Duke Ellington’s melodies carried his message of social justice

Duke Ellington’s melodies carried his message of social justice

 

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Duke Ellington leads his orchestra in a rehearsal in Coventry, England, on Dec. 2, 1966. Associated Press

 

At a moment when there is a longstanding heated debate over how artists and pop culture figures should engage in social activism, the life and career of musical legend Edward Kennedy “Duke” Ellington offers a model of how to do it right.

Ellington was born on April 29, 1899 in Washington, D.C. His tight-knit black middle-class family nurtured his racial pride and shielded him from many of the difficulties of segregation in the nation’s capital. Washington was home to a sizable black middle class, despite prevalent racism. That included the racial riots of 1919’s Red Summer, three months of bloody violence directed at black communities in cities from San Francisco to Chicago and Washington D.C.

Ellington’s development from a D.C. piano prodigy to the world’s elegant and sophisticated “Duke” is well documented. Yet a fusion of art and social activism also marked his more than 56-year career.

Ellington’s battle for social justice was personal. Films like the award-winning “Green Book” only hint at the costs of segregation for black performing artists during the 1950s and 60s.

Duke’s experiences reveal the reality.

Ellington and his Cotton Club Orchestra playing ‘The Mooche,’ 1928.

Cotton Club to Scottsboro Boys

Ellington first rose to fame at Harlem’s “whites only” Cotton Club in the 1920s. There, the only mingling of black and white happened on the piano keyboard itself, as black performers entered through back doors and could not interact with white customers.

Ellington quietly devoted his services to the NAACP and its racial equality activities in the 1930s. Whether it was demanding that black youth have equal entrance rights to segregated dance halls or holding benefit concerts for the Scottsboro Boys, nine black adolescents falsely imprisoned for rape in 1931, Ellington used his growing fame as a prominent band leader for a greater good.

In our literary and historical research on African American entertainment, Ellington’s ability to travel and perform across national boundaries stands out.

After success in Harlem’s night spots, Ellington composed, recorded and appeared in film shorts like 1935’s “Symphony in Black” as himself. He traveled the world with his orchestra, at first performing in the U.K. in the 1930s. Later, Ellington continued to perform on behalf of the U.S. State Department as a “jazz ambassador” in the 1960s and 70s. Audiences in such places as India, Syria, Turkey, Ethiopia and Zambia were given the opportunity to hear and dance to Ellington’s compositions.

However, not even international popularity ensured that hotels would host Ellington’s all-black ensemble during a tour in the U.K. in June 1933. Members scrambled to find boarding homes in London’s Bloomsbury neighborhood when mainstream hotels turned them away on account of their race.

Despite success, racism

Ellington’s 1932 “It Don’t Mean a Thing if It Ain’t Got That Swing” was the soundtrack for the nation’s swing era of the 1930s and 40s. The tune stayed on the Billboard charts for six weeks in 1932 and was inducted into the Grammy Hall of Fame in 2008.

But when Ellington traveled in the South, he still had to hire a private rail car to avoid crowded, poorly maintained “colored only” train seating, or hotels and restaurants that refused service to black Southerners.

Ellington and band members playing baseball in front of the ‘colored’ only Astor Motel while touring in Florida in 1955. Library of Congress/Charlotte Brooks photographer

Northern or western engagements in the 1930s and 1940s often proved no better. While there were no “white only” signs on the doors of these hotels or restaurants, establishments enforced segregation by telling black customers to enter through back doors or purchase their meals to go.

Bassist Milt Hinton recalled that Ellington and fellow band leader Count Basie often stayed at black-owned boarding houses rather than risk being thrown out or ignored.

White band managers attempted to protect the black bands they managed from these racist practices, but this still did not prevent Ellington from being denied service in a Salt Lake City hotel’s cafe in the 1940s.

Subtle style

Once the civil rights movement of the 1950s began to fight for racial equality through direct-action techniques like mass protests, boycotts and sit-ins, activists in the early 1950s criticized the older Ellington. His subtle activism style had focused on benefit concerts, and not “in the streets” protests.

But as the movement continued, Ellington included a non-segregation clause in his contracts and refused to play before segregated audiences by 1961. He maintained in an interview in the Baltimore Afro American newspaper that he had always been devoted to “the fight for first class citizenship.”

This was a devotion best seen in his music.

Ellington used his creative musical talents against racist beliefs that African Americans were inferior or unintelligent.

His diverse and wide-ranging catalog of music demanded the kind of serious attention and respect that had previously only been reserved for elite, white composers of classical music.

