Label: Legacy Records (Europe), CK 65566
Style: Swing, Big Band Music
Country: Washington, D.C., U.S. / New Orleans, Louisiana, U.S.
Time: 73:23
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb
January 23, 1943: the United States and its allies were at war with
the Axis powers in Europe and Africa and across the Pacific, immersed in
a conflict that encircled the globe. The renowned 43-year-old
African-American bandleader Duke Ellington was making his debut that
evening at New York City‘s Carnegie Hall, one of the most esteemed
concert halls in the world. As Ellington often did in these years, he
began with a performance of "The Star-Spangled Banner." The concert was
also a fund-raiser for Russian war relief, as the Soviet Union remained
under brutal siege from invading German armies. Among the full house at
Carnegie were celebrities and artists such as First Lady Eleanor
Roosevelt, conductor Leopold Stokowski, soprano Marian Anderson, and
poet Langston Hughes.
For Ellington it was a dramatic opportunity to present a work that had been a long time forming, a panoramic musical history of the African-American experience that he called Black, Brown And Beige. It was a 45-minute long jazz symphony constructed in what Ellington called "the Negro idiom," and it proved to be an artistic success ahead of its time. Performed at a moment when many scholars believe the Ellington band and its composer to have been at a creative zenith, with the nation in the midst of war and black people still living under segregation, Black, Brown And Beige is a complex American masterpiece that sets out to broaden a people‘s and a country‘s sense of its history. In their essay "Race And Narrative In 'Black, Brown And Beige,'" Lisa Barg and Walter van de Leur write:
Through its successive themes, its restless progression of transitions and modulations, and its sudden changes in tempi and meter, Ellington sought to "parallel" the monumental movements, migrations, and ruptures in racial time and space that have characterized African-American historical consciousness. In blurring the boundaries between myth and history or memory and history, Ellington‘s narrative underscores the epistemological problems of "history" for peoples whose voices and experiences have been erased (or repressed) from official white histories.
Full version: indianapublicmedia.org/nightlights/black-brown-beige-duke-ellingtons-historic-jazz-symphony.php
For Ellington it was a dramatic opportunity to present a work that had been a long time forming, a panoramic musical history of the African-American experience that he called Black, Brown And Beige. It was a 45-minute long jazz symphony constructed in what Ellington called "the Negro idiom," and it proved to be an artistic success ahead of its time. Performed at a moment when many scholars believe the Ellington band and its composer to have been at a creative zenith, with the nation in the midst of war and black people still living under segregation, Black, Brown And Beige is a complex American masterpiece that sets out to broaden a people‘s and a country‘s sense of its history. In their essay "Race And Narrative In 'Black, Brown And Beige,'" Lisa Barg and Walter van de Leur write:
Through its successive themes, its restless progression of transitions and modulations, and its sudden changes in tempi and meter, Ellington sought to "parallel" the monumental movements, migrations, and ruptures in racial time and space that have characterized African-American historical consciousness. In blurring the boundaries between myth and history or memory and history, Ellington‘s narrative underscores the epistemological problems of "history" for peoples whose voices and experiences have been erased (or repressed) from official white histories.
Full version: indianapublicmedia.org/nightlights/black-brown-beige-duke-ellingtons-historic-jazz-symphony.php
01. Part I (08:16)
02. Part II (06:13)
03. Part III (Aka Light) (06:25)
04. Part IV (Aka Come Sunday) (07:58)
05. Part V (Aka Come Sunday) (03:46)
06. Part VI (23rd Psalm) (03:08)
07. Track 360 (Aka Trains) - Alternate Take (02:05)
08. Blues In Orbit (Aka Tender) - Alternate Take (02:41)
09. Part I - Alternate Take (06:48)
10. Part II - Alternate Take (06:37)
11. Part III (Aka Light) - Alternate Take (03:07)
12. Part IV (Aka Come Sunday) (02:23)
13. Part V (Aka Come Sunday) - Alternate Take (05:51)
14. Part VI (23rd Psalm) - Alternate Take (01:58)
15. Studio Conversation (Mahalia Swears) (00:06)
16. Come Sunday (A Cappella) (05:47)
17. (Pause Track) (00:06)
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