bluuebunny/crossref_metadata_2025_split huggingface dataset:
Lux et Veritas
Authors: Diamond Sigmund 
Published: November 2023

Abstract
Communlst Infiltration Was always at the center of the FBI’s interest. SAC New I haven, therefore, devoted considerable attention to his reply to the great investigation of universities ordered by Hoover in the spring of 1953. On April 24, 1953, the New Haven FBI office submitted its first report; additions were submitted sporadically, but their information was so similar to that of the first lengthy report that it may be taken as paradigmatic of them all. In that first report, seventeen persons—including faculty, students, and staff-were included; fourteen were on the Security Index, slated for arrest in event of a national emergency. They came from a variety of departments and divisions of the university—botany, the Institute of Human Relations, the Law School, physiology, zoology, mathematics, medicine, the library, linguistics, chemistry, among others.
New Orleans
Authors: Royal Stokes W 
Published: November 2023

Abstract
The continuing and strong appeal of authentically performed New Orleans style jazz shows no sign of waning. Indeed, the veteran players, who number a mere handful, find themselves as busy as at any time in careers that, for some of them, reach back five, six, and even seven decades. We are speaking of that style of jazz characteristic of musicians who chose to remain in the city of New Orleans rather than join the many who relocated to Chicago and other northerly cities beginning around 1915.
Chicago
Authors: Royal Stokes W 
Published: November 2023

Abstract
Beginning about 1910, New Orleans jazz musicians began arriving in Chicago, some to stay, others only to visit. Among the first were the pianists Tony Jackson and Jelly Roll Morton. Jackson remained until his death in 1921. The itinerant Morton lived in the city for several years in the early teens, moved to California in 1915, used Los Angeles as his base until settling in Chicago in 1923, and relocated in New York in 1928.
Post Bebop Developments
Authors: Royal Stokes W 
Published: November 2023

Abstract
While this chapter will deal with the so-called avant-garde, or “free jazz,” developments of the 1960s and '70s, the reader will note the conspicuous absence of women in the following pages. This is certainly not because they did not contribute in the area of “free” playing. Rather, we have postponed to the final chapter the stories of a number of female instrumentalists. Since that chapter deals with the current scene of the 1980s and because women have begun to come to the fore this past decade or so as instrumentalists in a way that has never before occurred in jazz, it seemed that their stories would most appropriately be contained therein.
The “Secret” of the Ellington Orchestra (1933)
Authors: Tucker Mark 
Published: November 2023

Abstract
Pieces without using scores. Apparently some listeners had believed the group improvised everything-an “orchestra of Louis Armstrongs,” as Overstreet put it. In explaining the “secret” behind this phenomenon, Overstreet gave one of the earliest detailed explanations of Ellington’s working methods, emphasizing two important aspects: Ellington’s practice of evolving pieces collectively in rehearsal and his reliance on writing cultivates its own particular style, the arrangements are often useful to the other bands, eventually finding a permanent place, of course, in the Ellington library. The human equation is not overlooked, and should the men become rusty in a number which is not ideal for theatres, it can be worked up on short notice for special radio or concert presentation.
Ellington’s Response to Lambert (1935)
Authors: Tucker Mark 
Published: November 2023

Abstract
Duke Ellington, gifted Negro musician, paid a flying visit to Philadelphia last week, accompanied by that “hot and sweet” aggregation of inspired toe-tick lers who play in his “Cotton Club” band. When Duke was making life gayer for the patrons of exclusive London night clubs last year [recte two years ago], he had a strange experience. He was taken up by the musical intelligentsia of the British capital. He was “dis covered” by the highbrows, and great was the hue and cry thereof. It was the greatest British triumph since Dr. Livingstone’s adventures in Darkest Africa. Constant Lambert, English composer and critic, who is a very brilliant but very young man, wrote a book about modern music (“Music Ho!”). He had a lot of nice things to say about Duke’s music, practically smothering the jazz boy’s “Blues” in an admiring avalanche of fancy critical verbiage.
Enzo Archetti: “In Defense of E,llington and His ‘Reminiscing in Tempo’” (1936)
Authors: Tucker Mark 
Published: November 2023

