by David Hajdu
And the vital helpmates dearest to me: most of all, Karen Oberlin, my parents, and my brother Chuck, Seth Fahey, Jeff Menell, Anna Kula—and, of course, my children, Victoria and Jacob, and their mother, Joanne.
NOTES
Unless cited below or attributed to other sources in the text, all quotations in this book are from the author’s interviews. Musical descriptions and analyses are based on the author’s study of music and recordings at the Duke Ellington Archives of the Smithsonian Institution; the Institute for Jazz Studies at Rutgers University; the Yale Music Library; and private sources, most significantly the papers of the Billy Strayhorn estate and the personal collections of Aaron Bridgers, Lena Horne, Honi Coles, Marian Logan, Jerome Eisner, Oliver Fowler, and Jean Mayer.
PREFACE
Duke Ellington and Billy Strayhorn, interview by Paul Worth, KBCA radio, Los Angeles, 1962 (month and day unknown).
1. SOMETHING TO LIVE FOR
My grandmother … to me: Strayhorn, interview by Duke Ellington on the radio program Jazz Casual, date unknown.
During grade … got one: Sinclair Traill and Gerald Lascelles, Just Jazz 3 (London: Four Square Books, 1959).
I started … like that: Ibid.
Well, eventually … that piano: Ibid.
She did … invaluable training: Strayhorn interviewed for the Duke Ellington Jazz Society, New York, March 1962 (unpublished).
2. PASSION FLOWER
I was … a success: Sinclair Traill and Gerald Lascelles, Just Jazz 3 (London: Four Square Books, 1959).
We were … really something: Strayhorn interviewed for the Duke Ellington Jazz Society, New York, March 1962.
I went … didn’t stay: Ibid.
He was … from him: Bill Coss, “Ellington & Strayhorn, Inc.,” Down Beat, June 7, 1962.
I had … it was done: Strayhorn, Duke Ellington Jazz Society interview.
It’s a … it’s about: “New Hit, ‘Lush Life,’ Is Not New,” Down Beat, August 12, 1949.
One of … “Smoky City”: Walter van de Leur research.
Whether … repertoire: Ibid.
3. OVERTURE TO A JAM SESSION
When Stray … got me: Sinclair Traill and Gerald Lascelles, Just Jazz 3 (London: Four Square Books, 1959).
I know … this lyric: Strayhorn interviewed for the Duke Ellington Jazz Society, New York, March 1962.
Everybody was … little peaked: Ibid.
He said … all right: Ibid.
They were … the drugstore: Ibid.
As the band … well organized: Harry Carney interviewed for the Duke Ellington Jazz Society, New York, December 1960 (unpublished).
Every day … from Duke: Strayhorn, Duke Ellington Jazz Society.
Bill Esch … he did: Ibid.
“A” Train … like that: “Mi Dica, Mister Strayhorn,” Musica Jazz (Italy), May 1964, translated from the Italian by Antonio Monda.
I said … of Pittsburgh: Strayhorn, Duke Ellington Jazz Society.
[In the] morning … send for you: Ibid.
You don’t … I am: Traill and Lascelles, Just Jazz 3.
I don’t … like doing: John S. Wilson, “Billy Strayhorn: Alter Ego for the Duke,” New York Times, June 6, 1965.
Arrange these … ten o’clock: Strayhorn, Duke Ellington Jazz Society.
What could … did it: Ibid.
He left … find it: Ibid.
From then … organization: Bill Coss, “Ellington & Strayhorn, Inc.,” Down Beat, June 7, 1962.
I stayed … “Day Dream”: Ibid.
The guys … flattered: Strayhorn, Duke Ellington Jazz Society.
Tizol refused … the scores: Ibid.
I walked … all right: Ibid.
Though … chord effects: Walter van de Leur.
So I … arrangements: Strayhorn, Duke Ellington Jazz Society.
I was … in Pittsburgh: Ellington quoted by George Greenlee, interview with the author, November 7, 1993.
I got … embarrass him: Strayhorn, Duke Ellington Jazz Society.
4. SO THIS IS LOVE
He used to come … in his hand: Mary Lou Williams interviewed for The Ellington Project, Oral History, Yale School of Music, March 16, 1981.
