Duke (66 page)

I cannot begin to list all of the other people who were of direct assistance to me in the writing of
Duke
. I am, however, especially grateful to Bill Shinker and Lauren Marino, my editors at Gotham Books, and Monica Benalcazar, Eileen Chetti, LeeAnn Pemberton, Aja Pollock, Elke Sigal, and Emily Wunderlich, who shepherded
Duke
into print with scrupulous care; Glen Hartley and Lynn Chu, my literary agents, who have watched faithfully over my interests for the better part of a quarter century; Paul Doherty, who furnished me with copies of rare kinescopes and videotapes of Ellington’s TV appearances; and Anthony Barnett, Michael Fitzgerald, Tad Hershorn, John Howland, Ethan Iverson, Bill Kirchner, Elizabeth McLeod, Dan Morgenstern, Marc Myers, David J. Smith, Mark Stryker, Steve Voce, and Elijah Wald, all of whom smoothed my path.

I owe particular debts of gratitude to the John Simon Guggenheim Memorial Foundation, which awarded me a Guggenheim Fellowship in 2012 to support the completion of this book; the MacDowell Colony, where I spent five blissful weeks writing about Ellington in the summer of 2012; and the Winter Park Institute of Rollins College, directed by Gail Sinclair, where I spent parts of two terms as a scholar-in-residence working on
Duke
and lecturing about its subject. I also thank Eric Gibson, my editor at
The Wall Street Journal
, who made it possible for me to write
Duke
in the interstices of my day job as the
Journal
’s drama critic; John Podhoretz, the editor of
Commentary,
who published an earlier version of part of the book; and the owners and staff of Mitchell’s Sand Castles of Sanibel Island, where I wrote several chapters of
Duke
in perfect comfort.

My greatest debt, as always, is acknowledged in the dedication to this book.

TERRY TEACHOUT

February 6, 2013

APPENDIX

FIFTY KEY RECORDINGS

by Duke Ellington

1. “East St. Louis Toodle-O”
(Vocalion, 1926, composed with Bubber Miley)

2. “Black and Tan Fantasie”
(Victor, 1927, composed with Bubber Miley)

3. “Creole Love Call” (Victor, 1927,
composed with Bubber Miley and Rudy Jackson,
vocal by Adelaide Hall)

4. “Black Beauty (A Portrait of Florence Mills)”
(Brunswick, 1928)

5. “The Mooche” (OKeh, 1928,
composed with Bubber Miley, vocal by Baby Cox)

6. “Old Man Blues” (Victor, 1930)

7. “Mood Indigo” (OKeh, 1930,
composed with Barney Bigard)

8. “Rockin’ in Rhythm” (OKeh, 1931,
co-credited to Harry Carney)

9. 
Creole Rhapsody
(first version, Brunswick, 1931)

10. 
Creole Rhapsody
(second version, Victor, 1931)

11. “It Don’t Mean a Thing (If It Ain’t Got That Swing)”
(Brunswick, 1932, vocal by Ivie Anderson)

12. “Rude Interlude”
(Victor, 1933, vocal by Louis Bacon)

13. “Daybreak Express” (Victor, 1933)

14. “Sophisticated Lady” (English Columbia,
1933, composed with Lawrence Brown and Otto Hardwick)

15. “Solitude” (Victor, 1934)

16. 
Reminiscing in Tempo
(Brunswick, 1935)

17. “Caravan” (Variety, 1936, composed with Juan Tizol,
performed by Barney Bigard and His Jazzopaters)

18. “Riding on a Blue Note” (Brunswick, 1938)

19. “I Let a Song Go Out of My Heart”
(Brunswick, 1938, composed with Johnny Hodges)

20. “Ko-Ko” (Victor, 1940)

21. “Concerto for Cootie”
(Victor, 1940, composed with Cootie Williams)

22. “Cotton Tail”
(Victor, 1940, composed with Ben Webster)

23. “Never No Lament” (Victor, 1940, composed with Johnny Hodges)

24. “Dusk” (Victor, 1940)

25. “Harlem Air-Shaft” (Victor, 1940)

26. “Warm Valley” (Victor, 1940)

27. “Take the ‘A’ Train”
(Victor, 1941, composed by Billy Strayhorn)

28. “Blue Serge”
(Victor, 1941, credited to Mercer Ellington)

29. “Things Ain’t What They Used to Be”
(Bluebird, 1941, credited to Mercer Ellington,
performed by Johnny Hodges and Orchestra)

30. “Rocks in My Bed” (from
Jump for Joy,
Victor, 1941,
vocal by Ivie Anderson, composed and arranged with Billy Strayhorn)

31. “Chelsea Bridge”
(Victor, 1941, composed by Billy Strayhorn)

32. 
Black, Brown and Beige:
A Tone Parallel to the History of the American Negro
(privately recorded in concert at Carnegie Hall, 1943, vocal by Betty Roché, “Sugar Hill Penthouse” section composed by Billy Strayhorn,
commercially released by Prestige in 1977)

33. “Happy-Go-Lucky Local”
(from
Deep South Suite,
Musicraft, 1946)

34. “Do Nothin’ till You Hear from Me”
(Columbia, 1947, composed with Cootie Williams,
vocal by Al Hibbler, arranged by Billy Strayhorn)

35. “The Clothed Woman” (Columbia, 1947)

36. 
The Tattooed Bride
(from
Masterpieces by Ellington,
Columbia, 1950)

37. 
A Tone Parallel to Harlem
(from
Ellington Uptown,
Columbia, 1951,
coda composed by Billy Strayhorn)

38. “Satin Doll” (Capitol, 1953)

39. 
The Duke Plays Ellington
(Capitol, 1953,
with Wendell Marshall and Butch Ballard)

40. 
Diminuendo and Crescendo in Blue
(from
Ellington at Newport,
Columbia, 1956,
recorded in concert at the Newport Jazz Festival)

41. 
Such Sweet Thunder
(Columbia, 1957, composed with Billy Strayhorn)

42. “Blues in Orbit” (from
Blues in Orbit,
Columbia, 1958,
composed by Billy Strayhorn)

43. “The Single Petal of a Rose” (from
The Queen’s Suite,
privately recorded for Queen Elizabeth II, 1959,
commercially released by Pablo in 1976)

44. 
Anatomy of a Murder
(film score, Columbia, 1959)

45. “Fleurette Africaine” (from
Money Jungle,
United Artists, 1962,
with Charles Mingus and Max Roach)

46. “Afro-Bossa” (from
Afro-Bossa,
Reprise, 1963)

47. “The Intimacy of the Blues”
(from . . .
And His Mother Called Him Bill,
RCA, 1967,
composed by Billy Strayhorn)

48. “Blood Count”
(from . . .
And His Mother Called Him Bill,
RCA, 1967,
composed by Billy Strayhorn)

49. 
Second Sacred Concert
(Fantasy, 1968)

50. 
The New Orleans Suite
(Atlantic, 1970)

All of these recordings can be downloaded from iTunes

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