Abstract
The release of Duke Ellington’s latest work Reminiscing in Tempo on Bruns wick 7546 and 7547 has been the occasion for a storm of protests and jere miads in various periodicals, which are characteristic of the general stupidity, intolerance, and narrow-mindedness of those swing-music fans who, because of prejudice, will not admit to or permit any change or progress in the style of a creator of swing music. To such persons Louis Armstrong is a washout because he no longer plays as he did years ago. To them Duke Ellington is a failure and betrayer of The Cause because he no longer writes any Black and Tans or Mood Indigos. It is remarkable, that with very few exceptions in all the “reviews,” or opinions printed so far Ellington’s Reminiscing has been scathingly dismissed as a failure without any attempt being made to analyze or understand the work. To them it was something in which the rhythm could not be tapped out with a foot nor the melody whistled. Fortunately, Ellington is too great an artist and too important a creator to be influenced by such reactions.
Ellington: “From Where I Lie” (1938)
Authors: Tucker Mark 
Published: November 2023

Abstract
The sky-line from my windows in the Wickersham hospital is an inspiring sight. I have spent three weeks in bed here, not too ill to be thrilled daily by a view of these skyscrapers, and with plenty of time for ample meditation. It is natural, perhaps, that I should think of many subjects, some serious, some fanciful. I spent some time comparing the marvelous sky-line to our race, likening the Chrysler tower, the Empire State building and other lofty struc tures to the lives of Bert Williams, Florence Mills and other immortals of the entertainment field.
Ellington: “We, Too, Sing ‘America’” (1941)
Authors: Tucker Mark 
Published: November 2023

Abstract
First of all, I should like to extend my sincere appreciation to the Rev. Karl Downs for the opportunity to appear on this very fine program and express myself in a manner not often at my disposal. Music is my business, my pro fession, my life but, even though it means so much to me, I often feel that I’d like to say something, have my say, on some of the burning issues con fronting us, in another language in words of mouth.
Two Reviews (1943) Paul Bowles in the New York Herald-Tribune Mike Levin in Down Beat
Authors: Tucker Mark 
Published: November 2023

Abstract
Duke Ellington is the only jazz musician whose programs have enough musical interest to be judged by the same standards one applies to art music. He is the composer of many of the finest popular melodies of the last fifteen years, of slavery, and then the spirituals to make up for the dreary life. Brown is concerned with the Civil War, the West Indian influences, and the spread of Negro life to the city, with its urban blues. Beige is built around the “hotcha” idea of colored life, and Duke’s pointing out that Harlem has more churches than joints. The waltz is to show the desire for “good living,” while the ending unites Black, Brown, and Beige with Red, White, and Blue.
The Debate in Jazz (1943) John Hammond: “Is the Duke Deserting Jazz?” Leonard Feather: Leonard Feather Rebuts Hammond Bob Thiele: “The Case of Jazz Music
Authors: Tucker Mark 
Published: November 2023

Abstract
Jazz had the most ambitious evening in its history when Duke Ellington gave his concert at Carnegie Hall. The whole town turned out for the event, and the auditorium itself could have been sold many times over. At long last the music world has paid proper homage to Duke Ellington, its most distinguished bandleader and composer.
Black, Brown and Beige in a List of “Classical Records” (1946)
Authors: Tucker Mark 
Published: November 2023

Abstract
If memory serves right this is a thoroughly shortened version of Ellington’s composition which he presented in Carnegie Hall several years ago. Neither jazz nor symphonic, it is still a remarkable work which should have attracted the attention of many more musicians than it actually did. If jazz has anything to offer to serious music, then it certainly lies more along the road on which Ellington proceeds, than that of Leonard Bernstein or George Gershwin. The work is remarkable, not because it transcends the actual jazz cliches, which it does not, but because it endows them with a great deal of imagination and with a wealth of invention clearly borrowed from the vocabulary of modern serious music. Yet it has an originality of its own which finds its most genuine expression in the sonorities of the solo instruments of which the saxophone sounds most overwhelming. Paul Bowles, the critic, once took Ellington to task for this work. Bowles wrote: “If there is no regular beat there can be no syncopation ... no jazz.” But this is precisely where Ellington has made a great advance over the jazz cliches. By overstepping the rigid demands of the meter he has given the work a rhythmic fluctuation of an improvisatory char acter which is the work’s chief strength.
Robert D. Crowley: “Black, Brown and Beige After 16 Years” (1959)
Authors: Tucker Mark 
Published: November 2023

