They dedicated an acoustic version of Duke Ellington's " Jump for Joy " to him, a song they never performed at any other time of their career.

Duke Ellington's Second Sacred Concert, of his original sacred music compositions, premiered at the cathedral on January 19, 1968.

A new record contract with Columbia produced Ellington's best-selling LP Ellington at Newport and yielded six years of recording stability under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.

* Dave Brubeck dedicated " The Duke " ( 1954 ) to Ellington and it became a standard covered by others, both during Ellington's lifetime ( such as by Miles Davis on Miles Ahead, 1957 ) and posthumously ( such as George Shearing on I Hear a Rhapsody: Live at the Blue Note, 1992 ).

Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington's drummer in 1919, Basie at age 15 switched to piano exclusively.

* January 23-Duke Ellington's orchestra performs for the first time at New York's Carnegie Hall.

When Basie died in 1984, Williams sang a rendition of Duke Ellington's " Come Sunday " at his funeral.

Following her 1993 performance at a tribute to the musical legacy of her good friend Billy Strayhorn ( Duke Ellington's longtime collaborator ), she decided to record an album composed largely of Strayhorn's and Ellington's songs the following year, We'll Be Together Again.

According to saxophonist Otto Hardwick, Ellington's band members had to shanghai Miley into joining them for his first performance, at the Hollywood on Broadway in 1923, At the time, Ellington's Washingtonians were formally led by Elmer Snowden, but Ellington, who factually had already been running the formation, also took over its official leadership a few months later.

Cab Calloway's orchestra brought its Brown Sugar revue to the club in 1930, replacing Ellington's group after its departure in 1931 ; Jimmie Lunceford's band replaced Calloway's in 1934, while Ellington, Armstrong, and Calloway returned to perform at the club in later years.

Such was his importance to Ellington's band at the time, together with the tenor saxophonist Ben Webster, that it became known as the Blanton – Webster band.

Two members of Duke Ellington's rhythm section at the Hurricane Ballroom: a jazz guitarist and an upright bass player.

In 1958, at the age of 79, he opposed Buford Ellington for election to the governorship again in the 1958 general, this time running as an Independent, but received 32 % to Ellington's 58 %.

His opponent was Buford Ellington, a former governor attempting a return to the office who had the strong backing of the incumbent governor, Clement, and President Lyndon Johnson, who was Ellington's close personal friend and who had appointed him to a prominent position at the Federal Emergency Management Agency.

After some time on a chorus line at New York's Roxy Theater, she auditioned with the big band of Duke Ellington at age 16 ; though she never made it into Ellington's band, she soon became a singer with bands led by Randy Brooks, Art Mooney, Billy Eckstine, Charlie Barnet, and Claude Thornhill.

Duke Ellington's " I Let a Song Go Out of My Heart " ( 1938 ) was a recurring motif at the opening and closing of individual episodes of the series.

This was followed by theatre tours and concert appearances ; she sang at Duke Ellington's memorial service at St Martin-in-the-Fields in 1974, and presented a one-woman show at Carnegie Hall in October 1988.

At the 1956 Newport Jazz Festival, Gonsalves played a 27-chorus solo in the middle of Ellington's " Diminuendo and Crescendo in Blue ".

At the 1956 Newport Jazz Festival, Gonsalves ' solo in Ellington's song " Diminuendo and Crescendo in Blue " contained 27 choruses ; the publicity from which is credited with reviving Ellington's career.

* Duke Ellington's Jazz Violin Session ( Atlantic, 1963 )

* " The Feeling of Jazz "-words to Duke Ellington's composition

: 2000: Ellington's Sacred Music — with Stan Tracey Jazz Orchestra & the Durham Cathedral Choir, 33 Jazz Records

Comping, a technique for accompanying jazz vocalists on piano, was exemplified by Duke Ellington's technique.

Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington's sound.

From the beginning of their relationship, Mills arranged recording sessions on nearly every label including Brunswick, Victor, Columbia, OKeh, Perfect, Pathe, the ARC / Plaza group of labels ( Cameo, Romeo, Lincoln, Oriole, Domino, Jewel, Banner ), Hit of the Week, and Columbia's cheaper labels ( Harmony, Diva, Velvet Tone, Clarion ) labels which gave Ellington popular recognition, as well giving Ellington's fans the opportunity of hearing multiple versions of the same song.

Ellington debuted Black, Brown and Beige in Carnegie Hall on January 23, 1943, beginning a series of concerts there suited to displaying Ellington's longer works.

Lacking overseas opportunities and motion picture appearances, Ellington's Orchestra survived on " one-nighters " and whatever else came their way.

This continued until Ellington basically signed exclusively to Brunswick in 1932 and stayed with them through late 1936, when Irving Mills put him on Mills ' new Master label, and various small groups within Ellington's band recorded on Mills ' Variety label ' fronted ' by his 4 main soloists, Barney Bigard, Rex Stewart, Johnny Hodges and Cootie Williams.

The concert made international headlines, led to a Time cover story ( Dave Brubeck and Thelonious Monk are the only other jazz musicians featured on the cover the magazine ), and resulted in an album that would become the best-selling long-playing recording of Ellington's career.

Ellington's sole book musical, Beggar's Holiday, was staged on Broadway in 1946.

* Joe Jackson interpreted Ellington's work on The Duke ( 2012 ) in new arrangements and with collaborations from Iggy Pop, Sharon Jones and Steve Vai.

Swing music began in the 1920s, distinguished by a more supple feel than the more literal 4 / 4 of earlier jazz and a walking bass — Walter Page is often credited with developing this, though isolated earlier examples exist ( e. g., by Wellman Braud on Ellington's Washington Wabble from 1927 ).

* Isfahan ( song ), a Billy Strayhorn composition on Duke Ellington's The Far East Suite

Ellington's sole representative to the voting on the adoption of the United States Constitution by Connecticut was Ebenezer Nash.

Braud's playing on Ellington's regular radio broadcasts and recordings helped popularize the slap style of string bass playing, as well as encouraging many dance bands of the time to switch from using a tuba to an Upright bass.

In keeping with Ellington's formation of small groups featuring his primary soloists, Bigard continued to be featured under his own name on Variety and subsequently Vocalion and OKeh through 1940.

A tighter and more traditional recording than previous releases, the record featured a more prominent role for Shorter, a strong element of bebop and a nod to jazz's golden age via a high-speed cover of Duke Ellington's " Rockin ' in Rhythm " ( showing off Zawinul's pioneering and ever-increasing ability to create synthetic big-band sounds on his synthesizers ).

Miley's lifestyle eventually led to his breaking up with Ellington's band in 1929, but his influence on the Duke Ellington Orchestra lasted far longer.

Nance was often featured on violin and was the only violin soloist ever featured in Ellington's orchestra.

He credited Johnny Hodges, Ellington's alto soloist, as a major influence on his playing.

From 1955 through 1960 Erdman toured extensively as a solo artist throughout the U. S. Notable works from her repertory of that period include Changingwoman ( 1951 ) with a commissioned score by Henry Cowell including vocalizations by Erdman as she moved through a multi-colored abstract projected environment, Portrait of a Lady created to jazz recordings that were layered by John Cage into his eight track commissioned score, Dawn Song, a lyrical solo with commissioned score by Alan Hovhaness, Fearful Symmetry ( 1956 ) an allegory in six visions inspired by William Blake's poem, The Tyger to Ezra Laderman's Sonata for Violincello in which Erdman emerged from and interacted with a metal sculpture by Carlus Dyer, and Four Portraits from Duke Ellington's Shakespeare Album ( 1958 ), a suite of comic portrayals of Shakespearean heroines.