Duke (91 page)

Frontispiece
Evening Standard
, Getty Images

16 John W. Mosley Photograph Collection, Charles L. Blockson Afro-American Collection, Temple University Libraries

19 Hulton-Deutsch Collection/Corbis Images

47 Apeda Studio, Steven Lasker Collection

74 Hulton-Deutsch Collection/Corbis Images

80 Bettmann/Corbis Images

96 Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

133 Steven Lasker Collection

138 BBC/Corbis Images

157 Valentino Sarra, Smithsonian Institution

167 William P. Gottlieb Collection, Library of Congress

175 Smithsonian Institution

187 Steven Lasker Collection

203 Fred Reif Collection

218 William P. Gottlieb Collection, Library of Congress

248 Steven Lasker Collection

274 Charlotte Brooks,
LOOK Magazine
Photograph Collection, Library of Congress

289 Paul Hoeffler, Getty Images

295 CBS Photo Archive, Getty Images

326 Ron Galella, Getty Images

330 Gamma-Keystone Collection, Getty Images

344 Bettmann/Corbis Images

345 Gai Terrell, Getty Images

356 David Redfern, Getty Images

INDEX

The page numbers in this index section refer to the printed version of this book. To find the corresponding locations in the text of this digital version, please use the “search” function on your e-reader. Note that not all terms may be searchable. Page numbers in
italics
indicate photographs, illustrations, and captions

Abbott, George, 261

“Across the Track Blues,” 212–13

Adams, Stephen, 66

African Suite,
2, 164, 236–37.
See also
Black, Brown and Beige

Afro-Bossa,
315, 316

The
Afro-Eurasian Eclipse
(1971), 320

Agate, James, 165

Ailey, Alvin, 317, 318

“Alexander’s Ragtime Band,” 32

Allen, Henry “Red,” 58, 137n

Alvis, Hayes, 152, 201

American Federation of Musicians (AFM), 236, 243, 252

An
American in Paris
(Gershwin),
88n, 269

American Record Corporation, 162, 169

American Society for Composers and Publishers (ASCAP), 220–23, 254

Anatomy of a Murder,
301–2, 305, 313–14, 316

. . .
And His Mother Called Him Bill,
336, 338

Anderson, Cat, 255, 290, 307, 335, 348

Anderson, Edmund, 7

Anderson, Ivie,
128
; and the AFM strike, 236; and
Black, Brown and Beige,
238; and the Blanton-Webster band, 206, 207; departure from band, 234; hired, 128–29; and
Jump for Joy,
228, 230; and Strayhorn, 190, 192–95; and touring, 144, 146n

Anderson, John, 49

Anderson, Marian, 7, 225

Aquacade, 282, 283

Arlen, Harold, 134, 343

Armstrong, Louis: and All Stars recordings, 313–14; biography of, 363; on Broadway, 92; and
Cabin in the Sky,
252, 253; and conk hairstyle, 168; and Cootie Williams, 91; and the Cotton Club, 77; cover of
Time,
266; and “Dusk,” 109; early recordings, 54; and Ellington documentary, 336; and Ellington’s death, 358; and Ellington’s work habits, 1–2; and foreign tours, 135–36, 138–39, 318–19; and Glaser, 276; Hodges on, 271; and Hollywood stereotypes, 95; income, 127; and
It’s All True,
232; and jazz scholarship, 340; and management contracts, 70; and Marable, 202; and
New Orleans Suite,
347; popularity of, 16, 38; and race issues, 2–3, 30n; and Stewart, 150

Ashby, Harold, 341

Associated Booking Corporation, 276

Atkinson, Brooks, 93, 258–61

Auden, W. H., 267

Auer, Karl, 204

Augustus Saint-Gaudens, 21

Austin, Gene, 109

The
Autobiography of Malcolm X
(X), 168

Autry, Gene, 216

Avakian, George, 247–48, 263, 266, 275, 279, 285–86, 289–90, 298–99

Babs, Alice, 340–41

Bach, Jean, 5, 123, 129, 251

Bagar, Robert, 9

Bailey, Mildred, 210

Bailey, Ozzie, 295

Bailey, Pearl, 359

Baker, Harold “Shorty,” 247, 307

Ballard, Butch, 280

Ballet mécanique
(1924), 95–96

Balliett, Whitney, 166, 290, 297, 299, 335–36, 341, 343, 351

Barnes, Clive, 350

Barnet, Charlie, 213, 213n, 264

Bartlett, C. Julian, 328

Basie, William James “Count,” 7, 182, 213, 275, 282, 358, 359

Bass, Saul, 302

Beatty, Talley, 317

bebop, 275

Bechet, Sidney, 38, 44, 52–54, 87, 109, 135, 347

Beggar’s Holiday,
17, 257–58, 261–62, 272, 316, 318

The
Beggar’s Opera,
257–58, 261

Beiderbecke, Bix, 77, 85, 119, 150

Belafonte, Harry, 295

Bell, Aaron, 307

Bell Telephone Hour,
336

Bellson, Louis, 42, 273–76,
274,
279, 284, 330, 343, 353, 359

Bentley, Eric, 262

Berle, Milton, 266, 279

Berlin, Irving, 32, 76, 80, 94

The
Big Broadcast,
126–27

Bigard, Albany Leon “Barney”: and All Stars recordings, 313; and the ASCAP boycott, 223; and the Blanton-Webster band,
218
; and the Cotton Club years, 79, 83, 85, 87–90,
133
; and “Daybreak Express,” 145; departure from band, 233–34, 235; and the Ellington Effect, 13; and Ellington’s composing style, 13, 113; and Ellington’s concerti, 162; on Ellington’s extramarital affairs, 99; and Ellington’s gambling, 101; and Ellington’s musical style, 150, 306; and “Mood Indigo,” 106–8; on Morton’s influence, 118; and recording sessions, 163, 172–73; and songwriting credits, 116; and “St. Louis Blues,” 127; and Strayhorn, 190, 194–95, 197; and Tizol, 103; and Webster, 203–6