5. BEYOND CATEGORY
Ellington’s … observe: Billy Strayhorn, “The Ellington Effect,” Down Beat, November 5, 1952.
Strayhorn also … didn’t record: Walter van de Leur.
Duke originally … Blanton’s bass: “Swee’ Pea Is Still Amazed at Freedom Allowed in Writing for Ellington Orchestra,” Down Beat, May 30, 1956.
As long … doesn’t matter: John S. Wilson, “Busy Duke Likes It That Way,” New York Times, August 7, 1963.
There was … of things: Strayhorn interviewed for the Duke Ellington Jazz Society, New York, March 1962.
The renaissance … the band: Duke Ellington and Billy Strayhorn, interview by Paul Worth, KBCA radio, Los Angeles, 1962 (month and day unknown).
Pres: Lester Young, the “President.”
As the manuscript … Mercer Ellington: Van de Leur.
Although … the project: Ibid.
I realized … very much: Perry Watkins interviewed for the Duke Ellington Jazz Society, New York, March 1966 (unpublished).
Mr. Ellington’s … modem harmonies: Robert Bagar, “‘Beggar’s Holiday’ a Brilliant Musical,” New York World-Telegram, December 27, 1946.
Mr. Ellington … modern setting: Brooks Atkinson, “The Play in Review: Beggar’s Holiday,” New York Times, December 27, 1946.
6. I’M CHECKIN’ OUT, GOOM BYE
I never … at parties: Strayhorn, interviewed for the Duke Ellington Jazz Society, New York, March 1962.
At that … whatsoever: Ibid.
As a result … his name: Walter van de Leur.
Song and … incredible: “Cabin in the Sky,” Variety, August 12, 1953.
7. ALL ROADS LEAD BACK TO YOU
“Things Ain’t What They Ought to Be with Ellington’s Band”: Ted Hallock, “Duke Lays an Egg,” Down Beat, May 21, 1952.
I have … the fingers: Bill Coss, “Ellington & Strayhorn, Inc.,” Down Beat, June 7, 1962.
Ellington has … to jazz: Sinclair Traill and Gerald Lascelles, Just Jazz 3 (London: Four Square Books, 1959).
It will … a man has: Duke Ellington, interview by Ted Allen, Paris, January 1961 (unpublished).
I suppose … I arranged: Duke Ellington and Billy Strayhorn, interview by Paul Worth, KBCA radio, Los Angeles, 1962 (month and day unknown).
We were … rushed: Traill and Lascelles, Just Jazz 3.
That night … very well: Ibid.
8. THERE WAS NOBODY LOOKIN’
Today’s … at Birdland: Earl Wilson, “It Happened Last Night,” New York Post, November 13, 1956.
“Duke Bounces Back with Provocative New Work”: John S. Wilson, New York Times, October 15, 1957; “A Living Legend Swings On”: Look, August 20, 1957.
Entitled … jazz spectacular: “‘Crazy Little Story,’” Newsweek, May 6, 1957.
This is … extended works: John S. Wilson, “Duke Bounces Back.”
Harlem society … great difference: Jesse DeVore, “Article on Homosexuals Drew Fire,” Amsterdam News, October 12, 1957.
Such as … “Come Sunday”: Walter van de Leur.
I was … year later: Duke Ellington and Billy Strayhorn, interview by Paul Worth, KBCA radio, Los Angeles, 1962 (month and day unknown).
Though … of jazz: Beatrice Washburn, “The Duke—I Hear Music All the Time,” Miami Herald, January 12, 1958.
Extensive revisions … patron pull: Lary Solloway, “Florida’s Boxoffice ‘Bests,’” Variety, March 11, 1959.
This is … one man: Nat Hentoff, “The Well-Constructed Anatomy,” Hi Fi Review, September 1959.
Music in … show them: Ellington, in American Weekly Entertainment Guide, August 1, 1959.
9. UP AND DOWN, UP AND DOWN
Mr. Strayhorn … that matters: Stanley Dance, Jazz Music, no volume number, 1943.
It was a … already was: Strayhorn interviewed for the Duke Ellington Jazz Society, New York, March 1962.
Most of … a Murder: John Tynan, “Paris Blues,” Down Beat, November 23, 1961.
In Paris … sound like: Strayhorn, Duke Ellington Jazz Society.