Abstract
To play, it was just the MJQ again, as instantly identifiable as [George] Shear ing. John Lewis was John Lewis, blowing cool piano, and Milt Jackson was just Bags, getting away on vibes, with no hint of Columbine or the swing era, or whatever he was supposed to represent. There was not the most rudimen tary hint of the kind of contrast that can be exploited compositionally.
Brian Priestley and Alan Cohen: “Black, Brown & Beige” (1974-1975)
Authors: Tucker Mark 
Published: November 2023

Abstract
Cohen (b. 1934) had become familiar with the piece through listening to and transcribing various recordings, also through studying a score issued by Tempo Music, Ellington’s pub lishing company. Cohen’s orchestra also recorded the work in 1972 with Priestley on piano.
Richard 0. Boyer: “The Hot Bach” (1944)
Authors: Tucker Mark 
Published: November 2023

Abstract
Boyer deftly captures the group spirit of Ellington’s musicians on the road, showing their extraordinary resilience in the face of monotony, physical discomfort, and racial dis crimination. He highlights the important supporting roles played by Ellington’s road manager Jack Boyd, his valet Richard Bowden Jones (“Jonesy”), and especially his writing partner Billy Strayhorn. Boyer’s expert touch with description and dialogue brings to life scenes rarely observed by outsiders, such as activities before and after a typical dance job, and_,, the collective working-out of a new piece in the middle of the night.
An Ellington Solo Piano Transcription in Down Beat (1944)
Authors: Tucker Mark 
Published: November 2023

Abstract
During his current theater tour, Duke is featuring a concerto type arrange ment on the standard Frankie and Johnny (fig. 1). The accompanying style example, one of his solo choruses, contains the melodic-harmonic treatment that is characteristic of Ellington’s composition and arrangements. It reflects Duke’s ability to think of his orchestra as a single instrument with multiple colorings and extensive harmonic possibilities. For example: the basic har mony, played by the left hand, is simple and, with the exception of abundant chromatics, quite conventional; the treble harmony, generally speaking, gives unusual coloring by the addition of sevenths, ninths, and elevenths. The intro duction establishes the key and the mood without the commonly used principal theme and authentic cadence. The first six measures of the chorus retain much of the original melody but with a new harmonization. variation. The following two measures are completely divorced from the original composition and form a progression into the improvised ending. The ending is formulated from the material used in the introduction. Here is a little masterpiece of good form and modern harmony.
George Avakian: Ellington at Newport (1956)
Authors: Tucker Mark 
Published: November 2023

Abstract
Overshadowing everything else, including the introduction of a new work written expressly for this recording at Newport, Duke Ellington’s performance of Diminuendo and Crescendo in Blue in the last set of the 1956 Festival turned into one of the most extraordinary moments in the history of this annual event. Within an hour, reporters and critics were buzzing about it. By next morn ing, it was generally conceded to have been one of the most exciting perfor mances any of them had ever heard.
Andre Hodeir: “Why Did Ellington ‘Remake’ His Masterpiece?” (1958)
Authors: Tucker Mark 
Published: November 2023

Abstract
Duke Ellington holds a privileged position in the history of jazz. He was its first composer in the strict sense of the term, and for a long time he was its only composer. Fats Waller was not a composer, he merely wrote tunes. Ernie Wilkins is an arranger who works with other people’s ideas.A composer is a musician who makes full use of a capacity which neither the tune writer nor, with very few exceptions, the arranger possesses, a capacity which might be defined as that of endowing jazz with an additional dimension. This dimen sion, which gives a work new depth and greater possibilities for development, is form. Jazz history may be summed up as follows: Armstrong created jazz, Ellington created form in jazz; Parker and Davis re-created jazz, while Monk is trying to re-create form in jazz.
Irving Townsend: “When Duke Records” (1960)
Authors: Tucker Mark 
Published: November 2023

