Background and composition
This composition is in the key of D-flat major but makes extensive use of the secondary dominant chords, secondary ii–V–I progressions, diatonic circle of fifths, and evaded cadences. [2] The song is extremely chromatic and complex, employing sophisticated mathematics that were rare at this time in jazz: [3] Ellington's rising semitones (G-G#-A-A#-B) at the end of the bridge mirror the opening of both A sections (B-A#-A-G#-G).
By the late 1930s, swing was at the height of its popularity. Using his fame and artistic freedom, Ellington became more ambitious and experimental, writing "Prelude to a Kiss", which abandoned the Tin Pan Alley style hooks and dance tempo for melodic lines and harmonies found more often in classical music. [4] He recorded this piece as an instrumental in August 1938 before returning to the studio a few weeks later to record it as a vocal number with lyrics by Irving Gordon and Irving Mills that were sung by a young and relatively unknown Mary McHugh. [5] Popular records in 1938 were by Ellington and by Johnny Hodges and His Orchestra. [6]
Edward Kennedy "Duke" Ellington was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life.
Gunther Alexander Schuller was an American composer, conductor, horn player, author, historian, educator, publisher, and jazz musician.
Harry Howell Carney was a jazz saxophonist and clarinettist who spent over four decades as a member of the Duke Ellington Orchestra. He played a variety of instruments, but primarily used the baritone saxophone, being a critical influence on the instrument in jazz.
"Mood Indigo" is a jazz song with music by Duke Ellington and Barney Bigard and lyrics by Irving Mills.
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"Satin Doll" is a jazz standard written by Duke Ellington and Billy Strayhorn with lyrics by Johnny Mercer. Written in 1953, the song has been recorded by Ella Fitzgerald, 101 Strings, Terry Callier, and Nancy Wilson. Its chord progression is well known for its unusual use of chords and opening with a ii-V-I turnaround.
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"It Don't Mean a Thing (If It Ain't Got That Swing)" is a 1931 composition by Duke Ellington with lyrics by Irving Mills. It is now accepted as a jazz standard, and jazz historian Gunther Schuller characterized it as "now legendary" and "a prophetic piece and a prophetic title". In 2008, Ellington's 1932 recording of the song was inducted into the Grammy Hall of Fame.
"Sophisticated Lady" is a jazz standard, composed as an instrumental in 1932 by Duke Ellington.
"I Let a Song Go Out of My Heart" is a 1938 composition by Duke Ellington, with lyrics added by Irving Mills, Henry Nemo and John Redmond. The song became a number one hit for Ellington in 1938. Other hit versions the same year were by Benny Goodman, Connee Boswell, Hot Lips Page, and Mildred Bailey. It was performed as part of The Cotton Club Parade of 1938.
"I Can't Get Started", also known as "I Can't Get Started with You" or "I Can't Get Started (With You)", is a popular song. It was written in 1936 by Vernon Duke (music) and Ira Gershwin (lyrics) and introduced that year in the revue Ziegfeld Follies of 1936, where it was performed by Bob Hope and Eve Arden.
"(In My) Solitude" is a 1934 composition by Duke Ellington, with lyrics by Eddie DeLange and Irving Mills. It has been recorded numerous times and is considered a jazz standard.
"Chelsea Bridge" (1941) is an impressionistic jazz standard composed by Billy Strayhorn.
Oscar Peterson Plays Duke Ellington is an album by Canadian jazz pianist Oscar Peterson, of songs associated with Duke Ellington released in 1952 on Clef Records. Peterson re-recorded much of the music for his 1959 album Oscar Peterson Plays the Duke Ellington Song book.
Rush Hour is an album by the American jazz saxophonist Joe Lovano, featuring an orchestra arranged and conducted by Gunther Schuller, recorded in 1994 and released on the Blue Note label.
The Greatest Jazz Concert in the World is a 1967 live album featuring Duke Ellington and his orchestra, Ella Fitzgerald, Oscar Peterson, T-Bone Walker, Coleman Hawkins, Clark Terry and Zoot Sims. It was released in 1975.
"Come Sunday" is a piece by Duke Ellington, which became a jazz standard. It was written as a part of the first movement of a suite entitled Black, Brown and Beige. Ellington was engaged for a performance at Carnegie Hall on January 23, 1943, for which he wrote the entire composition. In 1958 he revised the suite and recorded it in its entirety for that year's album titled after the suite. "Come Sunday" was originally a centerpiece for alto saxophone player Johnny Hodges; the 1958 album, which contained a vocal version of the piece with new lyrics by Ellington featuring gospel singer Mahalia Jackson, greatly increased its popularity.
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