145, 154–60, 162, 172, 180, 208, 239, 242, 245
Reprise Label (record label), 315–16, 323–24, 325
The
Rest Is Noise
(Ross), 360
Reynolds, Zachary Smith, 259
Rhapsody in Blue
(Gershwin), 51, 119–20, 121, 242
Rich, Alan, 331
Rich, Buddy, 274
“Riding on a Blue Note,” 172, 212
The
River
(ballet), 349–51
Roach, Max, 281, 314
Roaring Twenties, 56
Robbins, Jack, 179
Roberts, Luckey, 31, 32, 44
Roberts, Porter, 181
Robeson, Paul, 7, 75, 98, 100
Robinson, Clarence, 76
Roché, Betty, 238, 240
“Rockin’ in Rhythm,” 9, 119, 137, 306
“Rocks in My Bed,” 129, 194–95, 229–31, 288
Rodgers, Richard, 343
Rollini, Adrian, 85
Roosevelt, Eleanor, 238
Roosevelt, Franklin, 109, 225–26, 255–56
Rose, Al, 108
Ross, Alex, 360
Rowles, Jimmy, 13, 206, 233
Roxy Theatre, 166
Ruby, Harry, 104
“Rude Interlude,” 70, 148–50
Russell, Bob, 211, 253, 265
sacred music, 328–32, 333, 340–41, 353, 355
The
Sacred Wood
(Eliot), 115
Sahl, Mort, 327
Sanders, John, 306–7
Sargeant, Winthrop, 325
Sarra, Valentino, 157
“Satin Doll,” 280, 348–49, 359
Schallert, Ed, 229
Schuller, Gunther: devotion to Ellington, 338–40; on Ellington suites, 245; on Ellington’s composing style, 112, 249–50; and Ellington’s death, 358; on recording sessions, 173; on
Reminiscing in Tempo,
155; on Strayhorn, 185, 196; and
The Swing Era,
360; on
Symphony in Black,
148; on talent of Ellington, 117; on “The Clothed Woman,” 264; on the Washingtonians, 53–54; and White House birthday celebration, 343; on “workshop” period, 105
Scott, Raymond, 217
Scriabin, Alexander, 155, 214n
Scrima, Mickey, 189
Second Sacred Concert,
340–41
segregation, 15, 23–24, 277–78
“Serenade to Sweden,” 166, 179, 182–83
Sex
(Broadway show), 73
Shaw, Artie, 7, 12, 45, 165–66
Shaw, Robert Gould, 21
Sherrill, Joya, 250, 295, 317, 332, 346
Show Girl
(Gershwin), 92–93, 103–4, 258, 269
Shuffle Along,
22, 66, 98
Sibelius, Jean, 214n
Simon, George T., 229–30, 281
Simon, Henry, 9
Sinatra, Frank, 6, 192n, 238, 252–53, 279, 282, 315–16, 323, 337, 357
“The Single Petal of a Rose,” 343
Skelton, Red, 228
Small’s Paradise, 77
Smith, Ada “Bricktop,” 46
Smith, Bessie, 80n, 96
Smith, Mamie, 49, 57
Smith, Oliver, 259, 262
Smith, Roland, 49
Smith, Willie “the Lion,” 32, 45, 265, 273, 277, 343
Smith, Wonderful, 228
Snowden, Elmer, 46–48,
47,
50, 50n
Sobol, Louis, 83
“Solitude”: and Blanton, 207; and Brown, 130; and Ellington’s popularity, 16; and “In a Sentimental Mood,” 152; and marketing music, 153; recording of, 149; and songwriting royalties, 254; and Strayhorn, 190, 268; and tribute to Ellington, 359
“Something to Live For,” 190, 191
Something to Live For
(Van de Leur), 188
Sophisticated Ladies
(revue), 360
“Sophisticated Lady”: and
Anatomy of a Murder,
301; and the Blanton-Webster band, 207, 211; and Brown, 129–30; and
A Drum Is a Woman,
296; and Ellington’s composing style, 114, 115; and Ellington’s popularity, 16; and Hardwick, 41; and “In a Sentimental Mood,” 152–53; and Monk, 281; and
“Sophisticated Lady” (cont.)