Abstract
I, like most people who listen to records, was brought up on stories of how Duke Ellington makes a record, and the more incredible the latest episode was, the more I came to believe that Duke and his band usually arrive at a recording studio totally unprepared. The miraculous process of writing an arrangement in front of the band, playing it four bars at a time, and recording it in the last few minutes of the session is the sort of tale any jazz lover likes to believe, and I, and probably you, did.
Ellington: “Where is Jazz Going?” (1962)
Authors: Tucker Mark 
Published: November 2023

Abstract
Where is jazz going? Questions of this kind are never easy to answer, and in this case it might be easier to answer another question, namely: where is jazz coming from? Because one of the most important distinctions between the musical scenes of yesterday and today is that the average young musician nowadays comes equipped with conservatory experience, with a background of educational equipment that is way out ahead of the training most of the musicians had not too many years ago.
Eddie Lambert: “Duke Ellington-1963” (1963)
Authors: Tucker Mark 
Published: November 2023

Abstract
The presence of Duke Ellington and his musicians was enough to warm up even a January so cold as that just experienced, and as one drove, walked, stumbled and cursed through snow, ice, fog and slush to attend the various concerts, one could, for once, feel assured that it would all be very worthwhile. The sound of this Ellington band is now a memory, to be stored along with those of the 1958 orchestra. On that tour, as we all know, many writers were highly critical of Duke’s policy and the band was adjudged disappointing in the context of the programmes presented. This year the critics did an about face and in considering the Ellington band sans ballad medley decided that now the Duke was really presenting his music in undiluted form. Four years ago I was frankly bowled over, for the sound of the band was so much more glorious than even the finest records suggested and despite the medley and the drum solo found their concerts to be the finest I had ever experienced in the jazz field. One does not always agree with Ellington’s programming, but before going on to criticise what Duke did place before our ears in 1963 we should remember that this music comes from a road band leading the unsettled exis tence of all touring orchestras. Whatever criticisms one may make of Ellington the fact remains that his concerts still have more “meat,” more musical sub stance than those of any other figure in jazz.
A. J. Bishop: “‘Reminiscing in Tempo’: A Landmark in Jazz Composition” (1964)
Authors: Tucker Mark 
Published: November 2023

Abstract
Reminiscing in Tempo was written twenty-eight years ago, in 1935, and recorded in the same year. At the time, it was strongly criticised. This criticism, viewed in retrospect, was not surprising. Not only was the piece the most ambitious jazz composition, in terms of length, attempted up till that time, but it contained, as we shall see, some unconventional ideas. Unfortunately, the complete work has not been available in Britain for many years. Conse quently many enthusiasts, particularly younger ones, have not been able to hear it. It is certainly time it was re-issued.
Nat Hentoff: “This Cat Needs No Pulitzer Prize” (1965)
Authors: Tucker Mark 
Published: November 2023

Abstract
For Edward Kennedy (Duke) Ellington, recent months have been character istically busy and mobile. With his orchestra, he has been constantly in motion-playing one-nighters, making climactic appearances at the major jazz festivals, and recording. Ellington the composer, moreover, has been repre sented this past summer in a premiere of a new suite, “The Golden Broom and the Golden Apple,” with the New York Philharmonic at Lincoln Center. As composer-pianist, he has been selected along with Birgit Nilsson, Pilar Lorengar and Guiomar Novaes, to be part of the new subscription series called Great Performers at Philharmonic Hall. Mr. Ellington’s date in this first recital series to be undertaken by Lincoln Center itself is Dec. 12 at 3 p.m.
Ellington: “The Most Essential Instrument” (1965)
Authors: Tucker Mark 
Published: November 2023

Abstract
I am delighted you have recently had the opportunity to hear Willie The Lion. He has been such a very strong influence on anybody who ever listened to him. Seriously, I mean that! Art Tatum was influenced by Willie The Lion, and anyone who can influence Art Tatum has to be really something, for Tatum was the greatest. And I know that is right, because Oscar Peterson says so; and so too, for that matter, does Billy Strayhorn.
Martin Williams: “Form Beyond Form” (1970; revised 1983, 1993)
Authors: Tucker Mark 
Published: November 2023