Bikel, Theodore, 327–28

Billboard,
53, 246, 249, 282

Birdland, 274

“Birmingham Breakdown,” 59, 65, 69, 169

birth of Ellington, 15

Birth of the Cool
sessions, 339

birthday celebration at the White House, 342–44

Black, Brown and Beige,
236–40,
241,
242–43, 242n, 243–46, 252, 254, 266, 300, 309, 316, 325–26, 328, 331; Carnegie Hall premiere, 4–10, 118; and Ellington’s composing process, 11, 14; and Harlem influence, 35; and
Reminiscing in Tempo,
157; and Sacred Concerts, 328–29

Black and Tan
(1929),
96,
96–99, 105

“Black and Tan Fantasy,” 5, 41, 59, 63, 65, 67–69, 87–88, 97, 139, 169, 244

“Black Beauty (A Portrait of Florence Mills)”, 7, 87, 137

Black Bourgeoisie
(Frazier), 28

Blake, Eubie, 32, 43, 66, 98

Blankfort, Henry, 228

Blanton, Gertrude, 203

Blanton, Jimmie, 202–5,
203,
207, 208, 210, 212, 215,
218,
233–34.
See also
Blanton-Webster band

Blanton-Webster band, 201–7, 207–10, 210–15, 215–19, 265

Blitzstein, Marc, 224, 255

“Blood Count,” 333, 336

Bloom, Rube, 206

Blue Rose,
285

“Blue Serge,” 222

“Blues in Orbit,” 300

Bogle, Donald, 98

Bolden, Buddy, 233, 233n, 296

Boola,
208–9, 236–38

Boston, R. A., 22

Boswell Sisters, 109

Bowles, Paul, 9,
241,
242

Boy Meets Horn
(Stewart), 151–52, 197

boycotts, 220–21

Boyer, Richard O., 199, 251, 291, 328

Braff, Ruby, 271

Braud, Wellman, 83–84,
133,
152, 201, 280, 347

Brecht, Bertolt, 257

Bridgers, Aaron, 198, 262, 332

British Broadcasting Corporation (BBC), 137,
138

Broadcast Media Incorporated (BMI), 220–21

Broadway, 327–28, 360

Brooklyn Eagle,
152

Brooks, Harvey, 31

Brooks, Percy, 138–39, 148

Brown, Lawrence: and
Beggar’s Holiday,
263; and
Black, Brown and Beige,
6; and changes to band, 234; and the Cotton Club years,
133
; departure from band, 271, 346; and Ellington’s composing style, 13; on Ellington’s extramarital affairs, 99; fight with Ellington, 346; hired by Ellington, 129–30; illness, 338; importance to band’s sound, 348; and Rainbow Grill gig, 335; and recording session, 172; and recording sessions, 316; return to band, 308, 314; and Strayhorn, 185; and superstitions of Ellington, 132; and “Take the ‘A’ Train,” 222; World War II service, 252

Brown, Les, 253

Brown, Ray, 353

Brubeck, Dave, 289, 343

Bryant, Marie, 228, 230, 259, 261–62

A
Bundle of Blues
(1933), 105

Burris, Dick, 218

Bushell, Garvin, 44, 206

Cabin in the Sky,
252

Café de Luxe, 73

Café Society, 284

Cagney, Jimmy, 182

Calloway, Cab: and
Black, Brown and Beige,
7; and Bushell, 206; at the Cotton Club, 74, 105, 124–25; and Haggart, 202; and hair styles, 168; and the Harlem Renaissance, 46; and Haughton, 235; and Hollywood, 105; and management changes, 179; and Mills, 124; and “Mood Indigo,” 109; and Webster, 206–7; and White House birthday celebration, 343

Cameron, Basil, 4

“Camp Meeting Blues,” 66–67

Capitol Records, 279, 280

“Caravan,” 102, 103, 114, 163–64

Carnegie Hall: and
Black, Brown and Beige,
3–10, 236–38, 240–41, 243–47, 252, 325, 329, 331n; and the Blanton-Webster band, 208; and
Creole Rhapsody,
124; and
Perfume Suite,
273; and Reinhardt performance, 260; and “The Clothed Woman,” 264

Carney, Harry: and
Black, Brown and Beige,
4; and the Blanton-Webster band, 212, 214n,
218,
219; and the Cotton Club years, 84–85, 87, 130,
133
; and
Diminuendo and Crescendo in Blue,
170; and Ellington’s composing style, 13; and Ellington’s death, 359; and Hodges’s return, 284; illness, 338, 352; on midforties era, 247; and “Old Man Blues,” 106; and Rainbow Grill gig, 335; and recording sessions, 172, 263, 316; and Sacred Concerts, 329–30; and Strayhorn, 195; and timing of gigs, 151; and Tizol, 102; and touring routine, 304; and White House birthday celebration, 343–44

“Carolina Shout,” 43–44

Carruth, Richard, 302

Carter, Benny, 137n, 215

Caruso, Enrico, 48

Casa Mañana, 220–21

Castle, Irene, 32

Castle, Nick, 228

Castle, Vernon, 32