Duke Ellington

Duke Ellington: Life, times, and major works

Edward Kennedy "Duke" Ellington was more than a jazz musician. He was a towering figure in 20th-century music, a cultural ambassador, and a relentless innovator whose compositions reshaped the boundaries of jazz, blues, classical, and popular music. Over a career that spanned more than five decades, Ellington not only composed thousands of pieces, but also redefined the role of the bandleader, treating his orchestra as a palette and his musicians as co-creators. His life and legacy are inseparable from the evolution of American music.









Early life and influences

Born on April 29, 1899, in Washington, D.C., Ellington grew up in a middle-class African-American family that valued culture, education, and refinement. His parents, James and Daisy Ellington, were both pianists. His mother, in particular, encouraged him to pursue elegance in everything he did, even nicknaming him “Duke” for his noble demeanor.

Ellington began piano lessons at age seven, but he wasn’t immediately drawn to music. That changed as a teenager, when he encountered ragtime and jazz in Washington's dance halls and poolrooms. Pianists like James P. Johnson and Willie "The Lion" Smith introduced him to stride piano, a style that would later inform his complex harmonic language.

Rise to prominence

Ellington moved to New York City in the early 1920s, during the Harlem Renaissance. He formed his band, the Washingtonians, which found steady work in clubs like the Kentucky Club. His big break came in 1927, when his group became the house band at the Cotton Club, a whites-only Harlem nightclub that showcased Black performers. This residency was crucial. It gave Ellington regular radio exposure and a platform to experiment with orchestration.

It was during this time that Ellington developed his signature style — rich textures, moody harmonies, and the use of "jungle" sounds (growling brass, exotic rhythms) to evoke atmosphere. Unlike many bandleaders, Ellington wrote with his musicians in mind, exploiting the unique timbres of players like Bubber Miley (muted trumpet), Harry Carney (baritone sax), and Johnny Hodges (alto sax).







Musical innovation and signature works

Ellington was both prolific and adventurous. He composed over 3,000 songs and instrumental pieces, ranging from short swing tunes to extended suites. His music spanned genres, often incorporating elements of blues, gospel, classical, and world music.

Key works include:

• “Mood Indigo” (1930): A haunting ballad with unusual voicing - muted trumpet, unmuted trombone, and low clarinet - creating a rich, melancholic atmosphere.
• “It Don’t Mean a Thing (If It Ain’t Got That Swing)” (1931): This became a defining anthem of the swing era and helped popularize the term “swing” in music.
• “Sophisticated Lady” (1933): Showcased Ellington’s talent for melodic and harmonic elegance.
• “Caravan” (1936, with Juan Tizol): Infused with exotic, Middle Eastern textures, it expanded the rhythmic and tonal palette of jazz.
• “Black, Brown, and Beige” (1943): An ambitious suite premiered at Carnegie Hall, this work attempted to chronicle African-American history in musical form. It was bold, complex, and not always well-received at the time, but it demonstrated Ellington’s ambition to elevate jazz to the level of serious concert music.
• “Far East Suite” (1966): Inspired by the band’s State Department tour across the Middle East and Asia, this suite fused global musical ideas with Ellington’s jazz sensibility.

Ellington saw no boundary between "serious" and "popular" music. He once said, “There are simply two kinds of music - good music, and the other kind.”

Leadership and legacy

Ellington ran his orchestra like a family, often retaining players for decades. He created a collaborative environment where musicians felt valued, often crediting co-composers like Billy Strayhorn, his closest musical partner. Strayhorn composed classics like “Take the ‘A’ Train,” which became the band’s signature tune.

Ellington’s leadership extended beyond music. During a time of intense racial segregation, he projected a powerful image of Black excellence and sophistication. He refused to perform in segregated venues when possible, and he used his visibility to quietly challenge racism through dignity and brilliance.

Even as big band jazz declined in popularity in the 1950s, Ellington adapted. His performance at the 1956 Newport Jazz Festival - featuring an explosive solo by tenor saxophonist Paul Gonsalves - reignited his career. From there, he toured extensively, composed film scores, and continued writing ambitious suites, including sacred concerts that blended jazz with choral and liturgical music.

