Now that the 21st century has begun, people often forget individuals and arts that helped shape what it is to be American art. One of these innovators was Duke Ellington, a composer, jazz pianist, and big band leader. No other artist single handedly has defined American Music as this jazz giant. He gave American music and jazzes an identity, the first true American art form.
Edward Kennedy Ellington was born in Washington, DC on April 29, 1889 to James Edward Ellington and Daisy Ellington. At the age of seven, the young Ellington began taking piano lessons from Marietta Clinkscalps. Both of his parents were pianists. James Edward Ellington preferred operatic bits as Daisy played primarily parlor tunes. At this point in his life, Edward Ellington was more interested in playing baseball with his mates rather than playing the piano. During this time in his childhood, Ellington would acquire his famous pseudonym “Duke.” The title came from his schoolmates. Edward was reared by his mother and her dignified friends. Through this, he developed a Great Gatsby esque demeanor demonstrating a sense of grandeur and grace similar to a noble gentleman of that era and ones forgotten. Many of his peers noticed and deemed him “Duke” Ellington.
Ellington’s interest in the piano would not reemerge until he began sneaking into local pool halls looking for the thrills of an older lifestyle. Furthermore, while in those pool halls, he began listening to eclectic styles of the pool hall piano players. As a result, Ellington decided to take his piano lessons and playing a little more seriously, and in the summer of 1914 while he was working as a soda fountain jerk at the Poodle Dog Café, Duke Ellington created his first composition, “The Soda Fountain Rag.” Later, he often played this song in many different genres and tempos.
With his new love for the piano, Ellington learned to read sheet music and develop harmony from local pianists and teachers. Ellington also began listening and imitating local stride/ragtime pianists such as James P. Johnson and Lucky Roberts. From his new education, Ellington started playing gigs in cafes and clubs in Washington DC. He even turned down an art scholarship dropping out of school. Ellington had decided that his life was to be in music. With the help of Sonny Greer, a drummer transplant from New Jersey, Ellington became a professional musician forming an accompanying band. He began playing music from DC into Virginia. After Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington decided to leave Washington DC and move to Harlem. During this period, Ellington would emerge as a key figure in the Harlem Renaissance, a cultural awakening of the African American arts, and a legend of jazz.
Although the Harlem Renaissance would be a cultural tidal wave in retrospect, Duke and his band mates struggled through many highs and lows. At a particular low point, after moving back to Washington DC, Ellington made a deal that would change the tide for him. Furthermore, Duke made a publishing deal with Irving Mills, a prominent agent, and began recording his music prolifically.
Continuing up, in 1927, the famous Joe “King” Oliver would turn down the house band spot at Harlem’s Cotton Club, a venue that was frequented by the white/wealthy of New York. Ellington increased his band size from a six piece to an 11 piece orchestra to accommodate the needs of the Cotton Club. Furthermore, through Mills and Ellington’s persistence, they landed the gig at the Cotton Club. Ellington’s residency at the Cotton Club skyrocketed his career with national broadcasts weekly and the word of the white/wealthy. Moreover, while at the Cotton Club, Duke Ellington’s Orchestra made hundreds of recordings, appeared on films and radio, and toured heavily, even in Europe on two separate occasions.
As the 30’s rolled into the 40’s, Ellington’s career reached the stratosphere as he composed several masterworks. Examples of these works include “Mood Indigo”, “Concerto for Cootie”, “Ko Ko”, and “It Don’t Mean a Thing if it aint got that Swing.” Also, in the 40’s, Ellington would team with lifelong composing partner, Billy Strayhorn on such works as the infamous signature, “Take the A Train.”
At the end of the World War II era, the music industry began shifting from the big band sound of orchestras to the works of solo vocal artists such as Frank Sinatra. Thus, Ellington’s career would decline. Although he still toured, attendance and pay were minimal. He often paid wages himself. It was not until the Newport Jazz Festival on July 7, 1956 that Duke Ellington experience a career revival. It featured the tune “Diminuendo and Crescendo in Blue” with a tenor sax solo by Paul Gonsalves. This was the catalyst that would bring Ellington’s Career back to prominence exposing him to a new audience.
Ellington continued recording and touring until his death from lung cancer and pneumonia on May 24th, 1974. Ellington, perhaps, could be argued as the single most influential jazz artist of the 20th century. Furthermore, Ellington was one of the first artists to define American art. His famous last words echo that statement: “Music is how I live, why I live, and how I will be remembered.

“Duke Ellington.” 2013. The Biography Channel website. Dec 10 2013.
Kernfield, Berry. Ed. The New Grove Dictionary of Jazz. London Grove, 1988 print.
Bubsey, David R. ed. Ten Giants of Jazz. University Recorders.