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Living With Music


Living With Music


































































































































































































  

It is to marvel: the ageless and irrepressible Duke Ellington is seventy, and another piano player of note, President Richard M. Nixon, has ordered in his honor a state dinner to be served in the house where, years ago, Duke's father, then a butler, once instructed white guests from the provinces in the gentle art and manners proper to such places of elegance and power. It is good news in these times of general social upheaval that traces of the old American success story remain valid, for now where the parent labored the son is to be honored for his achievements. And perhaps it is inevitable that Duke Ellington should be shown the highest hospitality of the nation's First Family in its greatest house, and that through the courtesy of the chief of state all Americans may pay, symbolically, their respects to our greatest composer.

Perhaps it is also inevitable (and if not inevitable, certainly it is proper) that that which a Pulitzer Prize jury of a few years ago was too insecure, or shortsighted, to do, and that which our institutions dedicated to the recognition of artistic achievement have been too prejudiced, negligent, or concerned with European models and styles to do, is finally being done by presidents. For it would seem that Ellington's greatness has been recognized by everyone except those charged with recognizing musical excellence at the highest levels—and even some of these have praised him privately while failing to grant him public honor.

Nevertheless, he is far from being a stranger to the White House, for during the occupancy of President and Mrs. Lyndon B. Johnson, Ellington became something of a regular guest there, and indeed, it was President Johnson who appointed him to the National Council on the Arts, thereby giving recognition to our most important indigenous art form in the person of its most outstanding creator. Certainly there is no better indication that those on the highest levels of governmental power have at last begun to recognize our arts and their creators as national treasures. Perhaps in Ellington's special case this is a proper and most fitting path to official national recognition, since for more than forty years his music has been not only superb entertainment but an important function of national morale. During the Depression whenever his theme song "East St. Louis Toodle-oo" came on the air, our morale was lifted by something inescapably hopeful in the sound. Its style was so triumphant and the moody melody so successful in capturing the times yet so expressive of the faith which would see us through them. And when the "Black and Tan Fantasy" was played we were reminded not only of how fleeting all human life must be, but with its blues-based tension between content and manner, it warned us not only to look at the darker side of life but also to remember the enduring necessity for humor, technical mastery, and creative excellence. It was immensely danceable and listenable music and ever so evocative of other troubled times and other triumphs over disaster. It was also most Negro American in its mocking interpolations from Chopin's B-flat minor piano concerto to which, as Barry Ulanov has reminded us, it was once popular to sing the gallows-humored words: "Where shall we all / be / a hundred years / from now?"

And how many generations of Americans, white and black, wooed their wives and had the ceremonial moments of their high school and college days memorialized by Ellington's tunes? And to how many thousands has he brought definitions of what it should mean to be young and alive and American? Yes, and to how many has he given a sense of personal elegance and personal style? A sense of possibility? And who, seeing and hearing Ellington and his marvelous band, hasn't been moved to wonder at the mysterious, unanalyzed character of the Negro American—and at the white American's inescapable Negro-ness?

Even though few recognized it, such artists as Ellington and Louis Armstrong were the stewards of our vaunted American optimism and guardians against the creeping irrationality which ever plagues our form of society. They created great entertainment, but for them (ironically) and for us (unconsciously) their music was a rejection of that chaos and license which characterized the so-called Jazz Age associated with F. Scott Fitzgerald, and which has returned once more to haunt the nation. Place Ellington with Hemingway, they are both larger than life, both masters of that which is most enduring in the human enterprise: the power of man to define himself against the ravages of time through artistic style.

*

I remember Ellington from my high school days in Oklahoma City, first as a strangely familiar timbre of orchestral sounds issuing from phonograph records and radio. Familiar because beneath the stylized jungle sounds (the like of which no African jungle had ever heard) there sounded the blues, and strange because the mutes, toilet plungers, and derby hats with which I was acquainted as a musician had been given a stylized elegance and extension of effect unheard of even in the music of Louis Armstrong. It was as though Ellington had taken the traditional instruments of Negro American music and modified them, extended their range, enriched their tonal possibilities. We were studying the classics then, working at harmony and the forms of symphonic music. And while we affirmed the voice of jazz and the blues despite all criticism from our teachers because they spoke to a large extent of what we felt of the life we lived most intimately, it was not until the discovery of Ellington that we had any hint that jazz possessed possibilities of a range of expressiveness comparable to that of classical European music.

And then Ellington and the great orchestra came to town; came with their uniforms, their sophistication, their skills; their golden horns, their flights of controlled and disciplined fantasy; came with their art, their special sound; came with Ivy Anderson and Ethel Waters singing and dazzling the eye with their high-brown beauty and with the richness and bright feminine flair of their costumes, their promising manners. They were news from the great wide world, an example and a goal; and I wish that all those who write so knowledgeably of Negro boys having no masculine figures with whom to identify would consider the long national and international career of Ellington and his band, the thousands of one-night stands played in the black communities of this nation. Where in the white community, in any white community, could there have been found images, examples such as these? Who were so worldly, who so elegant, who so mockingly creative? Who so skilled at their given trade and who treated the social limitations placed in their paths with greater disdain?