Death and enduring influence

Ellington died on May 24, 1974, at the age of 75. He was posthumously awarded the Pulitzer Prize in 1999, a recognition many felt was long overdue. His influence endures in the work of composers from Charles Mingus to Wynton Marsalis, and in orchestras and educational programs around the world.

More than just a composer, Ellington redefined what it meant to be a jazz artist. He saw himself as “beyond category,” a label he embraced and lived by. His music was deeply personal yet universally resonant, grounded in African-American tradition yet always pushing forward.

Conclusion

Duke Ellington’s life was a blend of innovation, elegance, and relentless creativity. He transformed the big band into a vehicle for serious composition, elevated jazz into an art form of global stature, and left a legacy that continues to inspire. He didn’t just play jazz. He reshaped American music - and culture - on his own terms.

The Life of Blues Musician Henry Thomas

The Life of Blues Musician Henry "Ragtime Texas" Thomas (1874-1930) 

Henry Thomas in 1927.

Henry Thomas, often referred to as "Ragtime Texas," is a pivotal yet enigmatic figure in the history of American blues and folk music. His unique style and contributions have had a lasting influence on subsequent generations of musicians, despite the limited amount of information available about his life. This essay explores the known details of Thomas's life, his musical career, and his enduring legacy.

Early life and background

Henry Thomas was born in Big Sandy, Texas, around 1874. The precise date of his birth remains uncertain due to the lack of official records. Growing up in post-Reconstruction Texas, Thomas was part of a generation that experienced significant social and economic changes. These formative years likely exposed him to a rich tapestry of musical influences, including African American spirituals, field hollers, and the emerging sounds of ragtime. Thomas left home at an early age, embarking on a hobo lifestyle that saw him traveling extensively across the southern United States. This itinerant existence not only shaped his music but also helped him gather a vast repertoire of songs and stories from different regions, which he would later incorporate into his recordings.



Musical style and influences

Henry Thomas's music is characterized by its blend of ragtime, early blues, and folk traditions. He was a multi-instrumentalist, known primarily for his guitar playing and his use of the quills, a type of panpipe that added a distinctive sound to his recordings. His guitar style often featured a steady, syncopated rhythm, reflecting the ragtime influences he absorbed during his travels.

Thomas's songs often included elements of traditional folk tunes, and his lyrics frequently depicted the life of itinerant workers and rural Southern life. This combination of musical styles and thematic content created a unique sound that set him apart from many of his contemporaries.



Recording career

Henry Thomas's recording career was brief but significant. Between 1927 and 1929, he recorded 23 songs for Vocalion Records. These recordings are some of the earliest examples of recorded blues music and offer invaluable insights into the musical landscape of the time.

Among his most famous songs are "Fishin' Blues," "Bull Doze Blues," and "Railroadin' Some." "Bull Doze Blues" is particularly notable for its later adaptation by the rock band Canned Heat, who reworked it into their hit "Going Up the Country." This adaptation brought Thomas's music to a new generation of listeners and highlighted the enduring appeal of his work.



Legacy and influence

Henry Thomas's influence on American music cannot be overstated. His recordings provide a critical link between the early folk traditions and the blues, showcasing the transition from pre-blues to the more structured forms that would dominate the genre in the following decades.

Thomas's use of the quills, in particular, has been a subject of interest for musicologists and enthusiasts. This instrument, rarely used in blues music, added a unique texture to his recordings and highlighted his innovative approach to music-making.

Despite his significant contributions, Thomas's life after his recording sessions remains shrouded in mystery. It is believed that he continued his itinerant lifestyle, performing in various towns and cities across the South. He likely passed away in 1930, at the age of roughly 55 or 56, but Mack McCormick claimed to have seen a man in 1949 while in Houston matching Thomas's description.



Conclusion

Henry Thomas, "Ragtime Texas," remains an essential yet enigmatic figure in the history of American blues and folk music. His brief recording career captured a unique blend of ragtime, blues, and folk traditions, offering a window into the musical landscape of the early 20th century. While much of his life remains a mystery, his influence on subsequent generations of musicians is undeniable. Thomas's legacy continues to be celebrated by music enthusiasts and scholars, ensuring that his contributions to American music are not forgotten.