Abstract
Main Stem was recorded in 1942 and therefore comes from a great period for Duke Ellington as a composer, orchestrator, and leader of a large jazz ensem ble. I am not sure that it is one of the masterpieces of that period, but it is at least excellent. On the face of it, Main Stem may seem casual enough: a blues in a relatively fast tempo. It opens with a theme played by the orchestra, followed by a succession of one-chorus solos by sidemen, and a final return to the theme. It is a big band blues, then, apparently like many another casually conceived and executed big band blues of the time.
Reactions of a Newcomer: Al Sears Interviewed by George T. Simon (1944)
Authors: Tucker Mark 
Published: November 2023

Abstract
One of them was tenor saxophonist Al Sears (1910-1990), who joined Ellington in May of 1944, filling the chair vacated by Ben Webster the previous year. (Skippy Williams had held the post briefly in between.) Discussing the experience with journalist George T. Simon, Sears conveyed both the excitement and frustration of learning Ellington’s repertory on the job. His comments illuminate the way pieces were edited and revised during performance and describe the informal apprenticeship system in which the band’s veterans helped out newcomers. At the time of Sears’s interview, the Ellington orchestra was appearing at the Hurricane Club, at Broadway and 51st Street.
Inez M. Cavanaugh: Three Interviews (1945)
Authors: Tucker Mark 
Published: November 2023

Abstract
At this point Rex veered: “Let me tell you about the eating contest between Benny Carter, Coleman Hawkins and Jimmy Harrison and me! Hawk had three steaks, two orders of ham and eggs, a platter of fried potatoes and two slices of pie. We were neck and neck until we got to the pie. Benny had one piece and nosed Jimmy and me out, but when Hawk ordered the second slice Benny folded up!
Sonny Greer Interviewed by Whitney Balliett (1974)
Authors: Tucker Mark 
Published: November 2023

Abstract
Sonny Greer is an elegant pipestem, with a narrow, handsome face and flat black hair. His eyes are lustrous, and his fingers are long and spidery. He was with Duke Ellington for almost thirty years, and sat godlike above and behind “I feel good, and I can still play. Lazy people retire. As long as you feel active, be active. Retired people lie under a tree and play checkers, and first thing you know they’re gone. Last time I saw Duke in the hospital, he said, ‘I want you to go out and play again, Nasty.’ He called me that because I had always defended him against all comers through the years. I guess the Man isn’t ready for me yet. The only regret I have is that my parents and my sisters never saw me play with the Duke Ellington band. My brother Eddie did, but somehow they didn’t, and I’m still sorry about that.”
Gary Giddins on Paul Gonsalves (1985)
Authors: Tucker Mark 
Published: November 2023

Abstract
Duke Ellington wrote of Paul Gonsalves that his refusal to make demands on himself evinced the purity of mind worthy of a good priest. “His punch line, of course, is ‘Jack Daniels,’” Ellington continued, “but that is just a kind of fa ade.”The image of Father Gonsalves must have amused his many friends, but none could have failed to understand what Ellington was getting at. The key tenor saxophonist of the Ellington orchestra for 24 years went Jesus one better. He could walk on sour mash, an ability that may have been either a consequence or a cause of his remarkable diffidence. Gonsalves, known to colleagues as Mex and to Ellington’s audiences as the Hero of the Newport Jazz Festival (or Strolling Violins-he was known to hop off the stand to serenade a member of the audience) abjured power in any guise, including self-promotion. That he had a reputation at all was entirely due to his lavish talent and the existence of a few people who could appreciate same. To them, the name Gonsalves was almost synonymous with underrated: not even his conquest of Newport in 1956-when he galvanized the audience with a 27- chorus blues solo that put Ellington on the cover of Time and his orchestra back on top after five years of neglect-secured him much individual attention. I don’t think he cared in the least; he and the people close to him knew who he was and besides, to sit in the Ellington band was all he ever wanted from life.