Songs such as “Black and Tan Fantasy” completely challenged what was then called “jungle music,” a negative term used to reference music inspired by the African diaspora. As a fusion of sacred and secular black culture, both the “Black and Tan Fantasy” composition and film combined the speaking traditions of black preachers with the humor and rhythms of black life.

‘Black and Tan Fantasy’ melded sacred and secular black culture.

Modern black variety shows such as “Wild ‘N Out” and “In Living Color” share a lineage with Ellington’s major stage production of 1941, “Jump for Joy.”

“Jump for Joy” combined comedy skits and music into a revue that featured African American stars of the mid-20th century, including actress, singer and dancer Dorothy Dandridge and poet Langston Hughes.

Ellington claimed that his production “would take Uncle Tom out of the theater and say things that would make the audience think.”

He used his music to showcase black excellence as a resistance tactic against the negative stereotypes of African Americans made popular in American blackface minstrelsy.

Ellington also used “Jump for Joy” to call out those who borrowed from black music without any credit or financial compensation to its creators.

Duke Ellington, Paramount Theater, New York, 1946. Library of Congress/William P. Gottlieb photographer

Melody’s other purpose

One of Ellington’s most powerful works is the orchestral piece “Black, Brown and Beige.”

This work shows his ability to infuse the blues into classical music and his commitment to tell the history of black America through song.

From the spirituals developed through the trials of slavery to the fight for civil rights and the modern rhythms of big band swing music, Ellington sought to tell a story about black life that was both beautiful and complex.

For Ellington, melody became message.

Michelle R. Scott, Associate Professor of History, University of Maryland, Baltimore County and Earl Brooks, Assistant Professor of English, University of Maryland, Baltimore County

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Mary Lou’s Sacred Jazz

Mary Lou’s Sacred Jazz

Mary Lou's Sacred Jazz for Urban FaithMary Lou Williams inspired Duke Ellington and a generation of future jazz legends. But it’s her sacred jazz, and journey of faith, that captivated my spirit. 

The brilliant jazz pianist and composer Mary Lou Williams, who died in 1981 at age 71, was a prolific artist, writing and arranging hundreds of compositions and released dozens of recordings. Along the way, she worked with jazz giants such as Duke Ellington and Benny Goodman and served as a mentor to other seminal figures, including Dizzy Gillespie and Thelonious Monk.

Williams, who often stated that she wanted to be a force for emotional healing through her music, began focusing on faith-based compositions during the 1960s. From 1963 until 1970, she composed a number of hymns and three Mass settings that garnered attention within the American Catholic church as well as from the Vatican. Her liturgical music even inspired Ellington to write his own Sacred Concerts.

As I sit in my Manhattan apartment, I am surrounded by the spirit of Mary Lou Williams: the record cover photo from her 1978 Montreux Jazz Festival solo concert looks out from above my computer; recordings dating back to 1938 sit on a CD shelf devoted strictly to Williams’ music; and my own sheet music scores are all over the living room futon as I finish putting together a songbook to accompany my own sacred jazz recording, From This Place.

Even more important than these physical items is the recognition in my own spirit of an affinity, a sense that I am continuing in Williams’ legacy of bringing together jazz and liturgy, whether I am literally playing her compositions with my trio or playing my own pieces in a local or faraway church. Why does Mary Lou Williams matter, and how has she given so much inspiration to me?

Rather than give a complete chronological overview of Williams’ work (which has been done with great aplomb elsewhere), I’d like to briefly recount Williams’ journey of faith — her conversion to Catholicism, her liturgical music — and how my own personal journey has been influenced by this bold woman’s inspiring path.

The Roots of Conversion

Mary Lou's Sacred Jazz Second picture for Urban FaithIn 1952, after a career that had included being principal arranger, composer, and pianist for bassist Andy Kirk’s Twelve Clouds of Joy in the late 1920s and 30s, writing big band arrangements for Goodman and Ellington, orchestral arrangements of her original pieces, and playing extended trio engagements at respected New York jazz venues, Mary Lou Williams set sail for a nine-day performance tour in England. Her nine-day tour turned into a two-year European sojourn.

Williams’ conversion to Christianity had its roots in Paris. While she had experienced many successes in her career, she also had many disappointments, both in business affairs and in her desire to take care of those less fortunate than herself (often members of her extended family). Her brilliance as a forward-thinking composer and performer belied the lack of opportunities she was afforded to record as a bandleader. Her family in Pittsburgh had the impression that Williams was a wealthy woman (and she indeed often sent money home to aid her relatives); however, Williams struggled all her life to survive financially as a jazz musician. During her sojourn in Paris, she began to feel a growing depression, a sense that music held little meaning for her.