Sonny Terry & Brownie McGhee

In this latest installment of our ongoing, occasional series, "Exploring the world of music," we take a look at the legendary country blues duo, Sonny Terry & Brownie McGhee.

Sonny Terry & Brownie McGhee: Pioneers of the country blues

Sonny Terry and Brownie McGhee were a dynamic country blues duo whose musical partnership spanned over four decades, leaving an indelible mark on the blues genre. Their collaboration brought the raw, emotive power of the blues to a broader audience, blending traditional sounds with their unique styles and personal stories. This essay explores their backgrounds, their partnership, and their lasting legacy in the world of blues music.

Early life and musical beginnings

Sonny Terry, born Saunders Terrell on October 24, 1911, in Greensboro, Georgia, became known for his distinctive harmonica playing. Terry's introduction to music came early, influenced by his father, a sharecropper and amateur musician. A series of accidents left Terry nearly blind, pushing him to focus on music as a means of survival. His harmonica style, characterized by whoops, hollers, and a deep connection to rural life, became his signature.



Brownie McGhee, born Walter Brown McGhee on November 30, 1915, in Knoxville, Tennessee, was a talented guitarist and singer. McGhee's early life was marked by polio, which left him with a limp. Despite this, he pursued music fervently, inspired by his father and brother, who were both musicians. McGhee's guitar skills and rich, warm voice complemented Terry's harmonica, creating a seamless musical partnership.



Formation of the duo

The partnership between Terry and McGhee began in the late 1930s, facilitated by the folk music revival movement in New York City. They met through mutual connections in the music scene, particularly through Huddie "Lead Belly" Ledbetter and Woody Guthrie, who were central figures in the folk and blues revival.

Their collaboration officially took off in 1941 when they recorded their first sides together. Their chemistry was immediate and undeniable, blending Terry's explosive harmonica with McGhee's smooth guitar and vocals. They became a staple of the New York folk scene, performing at clubs, coffeehouses, and on radio shows.



Musical style and impact

Terry's and McGhee's music was deeply rooted in the Piedmont blues tradition, characterized by a finger picking guitar style and harmonica accompaniment. However, they brought their unique touches to the genre, with Terry's harmonica often mimicking the sounds of nature and McGhee's guitar providing a rhythmic and melodic foundation.

Their songs covered a wide range of themes, from love and hardship to social issues and everyday life. Notable tracks like "Walk On," "Hooray, Hooray, These Women is Killing Me," and "Cornbread, Peas, and Black Molasses" showcased their ability to blend humor, sorrow, and resilience.



The duo's influence extended beyond their recordings. They were prominent figures in the folk revival of the 1950s and 1960s, performing at major festivals like the Newport Folk Festival and influencing a new generation of musicians. Their collaboration with artists like Pete Seeger, Woody Guthrie, and Lead Belly further cemented their place in American music history.

Challenges and resilience

Despite their success, Terry and McGhee faced significant challenges, both personally and professionally. Racial segregation and discrimination were pervasive during their careers, limiting their opportunities and affecting their lives. Additionally, their partnership was not without tension. Differences in personality and vision led to occasional conflicts, yet their mutual respect and musical synergy kept them together for over four decades.



Legacy and influence

Sonny Terry's and Brownie McGhee's legacy is profound. They brought country blues to urban audiences and international stages, helping to preserve and popularize the genre. Their recordings remain essential listening for blues enthusiasts and musicians alike.



Their impact is also evident in the artists they influenced. Musicians like Bob Dylan, Taj Mahal, and Ry Cooder have cited Terry and McGhee as significant influences. Their ability to convey deep emotion and tell compelling stories through their music continues to resonate with listeners today.



Conclusion

Sonny Terry and Brownie McGhee were more than just a blues duo; they were cultural ambassadors who bridged the gap between rural and urban, black and white, past and present. Their music, characterized by its authenticity and emotional depth, remains a testament to their talent and resilience. As we reflect on their contributions, it is clear that Terry's and McGhee's legacies will endure, inspiring future generations to explore and appreciate the rich tradition of the blues.