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

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

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

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.

Ellington's appearance at the Newport Jazz Festival on July 7, 1956 returned him to wider prominence and exposed him to new audiences.

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.

* 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 ).

* 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

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 ).

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.

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.

On the other hand Ellington's friend Earl Hines's twenty solo " transformative versions " of Ellington compositions were described by Ben Ratliff, the New York Times jazz critic, as " as good an example of the jazz process as anything out there.

Langham has used it for several subsequent productions, most recently in an adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works.

Ellington's eldest grandson Edward Kennedy Ellington II also is a musician and maintains a small salaried band known as the Duke Ellington Legacy, which frequently comprises the core of the big band operated by The Duke Ellington Center for the Arts.

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.

Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, Duke Ellington's early band.

The following year, in 1929 Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's.

After leaving Ellington's Orchestra, he moved to Los Angeles, California and did sound track work, including an onscreen featured role with an allstar band led by Louis Armstrong in the 1947 film New Orleans.

As a youth, Carter lived in Harlem around the corner from Bubber Miley who was Duke Ellington's star trumpeter, Carter was inspired by Miley and bought a trumpet, but when he found he couldn't play like Miley he traded the trumpet in for a saxophone.

The celebrated brass growl effect was vividly described by Duke Ellington's son, Mercer Ellington:

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.

He later joined a band led by Jay McShann in 1942, and the following year joined Ellington's orchestra, replacing Herb Jeffries.

" Some critics have even stated that Ellington's music was not jazz because it was arranged and orchestrated.

Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba ( this accounts for the " tuba band " moniker that was to be associated with the combo ).

For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.

The halftime show was a tribute to American jazz composer, pianist and bandleader Duke Ellington, also featuring the Grambling State University Band along with Ellington's son Mercer.

After a fire, the club was re-opened as the Club Kentucky ( often referred to as the " Kentucky Club "), an engagement which set the stage for the biggest opportunities in Ellington's life.

Ellington's long-term aim became to extend the jazz form from the three-minute limit of the 78 rpm record side, of which he was an acknowledged master.

He had composed and recorded Creole Rhapsody as early as 1931 ( issued as both sides of a 12 " record for Victor and both sides of a 10 " record for Brunswick ), and his tribute to his mother, " Reminiscing in Tempo ," had filled four 10 " record sides in 1935 ; however, it was not until the 1940s that this became a regular feature of Ellington's work.

Ellington's hope that television would provide a significant new outlet for his type of jazz was not fulfilled.

She was also a guest artist in the Smithsonian Institution production of Duke Ellington's Great Ladies of Song.

In Duke Ellington's orchestra, trombonist Tricky Sam Nanton was noted for his work with the " plumber's friend ".

Despite the band's comic veneer, Lunceford always maintained professionalism in the music befitting a former teacher ; this professionalism paid off and during the apex of swing in the 1930s, the Orchestra was considered the equal of Duke Ellington's, Earl Hines ' or Count Basie's.

" Blood Count ", which was used as the first track to Ellington's memorial album for Strayhorn, … And His Mother Called Him Bill, was recorded several months after Strayhorn's death.

With a sweet, clear singing voice, she was a popular attraction with Ellington's band.

Over Ellington's long career as bandleader, his indifference toward vocalists changed with the hiring of Anderson, who was generally considered the best vocalist he ever employed.