Jazz: the Big Band Style of Duke Ellington - Research Paper Example

Jazz: the Big Band Style of Duke Ellington Introduction In considering jazz throughout the 20th century one notes the significant historical shifts and as evidenced in stylistic changes. From the Big Band style of Duke Ellington one witnesses elements of the popular sphere of music, specifically on his track 'Work Song'. Conversely, there are elements of John Coltrane's work that are strikingly divergent. Coltrane's song under examination is the classical 'Acknowledgment' from the A Love Supreme. The album’s importance to the 20th century jazz canon has led to high amounts of research on the subject, with a variety of opinions advanced on its intention and meaning. Finally, Wynton Maralis' composition 'Work Song' advances a hyrbid formulation of traditional New Orleans jazz and contemporary jazz standards. This essay considers varying elements of these songs, and then examines the traits they have in common. Duke Ellington, "Work Song" (From Black, Brown and Beige) 'Work Song' is the opening track from Duke Ellington's 'Black, Brown, and Beige' album. The song and indeed the album is rooted in the popular and traditional spheres of music. Ellington, who was a much beloved popular artist in the first half of the 20th century, referred to his music not as jazz, but 'American Music' (Tucker). His characterization of his musical style in such a manner is a testament to the popular and mainstream nature of his compositions and 'Work Song' is no exception. The song and album were originally composed for Duke Ellington's concert at Carnegie Hall (Hasse). A cursory listen to the track demonstrates its instant appeal. It contains characteristic elements of Ellington's style; namely, his Big Band and Swing styles. In addition to its popular spherical connotations it's clear that it exhibits many traditional elements. During the time of its composition jazz was ushering in a new era of Bebop that rejected traditional forms of jazz that could be danced to and enjoyed in such an environment; soon rhythm and blues would be popularized and the mainstream style that had brought Ellington to considerable acclaim would be ushered out. It's in this environment that Ellington's composition holds onto traditional Big Band tendencies. This is understood even greater when one understands that while the composition was originally written for the January 1943 Carnegie Hall Performance, the Black, Brown, and Beige album wasn't constructed until 1958, placing the the song's stylistic tendencies firmly in the traditional spectrum. In speaking about the song's thematic intentions, Duke Ellington once described it as, “a tone parallel to the history of the Negro in America" (Tucker 160). While in listening to the track it's difficult for an uninformed listener to make such broad proclamations, Ellington's thematic point may refer more to his own influences and experiences that contributed to his construction of the track than specifically the track itself. More specifically, Ellington stated that the album the composition was from, “This is the one we dedicate to the 700 Negroes who came from Haiti to save Savannah during the Revolutionary War" (Liner notes). The song's ambitious and unique intentions constitute some of its most interesting aspects. When considering 'Work Song' from a specifically musical perspective there are a number of notable aspects. While Ellington's thematic intentions have serious and challenging connotations, the song itself is highly enjoyable and accessible. From its opening, one is able to find and follow the melody. While improvisation is a key element of much jazz, this track is clearly composed with minimal or no improvisatory elements. Many jazz tracks have a particular connotation of being challenging, but it's clear the tone and structure of Ellington's 'Work Song' are more in-line with popular musical efforts. In these regards, it appears from the song's melodic structure that it would function on a mainstream film soundtrack or similar popular mediums. John Coltrane, "Acknowledgement" (from A Love Supreme) ‘Acknowledgement,’ begins with Coltrane’s tenor saxophone blasting through and then gives way to a subtle drum solo. This is followed by the beginning of a piano melody and light drumming. Coltrane then interjects with his characteristic saxophone playing. Throughout the album one comes to realize that perhaps the most initially recognizable characteristic is the virtuous means by which Coltrane is able to move effortlessly up and down elaborate musical scales. It’s unclear the extent that Coltrane’s saxophone playing is improvised, but it can be reasonably assumed from the chaotic nature of much of the playing that a considerable amount of it is improvisation. Towards the middle of the song, however, what had been chaotic saxophone improvisation and equally uncontrollable drumming underneath suddenly agree upon a melody; Coltrane’s saxophone follows this melodic rhythm for a few moments until the saxophone playing finally ceases and his vocals take its place, repetitively stating the album’s title, ‘a love supreme.’ These words are repeated until the song fades off into oblivion. It is a highly compelling opening song, and while it may initially be difficult to digest, after repeated listens one gains a deep rooted appreciation for its brilliance, dexterity, and overall spiritual transcendence. While the track exhibits tendencies from the traditional sphere, it is most accurately described as falling within the classical sphere. In considering the traditional sphere one notes that while the track is highly experimental it also exhibits traditional elements of both Coltrane's past style and those of jazz greats. In these regards, one notes the considerable indebtedness the album makes to the hard bop style. Still the album is more accurately categorized within the classical sphere. One of the main tenants of this sphere examines the emphasis on the artistic intentions of the composer. Here the effort to achieve transcendence is a pivotal aspect of the composer's intentions. 'Acknowledgment' is a track on an album that is entirely devoted to achieving a sort of artistic transcendence both stylistically and spiritually. Coltrane's efforts in melding the traditional hard bop style with his own idiosyncratic experimental approach makes this track a classic in the jazz genre and an indelible aspect of 20th century music culture. One of the prevailing theories on the influences of the song and the album it is on is Coltrane’s hometown Dix Hills, Long Island (Porter). With the extreme emphasis on stylistic dexterity and experimental arrangements and improvisation to many it may initially seem absurd to attach such a prosaic interest as a hometown to the song's influences, but as one gains an greater appreciation they gain a perspective on it wherein its reveals its subtle emotions and impressionistic qualities. The 'A Love Supreme' album the song itself is from is structured like a concept album with varying movements (Kahn). In these regards, one might even contend that it in great part it mirrors the structure of a symphony with its varying movements, moods, climaxes, and conclusions. The album is divided into a four part structure, with four distinct tracks. ‘Acknowledgement’ is the first track and it contains the vocal track wherein Coltrane repeats the phrase, “a love supreme” in rhythm with the accompanying music. It’s clear that the album has a strong spiritual context. While it is difficult to ascertain Coltrane’s deeper intentions regarding meaning throughout the album, a number of theorist have advanced interpretations on the album’s thematic significance. One such interpretation is that the album’s spiritual nature refers to Coltrane’s quest for purity and that his music ability is not a product of his own doing, but an element of metaphysical or transcendental being (Porter). The song was recorded in 1964 and released in 1965 and has become a standout track on one of the most seminal and influential albums of the 20th century. Recorded by the John Coltrane Quarter in Van Gelder Studio in New Jersey, the album marked a revolutionary contribution to jazz (Ratliff). Perhaps the most amazing element of the song is that it was recorded in a single day. There were a diverse variety of musicians and producers involved in the project, but the core contributors to the song were the members of the quartet. Coltrane’s quartet consisted of John Coltrane who played tenor saxophone, and provided vocals; Jimmy Garrison who played double bass; Elvin Jones who played drums; and McCoy Tyner who played piano. Additional musicians included Art Davis who played double bass on alternative tracks of ‘Acknowledgement’; and Archie Shepp who played tenor saxophone on the same tracks as Art Davis. Rudy Van Gelder offered the main production contributions. Wynton Marsalis, "Processional" (from In This House, On This Morning) Wynton Marsalis 'Processional' is from his album 'In this House, On this Morning'. The album the track emerges from has the thematic story of being the auditory depiction of a church service (Marsalis). In these regards, 'Processional' represents one track among many on this three part album. As