Duke (94 page)

“Kinda Dukish,” 282, 306

King, B. B., 276

King, Martin Luther, Jr., 316–17

Koehler, Ted, 134, 206

“Ko-Ko,” 6, 172, 208–10, 212, 237, 239, 285

Kolodin, Irving, 240–41

Kongolene, 168

Kreisler, Fritz, 27

Krupa, Gene, 153, 162–63, 286

Kuller, Sid, 223–24, 225, 227, 228

La Valse
(Ravel), 212–13

Lafayette Theatre, 45

Lambert, Constant, 3–5, 16, 137, 146

Lambert, Flo, 148

Larson, Philip, 135

Latin American Suite,
320, 341

Latouche, John, 258–61

Leadbelly, 255

Lee, Peggy, 279, 303

Lees, Gene, 42

Léger, Fernand, 95–96

Levin, Mike, 9, 262, 263–64

Levitas, Willard, 296

Levy, Morris, 314n

Lewis, John, 198–99

Lieberson, Goddard, 314

Life,
261, 267

“Li’l Farina,” 54

Lim, Harry, 218

Liszt, Franz, 122

Locke, Alain, 46

Logan, Arthur, 293, 333–34, 352–53, 356–57

Logan, Marian, 356

Long, Avon, 259

Look,
199

Lorillard, Elaine, 286

Lorillard, Louis, 286

Louis, Joe, 100

Lucas, Al, 287

Lunceford, Jimmie, 12, 151, 274

“Lush Life,” 188–90, 192n, 273

Lush Life
(Hajdu), 188

Mad Hatters, 193

Madden, Otto, 73, 75, 83

Madden, Owen, 82

Man with Four Sides,
40, 178

Mandel, Johnny, 42

“Maple Leaf Rag,” 32

Marable, Fate, 202, 204

Marquand, John P., 56

Marsalis, Wynton, 185

Marshall, Wendell, 280

Martin, Dean, 315

Marx Brothers, 92

Mary Poppins
(1964), 324

Masterpieces by Ellington,
268, 273

May, Billy, 337–38

Mayes, Wendell, 302

McCormack, John, 27

McCuen, Brad, 254

McGettigan, Betty, 355, 357

McHugh, Jimmy, 79

McKay, Claude, 46

McPartland, Marian, 343

Medal of Freedom, 342, 343, 358

Meet the People,
224

Mellers, Wilfrid, 339

The
Melody Maker,
123, 133, 138, 170–71, 179

Mercer, Johnny, 280

Messiaen, Olivier, 214n

Metcalf, Louis, 69, 70

Metronome,
9, 110, 229–30

Miley, Bubber: and
Black, Brown and Beige,
5; and “Black and Tan Fantasy,” 65–66; and the Cotton Club years, 81, 83, 86–88, 90–92; and “East St. Louis Toodle-O,” 285; and The Washingtonians,
47,
49–51, 54, 61–63

Mili, Gjon, 228

Miller, Glenn, 238

Miller, Max, 135

Miller, Mitch, 279, 285

Mills, Irving: and the ASCAP boycott, 221; background, 55–59; and the Blanton-Webster band, 215; break with Ellington, 207; and Carnegie Hall shows, 5; and cartoon of Ellington,
143
; and Cotton Club jubilee, 279; and the Cotton Club years, 74, 76, 78, 79n; and
Creole Rhapsody,
120–21, 123–24; and discipline in the band, 292; and domestic tours, 142, 144; and Ellington’s extramarital affairs, 98; and film on recording process, 168–69; first connection with Ellington, 59–65; and foreign tours, 134–35, 139–40; and hiring of Brown, 129; and marketing music, 153–54; and “Mood Indigo,” 107–8; and political issues, 225; promotional efforts, 4, 15–16,
60,
98, 103–5,
143,
154,
172, 252; relationship with Ellington, 65–70, 70–72; and
Reminiscing in Tempo,
158; and salaries of musicians, 152; and songwriting credits, 113–14; and Strayhorn, 179–83, 193, 199; and Swing music, 153; and
Symphony in Black,
148; tensions with Ellington, 161–64; and
Time
profile of band, 140; on Ziegfeld shows, 94

Mills, Jack, 57

Mills Artists Inc., 4

Mills Blue Rhythm Band, 124

Mills Music Inc., 61, 108

Mingus, Charlie, 18–20, 276, 314

Minnelli, Vincente, 252

Mittler, William, 321

Modern Jazz Quartet, 286

Money Jungle,
314

Monk, Thelonious, 281–82, 282n

Monte, Fernanda de Castro,
310,
311–12, 318–20, 343, 357–58

“The Mooche,” 88n, 137, 137n, 275

Mood Ellington,
265

“Mood Indigo”: and
Black, Brown and Beige
review, 9; and the Blanton-Webster band, 207, 210, 214; and broadcast performances, 16; Copland on, 171; and Ellington’s composing style, 57, 110–16, 119; and foreign tours, 136–39; Hardwick and Whetsel’s influence, 41; and Jones, 174n; LP recordings, 268; and Monk, 281; origin of, 106–10; popularity of, 152–54; rearrangements of, 127–28; and recording sessions, 172; and “Rude Interlude,” 148–49; Schuller on, 117; and small-group releases, 162; and
Time
profile, 291; and tribute to Ellington, 359; and
Your Saturday Date with the Duke,
255

