Black Brown & Beige
As a composer and bandleader associated indelibly with the nightclub scenes of pre-Swing Era jazz, Duke Ellington would have a difficult time getting respect in the button-down world of concert music. And when Ellington premiered his first long-form piece,Black, Brown and Beige, in 1943 (available on the stunningCarnegie Hall Concerts, January 1943), he was considered a dilettante. He laid the work aside until this recording, which came in early 1958--with the added oomph of gospel vocalistMahalia Jacksonon board for all the suite's vocal parts. On this expanded reissue, Columbia has added an alternate take of the entire piece as well as two unrelated tracks recorded during theBlack, Brownsessions but never before released. The suite is an expansive look, from Ellington's vantage, of course, at the evolution of African American history and culture. So there are ripples of spirited tone poetry, soaring gospel vocals from Jackson (with spare, aching piano from Ellington in spots), thundering horn-fronted swing from the band, and a consistency and unity on par with any symphonic work of the modern era. Ellington was always sensitive about this piece. After all, it showed a lot of what he held in high esteem: history, musical meditations on culture, and a full, colorful use of a band that Ellington held together for an amazingly long time. If only for Mahalia Jackson's takes on "Come Sunday," by now an acknowledged standard, this set is awesome.--Andrew Bartlett