Duke (95 page)

“A Portrait of Bert Williams,” 6

Portrait of New York,
269

Pousse-Café,
327–28

Powell, Adam Clayton, 181, 226

Pratt Institute, 34

Preer, Andy, 76

Preminger, Hope, 301–2

Preminger, Otto, 301, 343

Preparatory High School for Colored Youth, 22

Previn, André, 5, 106

Procope, Russell, 127, 213–14, 254–55, 284, 317, 338, 344, 358–59

Prohibition, 55

Pulitzer Prize, 18, 325–28, 360–61

Pullman sleeper cars, 144, 159–60, 277

Queenie Pie,
357

The
Queen’s Suite,
304n, 343

Quintero, José, 327

race issues: and Armstrong, 30n; and
Black, Brown and Beige,
7–8; and the civil rights movement, 226; and Cold War politics, 319; and the Cotton Club, 74–76; Ellington’s awareness of, 181–82, 278; and Ellington’s childhood, 30; and Ellington’s image,
16,
18, 157, 168; and Goodman’s band, 217; and Hollywood stereotypes, 95; integration of bands, 162–63, 217; and
Jump for Joy,
227, 231; and music publishing industry, 57; and
My People,
316–17; and segregation, 15, 23–24, 277–78; and Swaffer, 2–3; and touring in the South, 142–48; and Washington, D. C., 23–24, 26, 44

radio, 89–94, 126, 137,
138,
165–66, 247–49, 255–56

Raft, George, 249

ragtime music, 32–33, 43

Ramey, Gene, 84

Raskin, Milt, 337

Ravel, Maurice, 155, 195, 212–13, 240

Ray, Johnny, 279

Razaf, Andy, 80n

RCA, 243, 336

Reconstruction, 23

Record Making with Duke Ellington and His Orchestra
(1937), 168–69

Redman, Don, 7, 117

Reiner, Fritz, 7

Reinhardt, Django, 260, 260n

Reisenweber’s Cafe, 36

religious observance of Ellington, 278, 328

Remick, Lee, 303

Reminiscing in Tempo,
3, 10, 145, 154–60, 162, 172, 180, 208, 239, 242, 245

Reprise Label (record label), 315–16, 323–24, 325

The
Rest Is Noise
(Ross), 360

Reynolds, Zachary Smith, 259

Rhapsody in Blue
(Gershwin), 51, 119–20, 121, 242

Rich, Alan, 331

Rich, Buddy, 274

“Riding on a Blue Note,” 172, 212

The
River
(ballet), 349–51

Roach, Max, 281, 314

Roaring Twenties, 56

Robbins, Jack, 179

Roberts, Luckey, 31, 32, 44

Roberts, Porter, 181

Robeson, Paul, 7, 75, 98, 100

Robinson, Clarence, 76

Roché, Betty, 238, 240

“Rockin’ in Rhythm,” 9, 119, 137, 306

“Rocks in My Bed,” 129, 194–95, 229–31, 288

Rodgers, Richard, 343

Rollini, Adrian, 85

Roosevelt, Eleanor, 238

Roosevelt, Franklin, 109, 225–26, 255–56

Rose, Al, 108

Ross, Alex, 360

Rowles, Jimmy, 13, 206, 233

Roxy Theatre, 166

Ruby, Harry, 104

“Rude Interlude,” 70, 148–50

Russell, Bob, 211, 253, 265

sacred music, 328–32, 333, 340–41, 353, 355

The
Sacred Wood
(Eliot), 115

Sahl, Mort, 327

Sanders, John, 306–7

Sargeant, Winthrop, 325

Sarra, Valentino, 157

“Satin Doll,” 280, 348–49, 359

Schallert, Ed, 229

Schuller, Gunther: devotion to Ellington, 338–40; on Ellington suites, 245; on Ellington’s composing style, 112, 249–50; and Ellington’s death, 358; on recording sessions, 173; on
Reminiscing in Tempo,
155; on Strayhorn, 185, 196; and
The Swing Era,
360; on
Symphony in Black,
148; on talent of Ellington, 117; on “The Clothed Woman,” 264; on the Washingtonians, 53–54; and White House birthday celebration, 343; on “workshop” period, 105

Scott, Raymond, 217

Scriabin, Alexander, 155, 214n

Scrima, Mickey, 189

Second Sacred Concert,
340–41

segregation, 15, 23–24, 277–78

“Serenade to Sweden,” 166, 179, 182–83

Sex
(Broadway show), 73

Shaw, Artie, 7, 12, 45, 165–66

Shaw, Robert Gould, 21

Sherrill, Joya, 250, 295, 317, 332, 346

Show Girl
(Gershwin), 92–93, 103–4, 258, 269

Shuffle Along,
22, 66, 98

Sibelius, Jean, 214n

Simon, George T., 229–30, 281

Simon, Henry, 9

Sinatra, Frank, 6, 192n, 238, 252–53, 279, 282, 315–16, 323, 337, 357

“The Single Petal of a Rose,” 343

Skelton, Red, 228

Small’s Paradise, 77

Smith, Ada “Bricktop,” 46

Smith, Bessie, 80n, 96

Smith, Mamie, 49, 57

Smith, Oliver, 259, 262

Smith, Roland, 49

Smith, Willie “the Lion,” 32, 45, 265, 273, 277, 343

Smith, Wonderful, 228

Snowden, Elmer, 46–48,
47,
50, 50n

Sobol, Louis, 83

“Solitude”: and Blanton, 207; and Brown, 130; and Ellington’s popularity, 16; and “In a Sentimental Mood,” 152; and marketing music, 153; recording of, 149; and songwriting royalties, 254; and Strayhorn, 190, 268; and tribute to Ellington, 359