Morgen, Joe, 291, 299–300, 342

Morton, Jelly Roll, 54, 65, 85, 118, 148–49

Mostel, Zero, 259

Moten, Bennie, 206

Mulligan, Gerry, 199, 286

Murphy, Dudley, 95–96

Murphy, Elliott, 282

Murrow, Edward R., 305

Music Ho!: A Study of Music in Decline
(Lambert), 146–47

Music in a New Found Land
(Mellers), 339

Music Is My Mistress
(Ellington): on alcohol consumption, 174; on
Black, Brown and Beige,
239, 242; on
Black and Tan,
97–98; on the Blanton-Webster band, 210, 212; on Brown, 130; on Carnegie Hall show, 10; on the Cotton Club years, 75, 79, 84, 89; on
Creole Rhapsody,
120; on Duke’s Serenaders, 42; on early compositions, 33n; on Ellington’s honors and awards, 342n; on family of Ellington, 29; on foreign tours, 137, 140, 320; on Hamilton, 255; on marriage of Ellington, 40; on Miley, 63; on Mills, 60, 181; on Mingus, 19–20; on Newport Jazz Festival, 290; on
Pousse-Café,
328; on
Reminiscing in Tempo,
155; on Sinatra, 315, 337; on Strayhorn, 186–87; on Tizol, 103; on Washington, D. C., 26; on the Washingtonians, 51; on Webster, 205; on
The World of Duke Ellington,
354–55; writing of, 353–55

Musicraft label, 255, 262

Mutual Broadcasting System, 165, 247

My People
(revue), 243, 316–18, 329, 330

“The Mystery Song,” 70, 79, 137n

Nance, Ray, 217,
218,
277, 287, 315, 316, 317, 319, 341, 359

Nanton, Joseph “Tricky Sam”: and “Black and Tan Fantasy,” 66; and Blanton, 208; and the Blanton-Webster band, 212,
218
; and the Cotton Club years, 81, 83, 87, 91,
133
; death, 254, 272; on Ellington’s appetite, 166; and Ellington’s sound, 12; and “Old Man Blues,” 106; and “St. Louis Blues,” 127; and timing of gigs, 151; and Tizol, 102–3; and the Washingtonians, 61–63

National Association of Negro Musicians, 43

National Council on the Arts, 342

The
Negro Musician,
43

“Never No Lament,” 114, 209, 210, 211n,
218,
253, 265

Nevin, Ethelbert, 27

The
New Masses,
58

New Orleans jazz, 36, 44

The
New Orleans Suite,
347–48, 347–49, 351

The
New Republic,
158

New World A-Coming,
244, 329, 330

New World Symphony (Dvorˇák),
52

The
New York Age,
75, 78, 97, 104, 181

New York Amsterdam News,
68–69, 70, 100, 181, 205

“New York City Blues,” 248

New York Clipper,
49

New York Herald Tribune,
9, 331

The
New York Times:
on
Beggar’s Holiday,
261; on
Black, Brown and Beige,
6, 9, 118; on Cold War politics, 318; and
Creole Rhapsody,
124; on Ellington’s death, 358; on Ellington’s health, 357; on Palace Theatre show, 92; on
The River,
350; on
Sacred Music
concerts, 331, 333; on
Show Girl,
93; on tone poems, 246; on U Street, 24

The
New York Times Book Review,
339

The
New York Times Magazine,
326

The
New Yorker,
30, 77–78, 88, 92, 134, 155, 199, 251–52, 336, 341

Newport Jazz Festival, 286–90,
289

Nichols, Red, 85

Night Creature,
316

Nixon, Richard, 342–43, 358

Nola Rehearsal Studio, 6

Norman Petty Trio, 109

Norvo, Red, 178

Oakley, Helen, 10, 92, 100, 160, 163–64, 212, 354

Oberstein, Eli, 243, 254

Odets, Clifford, 224

O’Hara, John, 119

“Old Man Blues,” 104–6, 110–11, 119, 123, 137

Oliver, Joe “King,” 44, 49, 54, 66, 85, 88

“On the Road with Duke Ellington” (documentary), 336–37

O’Neill, Eugene, 98

Original Dixieland Jazz Band, 36, 45, 48, 135

Ottley, Roi, 244

Page, Walter, 201–2

Palace Theatre, 92

Paley, William, 89

Palomar Ballroom, 153

Panassié, Hugues, 127, 139

Parish, Mitchell, 108–9

Park, Frances, 78

Parker, Charlie, 192, 267

Parks, Gordon, 177, 194, 303–4, 358

Pass, Joe, 353

“Passion Flower,” 191–92

Pastel Period,
247

Patterson, Thomas, 297

Paul, Elliot, 232

Paul, Les, 279

“Perdido,” 102, 275

Peress, Maurice, 353

Perfume Suite,
245, 273

Person to Person,
305

Peyton, Dave, 69

Phonograph Monthly Review,
68

Pins and Needles,
224, 224n

The
Pittsburgh Courier,
69, 126

plagiarism, 62, 67

Pollock, Jackson, 267

Pons, Lily, 192

The
Popular Duke Ellington,
329

Popular Front, 225, 278

Porcino, Al, 337

Porgy and Bess
(Gershwin), 119, 156–57, 259, 319

Porter, Cole, 266, 279

Porter, Ralph, 202