Several seasons ago, Daniel Barenboim, one of the world's great concert pianists and the musical director of the Chicago Symphony Orchestra, released an album of Duke Ellington's work that is one of the most definitive concepts of his music that was accompanied by jazz musicians.
Through the years, his works have been heard by thousands of musicians including, Symphony Orchestras, Jazz Orchestras, ensembles, various instrumentalists and vocalists, but never has this columnist heard his songs performed with such profound musicianship and compelling artistry as did pianist Barenboim. Usually, entertainers and others who have performed Ellington's compositions do so with their own individual style and a lot of improvisations. It was not so with Pianist Barenboim.
The pianist performed Duke in the same manner as he would Bach, Beethoven, Chopin or any other classical composer. He gave to the interpretation of Ellington brilliance and grace with amazing technique and virtuosity. There dominated in his interpretation a strong and genuine involvement that was more than entertainment. There was always a presence of warm vibrant sound, excellent control and fine shading of color. This undisputed master of his instrument provided diversity in the various idiom of Duke that was enchanting with excitement and true artistry.
Just recently Columbia Records released three albums of Duke in commemoration of the 30th anniversary of the masterful jazz composer's death in 1974. He has been heard often on the Oh label of Columbia, the Legacy label when the 33 1/3 rpm was released Duke Wellington and his Orchestra were heard with greater velocity, but the new digital release provides a brilliancy that is really dynamic and the colorful textures are magnificent.
These wonderful masterpieces by Duke Ellington that were recorded again around 1951 are fabulous. Masterpieces By Ellington are in full concert arrangements. Mood Indigo lasts approximately 15 Minutes and 26 seconds, Sophisticated Lady is just a little more than 11 minutes; also Ellington & Billy Strayhorn's Smada and Rock Skippin' At the Blue Note appear on that recording.
The next of Duke's tunes consist of those between 1951 and 1952 on the album entitled Ellington Uptown. In this particular album we hear the rhythm of Louis Bells in Skin Deep. His Liberian Suite is also featured, and the signature tune Take The A Train on this occasion is indeed fascinating as well as A Tone Parallel To Harlem from his Harlem Suite. In fact, as we were presenting the recordings on the program, The Artist Circle that airs evenings on WGCR web-satellite radio, the hour passed quickly.
The Festival Session, also a reissue that was produced by Michael Brooks and Michael Cuscuna, was a kind of dazzling instrumental splendor and is fabulous.
Article copyright Sengstacke Enterprises, Inc.
Photograph (Duke Ellington)
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