“Something to Live For,” 190, 191

Something to Live For
(Van de Leur), 188

Sophisticated Ladies
(revue), 360

“Sophisticated Lady”: and
Anatomy of a Murder,
301; and the Blanton-Webster band, 207, 211; and Brown, 129–30; and
A Drum Is a Woman,
296; and Ellington’s composing style, 114, 115; and Ellington’s popularity, 16; and Hardwick, 41; and “In a Sentimental Mood,” 152–53; and Monk, 281; and

“Sophisticated Lady” (cont.)

the Newport Jazz Festival, 288; and songwriting credits, 108, 113–14, 115; and Strayhorn, 190, 268; and tribute to Ellington, 359; and Webster, 202

Southern Syncopated Orchestra, 22

Spingarn Medal, 309, 317

Springbirds
(floor show), 83

The
St. Louis Argus,
277

“St. Louis Blues,” 58, 75, 126–27

St. Louis Blues
(1929), 96

Stanley Theatre, 190

Stearns, Marshall, 81, 263

Steely Dan, 65

Steinbeck, John, 224

Steiner, Max, 7

Stewart, Donald Ogden, 225

Stewart, Rex: on Anderson, 255n; and band changes, 254; and the Blanton-Webster band, 215, 216, 216n,
218,
219; Ellington on, 150; and Ellington’s composing style, 13–14; and Ellington’s control issues, 17; and Ellington’s musical style, 150; on Ellington’s personal life, 323; and foreign tours, 179, 183; on Greer, 270; on Hammond, 158; and “In a Sentimental Mood,” 152–53; on Jones, 125; and Nanton, 61; and recording sessions, 163; as soloist, 151; and Strayhorn, 197; and Tizol, 102; on stage, 16; and Webster, 201, 204, 206, 207

Stewart, Slam, 202, 204

Stieglitz, Alfred, 77

Stokowski, Leopold, 4, 7, 238

“Strange Feeling,” 245n

Stravinsky, Igor, 5, 32, 198, 204

Strayhorn, Billy,
187
; alcoholism, 332–34; and ASCAP boycott, 221–23; background, 188–91; and
Beggar’s Holiday,
260–62; and
Black, Brown and Beige,
6, 8, 241; and “Black and Tan Fantasy,” 169; and Blanton, 208; and the Blanton-Webster band, 211, 213, 215–16; and Café Society gig, 284–86; and Cotton Club jubilee, 279; and the Cotton Club years, 86; death, 333–34, 335, 352–53; departure from band, 18, 272–73; and
The Duke Plays Ellington,
280; and the Ellington Effect, 12–13; and Ellington’s composing style, 64–65; and Fitzgerald recordings, 302; and foreign tours, 319; and “Isfahan,” 321; and
Jump for Joy,
228; and
Masterpieces by Ellington,
268; and “Mood Indigo,” 109; and
My People,
317; and the Newport Jazz Festival, 286, 288; and
Perfume Suite,
245; and pop arrangements, 253, 324; and
The Queen’s Suite,
304n; and scoring work, 293–94; sexuality and private life,
196–200; and Sinatra, 315; and songwriting collaboration, 184–88, 191–93, 193–96; and
Such Sweet Thunder,
297–300; and
Suite Thursday,
312–13; and suites, 295; and
Time
profile, 294; tribute to, 336–37; and “Upper Manhattan Medical Group,” 285, 352; and vocal recordings, 265; and Webster, 201; and
The World of Duke Ellington,
354

stride piano, 33, 38, 212

Such Sweet Thunder,
186, 297–300, 321

Sugar Hill, 99–100

“Sugar Hill Penthouse,” 8

Swaffer, Hannen, 2

Sweatman, Wilbur, 44–46

Sweet Man
(George), 250

Swing Era, 153, 165–66, 178, 206, 213, 252, 276

The
Swing Era
(Schuller), 185, 360

“Swing Low, Sweet Chariot,” 25

“Symphonette-Rhythmique,” 8

Symphony in Black
(1934), 147–48, 161

“Take the ‘A’ Train,” 184, 187, 190, 217, 222–23, 275, 288

The
Tattooed Bride,
245, 268

Tatum, Art, 190, 198

Taubman, Howard, 6, 8, 118, 239, 246

Taylor, Billy, 152, 359

Taylor, Deems, 269

Teagarden, Jack, 12, 253

Tempo Music, 176, 323

Terry, Clark, 2, 114n, 115, 169, 174–75, 255n, 272, 275–76, 287, 288,
307–8, 343

Thelonious Monk Plays the Music of Duke Ellington,
281

“Things Ain’t What They Used to Be,” 215, 306

Third Sacred Concert, 353, 355

This One’s for Blanton,
353

Thomas, Louis, 38

Thompson, Edna, 38–41,
39
.
See also
Ellington, Edna

The
Three Black Kings,
357

“Three Little Words,” 104, 136

Tibbett, Lawrence, 7

“Tiger Rag,” 90, 121

Time,
8, 109, 120, 140, 238–39, 266, 290–92, 308, 359

Times
(London), 165

Tin Pan Alley, 48, 56–57

Tio, Lorenzo, Jr., 108, 116

Tizol, Juan: and “Battle of Swing,” 172; and the Blanton-Webster band, 209,
218
; conflicts with band members, 18; and the Cotton Club years,
133
; departure from band, 254, 273–74; and Ellington’s composing style, 114, 131; and Ellington’s sound, 12; and foreign tours, 140; and Hibbler’s departure, 276; hired by Ellington, 101–3; and “Old Man Blues,” 106, 110; on race issues, 104; and recording sessions, 163–64; and scoring work, 209, 293; and Strayhorn, 190, 193

A
Tone Parallel to Harlem,
245, 268–71, 275, 316, 350–51

Tormé, Mel, 327