While in Europe, one of Williams’ patrons, an American expatriate and practicing Catholic named Colonel Edward L. Brennan, introduced her to a church with a garden. It was of this place that Williams later remarked that she had “found God in a little garden in Paris.” Around this same time, she began seeking solace in prayer and in reading the Psalms. She also grew more reclusive as she questioned her career as a musician and attempted to find a way to get close to God.

Returning to the States in late 1954, Williams began withdrawing from the performing world. She did several radio and television appearances, and also recorded the important chronicle of jazz music, A Keyboard History, but turned down offers to perform in nightclubs, feeling that their environments were sinful. She continued her inward spiritual search, briefly attending Harlem’s historic Abyssinian Baptist Church before embarking on an austere diet of prayer and service that began at Our Lady of Lourdes, a Catholic church in her Harlem neighborhood. Williams reportedly made lists of up to 900 names of people she would pray for every day: she would spend hours in the church in prayer, then return home to attend to family members (who had moved in with her from Pittsburgh), some of whom had addictions to drugs. Even though she needed money, she continued to turn down performance offers.

In 1956 and ’57, Williams met two priests who proved influential in her spiritual formation and her return to public performance. Father John Crowley met Williams’ close friends Dizzy and Lorraine Gillespie while working as a missionary in Paraguay. Crowley, a jazz lover, met with Williams when he returned to the East Coast. He urged her to stop taking in musicians and family with addiction issues. He also suggested that she offer her music as a prayer for others, nudging her towards her eventual decision to re-enter the jazz scene as an active performer.

A Jesuit priest, Father Anthony Woods, was introduced to Williams by Barry Ulanov, the great jazz writer who had himself converted to Catholicism from Judaism. Woods, who was based at the large St. Ignatius Loyola Church on Park Avenue, gave catechism classes that Williams attended with Lorraine Gillespie. Woods helped Williams learn how to pray for others without writing out each name on her lengthy prayer lists. Perhaps most important, he encouraged her to return to her music. In 1957 both Williams and Gillespie were baptized and confirmed in the Catholic Church.

A Marriage of Jazz and Faith

Williams’ conversion began a ten-year period of bringing together jazz and liturgy, from 1962 to 1972. In ’62 Williams composed “Hymn for St. Martin de Porres” for the Dominican lay brother who was the first person of color to be canonized in the Catholic Church. The piece appears on the 1964 recording Black Christ of the Andes, released on Williams’ own record label, Mary Records.

In 1964 Williams convinced the Pittsburgh bishop, John J. Wright, to help sponsor the first Pittsburgh Jazz Festival. At that festival, which included Art Blakey, Thelonious Monk, Ben Webster, and others, Melba Liston arranged much of Williams’ original material (including “St. Martin de Porres” and “Praise the Lord”) for a 25-piece band.

Pittsburgh was also where Williams composed the first of her three Masses. In 1967 she was hired by Bishop Wright to teach music at Seton High School, a Catholic girls’ school in the city. Williams began writing her first Mass (simply entitled Mass) during her teaching: according to Williams, she would write eight bars at a time and then teach the new material to the students. In July of the same year, her complete Mass was performed in Pittsburgh’s St. Paul’s Cathedral with a small choir of thirteen voices and piano.

In 1968 Williams was commissioned by the New York Catholic Diocese to compose a Mass for Lent. Mass for Lenten Season was performed for six Sundays at the Church of St. Thomas the Apostle in New York in 1968. The instrumentation included saxophone, flute, guitar, piano, bass and drums (or bongos). These first two Masses have never been recorded in their entirety.

That April, following the assassination of Dr. Martin Luther King Jr., Williams composed two tribute pieces for the civil rights leader. “If You’re Around When I Meet My Day” and “I Have a Dream” were both performed by a children’s choir on Palm Sunday of 1968.

In March 1969 the Pontifical Commission on Justice and Peace commissioned Williams to write the Mass for Peace. This papal commission was an opportunity that Williams had dreamed about for years.

This third Mass, which combined jazz-rock and gospel, is the best known of the three Masses. Williams self-released the work on Mary Records and premiered Music for Peace in concert at Columbia University’s St. Paul’s Chapel in April 1970. She presented the piece in churches and schools for several years before it was performed as part of a Mass at St. Patrick’s Cathedral in New York in 1975. She also expanded the Mass for Alvin Ailey, who choreographed and performed the work, now known as Mary Lou’s Mass. (See the video above to hear my interpretation of “Gloria” from Mary Lou’s Mass).

