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.
September 16, 2009 · 0 commentsTags: solitude
Williams begins unaccompanied and rubato, with headlong runs and filigreed arpeggios. Upon introducing the melody, she heartily embellishes it, going into stride mode for good measure. When Captein and Brown make their first entry, Williams reenters the theme with a quickly passing allusion to "Four" by Miles Davis, before briefly adopting Ellington's keyboard style, only to surge off into an up-tempo solo that we can imagine Duke would have "loved madly." The pianist's two-handed swing-fest contains blues-tinged angularity, technically impressive parallel lines drawn from her early classical training, her always welcome block chords, and intriguing left-hand adornments. Williams' exchanges with Brown delve into stride and Monkish inflections, and even include a quote from "Exactly Like You." The out-chorus is a take-no-prisoners romp that unexpectedly evokes Count Basie in its very last notes.
April 15, 2009 · 0 commentsTags: solitude
Fans may come to this performance because of the novelty of Ellington serving as a sideman, but the real draw here is Benjamin. Ellington does not solo, and even his comping is obscured by the pizzicato violin of Asmussen. But Benjamin offers a beautiful, heartfelt version of this classic ballad that brings out all of its lovelorn ambiance. No frills here, just an intense reading of a great song -- and a version that must have pleased the composer enough to entice him to join in.
January 23, 2008 · 0 commentsTags: solitude
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