Sammy Miller, a jazz drummer and music educator trained at Juilliard, shares his views in this commentary. Check out more opinions on CNN.
This spring, we commemorate the 50th anniversary of Duke Ellington's passing and what would have been his 125th birthday. Among the many musicians who lit up Harlem's nightclubs, why did "Duke" stand out as the face of jazz? What lessons can we learn from the incredible journey of this bandleader, pianist, and composer?
Ellington's early years did not hint at his future musical success. Instead of practicing the piano, he preferred playing baseball. When his piano teacher organized a recital for her students, Ellington was the only one who couldn't play his part.
It wasn't until Ellington reached puberty that he developed a stronger interest in music, driven by his desire to impress women. Despite being self-taught and not a strong reader of music, his path to success was not smooth. His first attempt in the New York music scene was short-lived, and he returned home to Washington D.C. due to lack of opportunities. The competitive atmosphere of the Harlem Renaissance posed challenges, and Ellington struggled to find his place.
Beyoncé accepts the Innovator Award at the 2024 iHeartRadio Music Awards held at the Dolby Theatre on April 1, 2024 in Los Angeles, California. (Photo by Michael Buckner/Billboard via Getty Images)
Beyoncé was honored with the Innovator Award at the 2024 iHeartRadio Music Awards, which took place at the Dolby Theatre in Los Angeles, California on April 1, 2024. (Photo by Michael Buckner/Billboard via Getty Images)
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In 1924, everything changed for Ellington when he found his charter bandmates and started involving them in his creative process. Instead of relying on prewritten arrangements like other bands did, Ellington, with his subpar reading skills, turned this challenge into an advantage. He crafted his own charts by ear, working closely with his band.
Unbound by strict conservatory rules, Ellington and his band were free to infuse their arrangements with their own distinctive style. They blended tight and sophisticated jazz rhythms with raw blues influences, creating a sound marked by powerful instrumental solos that defined their music.
Ellington described his compositions as a reflection of his life, stating, "My music is like a diary... it captures the essence of the new people I meet, especially the talented individuals who join and sometimes remain in the band. I incorporate their unique expressions into my own musical style."
Duke Ellington's band is synonymous with his musical legacy, although many people today may not be able to name the other talented musicians who were part of it. One key member who contributed to the defining sound of the band was drummer Sonny Greer. In a time when drum sets were not standardized, Greer stood out by incorporating gongs, timpani, and chimes, which added a more orchestral percussion element to the band's music.
Another notable member of Ellington's band was Bubber Miley, a trumpeter known for his unique style influenced by New Orleans musicians. Miley created a distinctive "wah wah" sound by using a toilet plunger on his trumpet, which mimicked the sound of the human voice. This style became a signature sound on Ellington's bandstand and was so influential that it even inspired Jimi Hendrix's use of the "wah" guitar pedal decades later.
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Harry Carney, known for his lush baritone saxophone solos in Ellington's band, transformed the bari sax from a novelty instrument to a must-have in every big band.
Ellington's closest musical partnership was with pianist Billy Strayhorn, whom Ellington described as his right arm, left arm, eyes in the back of his head, and brain waves. They met in Pittsburgh, where Strayhorn impressed Ellington with his musical talent and was promptly hired.
Strayhorn was a versatile member of the ensemble, taking on roles as an arranger, composer, and utility player as needed. He even composed Ellington's famous tune "Take the 'A' Train," with lyrics inspired by directions to Ellington's house in Harlem: "You must take the 'A' train to go to Sugar Hill way up in Harlem."
Composer and bandleader Duke Ellington hovers over fellow pianist and band member Billy Strayhorn in this 1948 photograph.
Composer and bandleader Duke Ellington hovers over fellow pianist and band member Billy Strayhorn in this 1948 photograph.
Courtesy of Limited Runs
Ellington's sound was truly unique when the band played together. His brilliance lay in showcasing the talents of each musician and bringing out the best in his bandmates. As Strayhorn once said, "Ellington may play the piano, but his real instrument is the band."
Ellington had a special gift for inspiring and being inspired by those around him. Controversially, he would gather ideas from his bandmates to create musical masterpieces. This approach has sparked debates in the artistic community, with some viewing it as stealing while others see it as a natural part of the creative process. According to Ellington's valve trombonist Juan Tizol, "He'd steal like mad, no questions about it."
Lawrence Brown once told Ellington directly: “I don’t consider you a composer. You are a compiler.” However, Ellington was able to bring out the best in his bandmates, who may not have reached the same level of musical excellence without him. According to Ellington’s trumpeter Clark Terry, “[Ellington is] a compiler of deeds and ideas, with a great facility to make something out of what would possibly have been nothing.”
As we celebrate the centennial of Ellington’s prime, it’s important to reflect on what we can learn from his unique life and career. What aspects of his success can we emulate, compile, or even dare I say, steal from?
Duke Ellington and his band pose for publicity photograph in 1931
Duke Ellington and his band pose for publicity photograph in 1931
Ellington’s brilliance extended beyond his credit issues. He was humble enough to collaborate with others and let them contribute where he fell short. He enjoyed listening to Strayhorn enhance his arrangements, bringing them closer to his vision.
Ellington's name may be on the album cover, but it's his band's music that truly embodies jazz. He and his bandmates played together for 50 years, facing challenges like the Great Depression, World War II, and the rise of Rock N' Roll. As Ellington aged, he continued to push boundaries by composing ambitious works beyond his popular swing era hits. From suites to musicals to sacred concerts, Ellington explored various genres with his loyal band by his side.
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His life shows us that art is a team effort and even the greatest individuals need support from others. He reminds us that working with people who challenge us to be better and whom we can also inspire is irreplaceable.
Unfortunately, this important lesson is often overlooked in music education today. We focus on individual mastery of skills like reading and technique, but we forget the importance of collaboration in a band. Ellington's life teaches us that seeking help from others only adds to the enjoyment and beauty of creating music.
Editor's P/S:
Sammy Miller's commentary on Duke Ellington's legacy highlights the transformative power of collaboration and the impact of embracing one's unique strengths. Ellington's journey from an uninterested piano student to a jazz icon is a testament to the importance of perseverance and finding inspiration in the people around us. By involving his bandmates in the creative process, Ellington created a musical ensemble that transcended technical proficiency and became a true reflection of their collective talents.
Ellington's willingness to learn from and credit others played a significant role in his success. Despite his own shortcomings in reading music, he recognized the value of his bandmates' diverse skills and experiences. This collaborative approach allowed him to craft sophisticated arrangements that showcased the individual strengths of each musician. By fostering a sense of community and mutual respect, Ellington created an environment where creativity flourished and boundaries were constantly pushed.