such 'Processional' can rightly be assumed to refer conceptually to the processional elements of the church service. While the composition was constructed for the 1993 'In this House, On this Morning' album, it's clear that it exhibits a highly traditional structure, with minimal classical elements. Namely, Marsalis' style is particularly concerned with exploring and infusing traditional New Orleans jazz with a contemporary perspective; this is highly notable on 'Procession.' Even with the composition's clear reliance on traditional New Orleans jazz methods, the album's conceptualization as a Sunday church service and its hybrid combination of these traditional elements, with a knowledge of contemporary jazz trends moves the composition slightly into the classical sphere. Indeed, in the track's construction and within its contextualization of the 'In this House, On this Morning' album constitute an effort to not simply offer retreads of New Orleans jazz standards, but to artistically advance an entirely contemporary envisionment. The track itself is highly enjoyable, containing both contemplating elements with more upbeat Gospel and Neo-Bop inspired melodic structures. Marsalis and his septet vary the tempo throughout the song, so it never becomes prosaic. Instead the track's form and melodic structure are such that it is lively and energetic. Perhaps it is Marsalis' own skill as a trumpeter that brings the track this lively feel, but in another sense it is the entire band's ability to reimagine New Orleans at its most passionate and profound that functions as the track's true genius. As the track advances one notes its high production quality. While traditional New Orleans' jazz was recorded in a period that didn't allow for such pristine production, Marsalis reimagination of it is able to achieve these effects. Indeed, Marsalis neo-classic stylings were promoted to great lengths in the Ken Burn's Jazz documentary. His appearance and neo-classical opinions in that film have even garnered criticism, with Adler stating, "Wynton's coronation in the film is not merely biased. It is not just aesthetically grating. It is unethical, given his integral role in the making of the very film that is praising him to the heavens." Still, it's clear that Marsalis' work on 'Work Song' goes a long way in advancing a hybrid classical and contemporary style. Comparison In considering the similarity between these tracks there exists many notable elements. While the tracks all emerge from decisively different eras in the jazz pantheon it's clear they share some underlining qualities. Perhaps the most notable connection that can be drawn between the upbeat traditional qualities in Duke Ellington's 'Work Song' and Wynton Marsalis' track 'Processional.' In these regards, John Coltrane's 'Acknowledgment' stands at a great stylistic difference. While Coltrane's track is considerably more experimental than these other tracks they are emerge from the same foundational jazz elements and instrumentation that highlights the genre. Musical qualities aside, the tracks are all notable as they are all parts of a larger structural whole; namely, the albums they emerge from all have stories and a conceptual structure behind them. This is perhaps the element that most clearly links these tracks. Conclusion In conclusion, it's clear that the compositions examined exhibit notably different stylistic tendencies. Duke Ellington's 'Work Song' is firmly rooted in the popular sphere of music, although it also contains traditional qualities. Conversely, John Coltrane's 'Acknowledgment' exhibits more experimental traits, and is more rooted in the classical sphere of music. Finally, Wynton Marsalis' 'Processional' incorporates traditional New Orleans jazz standards with a contemporary approach; still the track is best characterized in the traditional genre of jazz. References Adler, David R. "Ken Burns' "Jazz": The Episode Ten Fiasco". AllAboutJazz.com. http://www.allaboutjazz.com/articles/arti0201_03.htm. Hasse, John. (1995) Beyond Category: The Life And Genius Of Duke Ellington. New York: De Capo Press. Kahn, Ashley. (2003) A Love Supreme: the Story of John Coltrane's Signature Album. New York: Penguin Press. Liner notes Duke Ellington Live at Carnegie Hall, December 11, 1943 Storyville Marsalis, Wynton. (2002) Jazz in the Bittersweet Blues. New York: De Capo Press. Porter, Lewis (2000). John Coltrane: His Life and Music. Michigan: University of Michigan Press. Ratliff, Ben. (1995). Coltrane: the Story of Sound. New York: Picador Press. Tucker, Mark. The Duke Ellington Reader. New York: Oxford University Press, 1993 Read More