By Marilyn Lester***This is a big year in the sphere of Duke Ellington: the jazz community and beyond is celebrating The Maestro’s 125th birthday in style. But celebrating Duke happens every year at Jazz at Lincoln Center’s Essentially Ellington High School Band Competition and concurrently at Dizzy’s Club with the Juilliard Jazz Orchestra (JJO), this year under the baton of jazz polymath Loren Schoenberg.
The JJO was in its usual and powerful top form, with 19 players who are so accomplished that most of them are working professionally even though they’re students. Another plus in their success story is the very simpatico vibe between the group and Schoenberg. He not only brings a wealth of experience to the podium but a lot of joy too—his delight at working with and leading this group is palpable.
It’s safe to say most people know Ellington through the big hits such as “Satin Doll,” “I’m Beginning to See the Light,” and more, plus Billy Strayhorn’s theme song for the Ellington Orchestra, “Take the A Train.” But Duke, from 1915-1974,, wrote about 3000 pieces of music of all styles and genres. The JJO hit high points from this amazing catalog, beginning with 1930’s “Shout Em Aunt Tillie. ” This opener was an impressive way to start, with a spirited drum intro and some brass wah-wah effects before launching from a slow tempo to a swinger. Being an educator as well as a natural showman, Schoenberg’s tight narrative about each piece was entertaining and informative.
In 1947, the Liberian Suite was recorded; it was a commission from that country’s government. Ellington would go on to write many more such suites, and from this one, the JJO played a compelling “Dance #3,” with a superb violin feature. Another tribute piece, from the UWIS Suite, written when Duke had a 1972 residency at the University of Wisconsin Madison, was “Loco Madi,” and it was prime Ellington, inventive title and all.
Early on in his career, in 1931, Ellington hired his first “girl singer,” Ivie Anderson, and so, of course, the JJO featured a couple of vocals by Kate Kortum, including the blues-based “Strange Feeling,” written with Strayhorn and performed at the 1944 Carnegie Hall concert. The outro was a masterful rendition of “Harlem,” commissioned by Arturo Toscanini in 1950. It was recorded by Ellington in 1951 as “A Tone Parallel to Harlem (Harlem Suite).” This complex symphonic jazz work was marvelously brought to life by the JJO with a keen and contemporary spirit. As an encore, there was the 1942 jam session barn-burner, “C-Jam Blues.”
One of the tasks of the older generation is to make sure younger ones come to learn and appreciate the music that’s not only ageless but is a platform for modern tunes. With Schoenberg and the JJO, that mission is in capable hands. Here’s the roster of players who got us all tapping our toes and feeling inspirationally fulfilled: Miles Keingstein, Nathaniel Williford, Ace Williams, trumpets; Siya Charles, Ilai MacAggi, Andre Perlman, trombones; Ian Muñoz, Adam Stein, alto saxophones; Daniel Cohen, Robert Gilliam, tenor saxophones; Sion Song, baritone saxophone; Edwin Corne, guitar; Tyler Bullock, piano; Daniel Song, bass; Hank Allen-Barfield, drums; Lazlo Torok, vibraphone; Luke Henderson, violin.