the Newport Jazz Festival, 288; and songwriting credits, 108, 113–14, 115; and Strayhorn, 190, 268; and tribute to Ellington, 359; and Webster, 202
Southern Syncopated Orchestra, 22
Spingarn Medal, 309, 317
Springbirds
(floor show), 83
The
St. Louis Argus,
277
“St. Louis Blues,” 58, 75, 126–27
St. Louis Blues
(1929), 96
Stanley Theatre, 190
Stearns, Marshall, 81, 263
Steely Dan, 65
Steinbeck, John, 224
Steiner, Max, 7
Stewart, Donald Ogden, 225
Stewart, Rex: on Anderson, 255n; and band changes, 254; and the Blanton-Webster band, 215, 216, 216n,
218,
219; Ellington on, 150; and Ellington’s composing style, 13–14; and Ellington’s control issues, 17; and Ellington’s musical style, 150; on Ellington’s personal life, 323; and foreign tours, 179, 183; on Greer, 270; on Hammond, 158; and “In a Sentimental Mood,” 152–53; on Jones, 125; and Nanton, 61; and recording sessions, 163; as soloist, 151; and Strayhorn, 197; and Tizol, 102; on stage, 16; and Webster, 201, 204, 206, 207
Stewart, Slam, 202, 204
Stieglitz, Alfred, 77
Stokowski, Leopold, 4, 7, 238
“Strange Feeling,” 245n
Stravinsky, Igor, 5, 32, 198, 204
Strayhorn, Billy,
187
; alcoholism, 332–34; and ASCAP boycott, 221–23; background, 188–91; and
Beggar’s Holiday,
260–62; and
Black, Brown and Beige,
6, 8, 241; and “Black and Tan Fantasy,” 169; and Blanton, 208; and the Blanton-Webster band, 211, 213, 215–16; and Café Society gig, 284–86; and Cotton Club jubilee, 279; and the Cotton Club years, 86; death, 333–34, 335, 352–53; departure from band, 18, 272–73; and
The Duke Plays Ellington,
280; and the Ellington Effect, 12–13; and Ellington’s composing style, 64–65; and Fitzgerald recordings, 302; and foreign tours, 319; and “Isfahan,” 321; and
Jump for Joy,
228; and
Masterpieces by Ellington,
268; and “Mood Indigo,” 109; and
My People,
317; and the Newport Jazz Festival, 286, 288; and
Perfume Suite,
245; and pop arrangements, 253, 324; and
The Queen’s Suite,
304n; and scoring work, 293–94; sexuality and private life,
196–200; and Sinatra, 315; and songwriting collaboration, 184–88, 191–93, 193–96; and
Such Sweet Thunder,
297–300; and
Suite Thursday,
312–13; and suites, 295; and
Time
profile, 294; tribute to, 336–37; and “Upper Manhattan Medical Group,” 285, 352; and vocal recordings, 265; and Webster, 201; and
The World of Duke Ellington,
354
stride piano, 33, 38, 212
Such Sweet Thunder,
186, 297–300, 321
Sugar Hill, 99–100
“Sugar Hill Penthouse,” 8
Swaffer, Hannen, 2
Sweatman, Wilbur, 44–46
Sweet Man
(George), 250
Swing Era, 153, 165–66, 178, 206, 213, 252, 276
The
Swing Era
(Schuller), 185, 360
“Swing Low, Sweet Chariot,” 25
“Symphonette-Rhythmique,” 8
Symphony in Black
(1934), 147–48, 161
“Take the ‘A’ Train,” 184, 187, 190, 217, 222–23, 275, 288
The
Tattooed Bride,
245, 268
Tatum, Art, 190, 198
Taubman, Howard, 6, 8, 118, 239, 246
Taylor, Billy, 152, 359
Taylor, Deems, 269
Teagarden, Jack, 12, 253
Tempo Music, 176, 323
Terry, Clark, 2, 114n, 115, 169, 174–75, 255n, 272, 275–76, 287, 288,
307–8, 343
Thelonious Monk Plays the Music of Duke Ellington,
281
“Things Ain’t What They Used to Be,” 215, 306
Third Sacred Concert, 353, 355
This One’s for Blanton,
353
Thomas, Louis, 38
Thompson, Edna, 38–41,
39
.
See also
Ellington, Edna
The
Three Black Kings,
357
“Three Little Words,” 104, 136
Tibbett, Lawrence, 7
“Tiger Rag,” 90, 121
Time,
8, 109, 120, 140, 238–39, 266, 290–92, 308, 359
Times
(London), 165
Tin Pan Alley, 48, 56–57
Tio, Lorenzo, Jr., 108, 116
Tizol, Juan: and “Battle of Swing,” 172; and the Blanton-Webster band, 209,
218
; conflicts with band members, 18; and the Cotton Club years,
133
; departure from band, 254, 273–74; and Ellington’s composing style, 114, 131; and Ellington’s sound, 12; and foreign tours, 140; and Hibbler’s departure, 276; hired by Ellington, 101–3; and “Old Man Blues,” 106, 110; on race issues, 104; and recording sessions, 163–64; and scoring work, 209, 293; and Strayhorn, 190, 193
A
Tone Parallel to Harlem,
245, 268–71, 275, 316, 350–51
Tormé, Mel, 327