Duke Ellington: Solitude




Duke Ellington & His Orchestra


The Complete Ellington Indigos (Jazzbeat 527)

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Duke Ellington (piano, composer), Clark Terry (trumpet), Willie Cook (trumpet), Cat Anderson (trumpet), Harold 'Shorty' Baker (trumpet), Ray Nance (trumpet, violin), Quentin Jackson (trombone), John Sanders (trombone), Britt Woodman (trombone), Johnny Hodges (alto sax), Russell Procope (clarinet, alto sax), Jimmy Hamilton (clarinet, tenor sax), Paul Gonsalves (tenor sax), Harry Carney (baritone sax), Jimmy Woode (bass), Sam Woodyard (drums).

Composed by Duke Ellington, Eddie DeLange & Irving Mills


Recorded: New York, October 14, 1957


Rating: 98/100 (learn more)

Ellington Indigos is one of my favorite Ellington albums. Recorded right after Such Sweet Thunder, it was designed to show the "dance band" side of the Ellington orchestra. But it is so much more: In arranging a program of standards mixing his songs with those of other composers, Ellington created wonderful new settings that were richly-colored and easily accessible. When it was recorded in 1957, stereo recording was still new (in fact, Indigos may have been the first stereo Ellington album). Like other albums of this period, there were occasional problems with the portable stereo recorders which necessitated using different takes on the mono and stereo versions of the LP. One track, "The Sky Fell Down" never appeared on the stereo LP, and in 2 other cases, not only were the solos different between the mono and stereo, but the orchestrations changed, too! After 50+ years with various tracks turning up here and there, the Jazzbeat CD above includes all of the music recorded for this album. It's about time.

While Ellington wrote several concertos for his musicians, he seldom wrote features for himself. "Solitude" is a wonderful exception to the rule. Ellington starts alone at the piano with a gentle, out-of-tempo rumination on the theme. After awhile, he adds a simple, slow stride pattern, but soon breaks away from the straight time for more rubato thoughts. He uses single note lines to convey loneliness, and as the solo continues, we wonder if the whole track will be an extended piano solo. Then with a strong entrance on the theme, he brings in the rhythm section. The saxes pick up the melody with Ellington offering sharply voiced chords in contrast. The brass comes in on the bridge and the arrangement continues to build even as Ellington moves away from his melody. The band kicks in hard as the arrangement reaches its climax. Then suddenly, Ellington breaks into a flashy arpeggio that runs up and down the keyboard, and there is a solo piano cadenza that brings the volume and mood back to its quiet beginnings. Ellington caught a lot of heat from the critics when he crossed into the sacred classical music area, but this recording shows the pianist in a seldom-seen context. Far from being pretentious, it is simply a beautifully-realized rendition of a classic song. I loved it when I first heard it 30 years ago, and I still love it today.

Reviewer: Thomas Cunniffe

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