From 1977 to 1981, Williams was artist-in-residence at Duke University, where her history of jazz classes had long waiting lists — Williams’ love of educating young people made her an extremely popular teacher. She formed the Mary Lou Williams Foundation just prior to her death on May 28, 1981.

Traveling with Mary Lou

My own journey with Mary Lou Williams began two decades ago.

In 2000, Dr. Billy Taylor asked me to lead my group at the Mary Lou Williams Festival at the Kennedy Center. I was excited and felt a huge responsibility to learn about Williams — at that time, I did not yet know any of her work. I had heard Williams’ name, and knew that she had been a pioneering jazz musician who had mentored Charlie Parker, Bud Powell, and Thelonious Monk — but I had not yet listened to that much of her music.

Fortunately, I found ample resources with which to begin my research: trumpeter Dave Douglas had recently released the recording Soul on Soul, a tribute to Williams; author Linda Dahl had recently released her biography of Williams, Morning Glory; and I visited the wonderful Mary Lou Williams Collection at the Institute of Jazz Studies at Rutgers University.

The revelation about Williams’ sacred output was especially of interest to me, as I had moved from Chicago to New York in 1997 to accept a position as music director at All Angels’ Church, an Episcopal parish on the Upper West Side. While at All Angels’, I composed the beginnings of two Mass settings, Psalm settings, and new music for old hymn texts. After leaving that position in 2000 (right around the time of my Kennedy Center performance). Inspired by Williams, I realized that I had a book of music that might have a life outside of one congregation.

Like Mary Lou Williams, I began making contacts with churches when I would travel, and started presenting my sacred music in the context of worship services, something I do to this day. Like Williams, I feel passionately that jazz has much to offer the church: its life, richness, and ability to move hearts is sorely needed as part of the musical palette offered in worship music today. Like Williams, I converted to Catholicism. (I was received into the church in 2009.) While my decision to convert was not because of Williams, her courage to follow the leading of God’s Spirit — both in music and in faith — provided me with constant encouragement, comfort, and sometimes a kick in the pants to move forward.

Going back and rereading portions of Morning Glory, I resonate even more deeply with Williams’ struggles as a bandleader and composer. At times, I have felt discouragement, confusion, and loneliness as I have wrestled with where God is leading me. I have wondered why my path does not seem to be conventional. But then I look at the photo of Williams above my computer, and I’m reminded that I’m not alone. This strong, talented, sensitive, passionate woman has laid the groundwork for me and many others who follow in her wake. How could we not be emboldened by her remarkable example?

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More Mary Lou

For additional information on the life and music of Mary Lou Williams, check out these selected resources.

Online:

The Mary Lou Williams Collection at the Institute of Jazz Studies at Rutgers University has an online exhibit dedicated to Williams.

The Mary Lou Williams Foundation is managed by Father Peter O’Brien, Williams’ former manager.

Deanna Witkowski’s website features video clips of her musical seminar Moving With the Spirit: The Sacred Jazz of Mary Lou Williams.

In Print:

Historian Tammy Kernodle’s biography Soul on Soul: The Life and Music of Mary Lou Williams gives ample attention to Williams’ spiritual conversion and liturgical music. And the aforementioned Morning Glory, by Linda Dahl, is another significant biography of Williams:

On CD:

Both Mary Lou’s Mass and Mary Lou Williams Presents Black Christ of the Andes have been reissued in the last several years by Smithsonian Folkways, and are available on iTunes as well as at Amazon.

Williams’ non-liturgical recordings are also noteworthy and substantial. Two of Deanna Witkowski’s personal favorites are Live at the Cookery and Zodiac Suite. In addition, Nite Life includes a half-hour spoken commentary by Williams.
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Related Article: A Chanteuse of Sacred Jazz

Photos from the Mary Lou Williams Foundation website.

Pearl Bailey’s Man

Pearl Bailey's ManOn Valentine’s Day, jazz drummer Louie Bellson died at age 84. When I saw this bit of news, it took me a moment but I soon remembered the name. Duke Ellington, no less, had once called Bellson “the world’s greatest musician.” However, Mr. Bellson’s music career was not the reason I remembered him.

Last year, I ran across a black-and-white photo of the iconic African American actress/singer Pearl Bailey smoking, and I said to myself, I didn’t know Pearl Bailey smoked. But then I read the caption below that picture, “Pearl Bailey Married Louie Bellson in 1952,” and quickly forgot her bad habit. For the next hour or so, I was consumed with finding out about this guy with the cigarette lighter locked in Pearl’s gaze. Who was this white man?

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