After more … low-keyed set: John S. Wilson, “The Peaceful Side,” Down Beat, March 31, 1963.
Ellington will … he desires: “Duke Signs with Reprise, Will Supervise Sessions,” Down Beat, January 3, 1963.
10. BLOOD COUNT
I found … depressed: Arthur Logan interviewed for the Duke Ellington Jazz Society, New York, March 1964 (unpublished).
I think … to me: Perry Watkins interviewed for the Duke Ellington Jazz Society, New York, March 1966 (unpublished).
If you … true art: Dan Morgenstern, “Spotlight Review: Far East Suite,” Down Beat, July 1967.
Mr. Strayhorn … mocking wit: John S. Wilson, “Jazz: The Ellingtonian Billy Strayhorn,” New York Times, June 7, 1965.
This concert … lesser hands: Dan Morgenstern, “Billy Strayhorn,” Down Beat, July 29, 1965.
The suite … categorization: Dan Morgenstern, “Caught in the Act: Duke Ellington at Philharmonic Hall,” Down Beat, January 27, 1966.
I’m writing … yawning void: Mary Campbell, “Ellington’s Newest Album Tribute to Billy Strayhorn,” The White Plains Reporter Dispatch, June 28, 1968.
In response to inquiries filed by the author under the provisions of the Freedom of Information Act, the Federal Bureau of Investigation says the U.S. Government’s internal intelligence files on Billy Strayhorn were destroyed after his death. The author is appealing this position.
Note on music research:
For some of Billy Strayhorn’s music, the history of authorship detailed in this book differs from the information on record labels and in various published sources. Primary research resources used by the author follow, for other authors’ reference and future scholarship.
“All Heart” (from Portrait of Ella Fitzgerald)—autograph score, The Duke Ellington Collection, Smithsonian Institution.
“Brown Penny”—autograph score (untitled), Bridgers collection.
“The ‘C’ Jam Blues”—autograph score, Billy Strayhorn estate; Walter van de Leur research.
“Day Dream”—published interview with Strayhorn; corroboration, author’s interviews.
“Grievin’”—autograph score, Billy Strayhorn estate.
“I’m Checkin’ Out, Goom Bye”—autograph score, Billy Strayhorn estate.
“The Mood to Be Wooed”—autograph score, The Duke Ellington Collection, Smithsonian Institution; van de Leur research.
“Northern Lights” (from The Queen’s Suite)—copyright registration, Library of Congress.
“Orson”—autograph score, Aaron Bridgers collection.
“Something to Live For”—autograph score for the Mad Hatters, Jerome Eisner collection, Jean Mayer collection; corroboration, author’s interviews.
“The Star-Crossed Lovers”—autograph score (entitled “Pretty Girl”), Aaron Bridgers collection.
“Sugar Hill Penthouse” (from Black, Brown and Beige)—autograph score, The Duke Ellington Collection, Smithsonian Institution; van de Leur research.
“A Tone Parallel to Harlem”—autograph score, The Duke Ellington Collection, Smithsonian Institution.
“Tonight I Shall Sleep (With a Smile on My Face)”—autograph score, The Duke Ellington Collection, Smithsonian Institution; van de Leur research.
“Tonk”—autograph score, Billy Strayhorn estate; van de Leur research.
“Your Love Has Faded”—autograph score for the Mad Hatters, Jerome Eisner collection; corroboration, author’s interviews.
Beggar’s Holiday: the “Boil Weevil Ballet,” “Girls Want a Hero,” “I’m Afraid,” “Maybe I Should Change My Ways,” “Women, Women, Women,” “The Wrong Side of the Railroad Tracks”—The Duke Ellington Collection, Smithsonian Institution; van de Leur research; corroboration, author’s interviews.
The Blessed and the Damned—author’s interviews.
Jump for Joy: “Cindy with the Two Left Feet,” “Flame Indigo,” “Rocks in My Bed,” “Uncle Tom’s Cabin Is a Drive-In Now”—The Duke Ellington Collection, Smithsonian Institution; van de Leur research; corroboration, author’s interviews.
BIBLIOGRAPHY
A selected listing of books drawn on in this work follows. Magazine, newspaper, and newsletter articles, too numerous to list, are not included.
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Ellington, Duke. Duke Ellington Piano Method for Blues. New York: Robbins Music Corp., 1943.
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