Friends of mine were already collecting Ellington records, and the more mature jazzmen were studying, without benefit of formal institutions of learning, his enigmatic style. Indeed, during the thirties and forties, when most aspiring writers of fiction were learning from the style and example of Hemingway, many jazz composers, orchestrators, and arrangers were following the example of Ellington, attempting to make something new and uniquely their own out of the traditional elements of the blues and jazz. For us, Duke was a culture hero, a musical magician who worked his powers through his mastery of form, nuance, and style, a charismatic figure whose personality influenced even those who had no immediate concern with the art of jazz.

My mother, an Afro-American Methodist Episcopalian who shouted in church but who allowed me nevertheless to leave sunrise Christmas services to attend breakfast dances, once expressed the hope that when I'd completed my musical studies I'd have a band like Ellington's. I was pleased and puzzled at the time, but now I suspect that she recognized a certain religious element in Ellington's music—an element which has now blossomed forth in compositions of his own form of liturgical music. Either that, or she accepted the sound of dedication wherever she heard it and thus was willing to see Duke as an example of the mysterious way in which God showed His face in music.

I didn't meet Ellington at the time. I was but a young boy in the crowd that stood entranced around the bandstand at Slaughter's Hall. But a few years later, when I was a student in the music department at Tuskegee, I shook his hand, talked briefly with him of my studies and of my dreams. He was kind and generous even though harassed (there had been some trouble in travel and the band had arrived hours late, with the instruments misplaced and the musicians evil as only tired, black, Northern-based musicians could be in the absurdly segregated South of the 1930s), and those of us who talked with him were renewed in our determination to make our names in music.

A few years later, a stranger in Harlem, I lived at the YMCA and spent many a homesick afternoon playing Duke's records on the jukebox in Small's Paradise Bar, asking myself why I was in New York and finding reassurance in the music that although the way seemed cloudy (I had little money and would soon find it necessary to sleep in the park below City College), I should remain there and take my chances.

Later, I met Langston Hughes, who took me up to Sugar Hill to visit the Duke in his apartment. Much to my delight, the great musician remembered me, was still apologetic because of the lateness of the band's arrival at Tuskegee, and asked me what he could do to aid the music department. I suggested that we were sadly deficient in our library of classical scores and recordings, and he offered to make the school a gift of as extensive a library of recordings as was needed. It was an offer which I passed on to Tuskegee with great enthusiasm, but which, for some reason, perhaps because it had not come directly from Ellington himself or perhaps because several people in the department regarded jazz as an inferior form of music, was rejected. That his was a genuine gesture, I had no doubt, for at the time I was to see a further example of his generosity when Jimmie Lunceford's orchestra, then considered an Ellington rival, came on the radio. The other musicians present kidded Ellington about the challenge of Lunceford's group, to which he responded by listening intently until the number was finished and then commenting "Those boys are interesting. They are trying, they are really trying," without a trace of condescension but with that enigmatic Ellington smile. The brief comment and the smile were enough, the kidding stopped, for we had all been listening—and not for the first time— and we knew that Duke had little to fear from the challenge of Lunceford or anyone else.

*

Somewhere during his childhood a friend had nicknamed Edward Kennedy Ellington "Duke," and he had proceeded to create for himself a kingdom of sound and rhythm that has remained impregnable to the fluctuations of fad and novelty, even the passing on of key members of his band.

Jazz styles have come and gone and other composer-conductors have been given the title "King of Jazz" and Duke knew the reason why, as did the world—just as he knew the value of his own creation. But he never complained, he simply smiled and made music. Now the other kings have departed, while his work endures and his creativity continues.

When the Pulitzer Prize committee refused to give him a special award for music (a decision which led certain members of that committee to resign), Ellington remarked, "Fate is being kind to me. Fate doesn't want me to be too famous too young," a quip as mocking of our double standards, hypocrisies, and pretensions as the dancing of those slaves who, looking through the windows of a plantation manor house from the yard, imitated the steps so gravely performed by the masters within and then added to them their own special flair, burlesquing the white folks and then going on to force the steps into a choreography uniquely their own. The whites, looking out at the activity in the yard, thought that they were being flattered by imitation and were amused by the incongruity of tattered blacks dancing courtly steps, while missing completely the fact that before their eyes a European cultural form was becoming Americanized, undergoing a metamorphosis through the mocking activity of a people partially sprung from Africa. So, blissfully unaware, the whites laughed while the blacks danced out their mocking reply.

In a country which began demanding the projection of its own unique experience in literature as early as the 1820s, it was ironic that American composers were expected to master the traditions, conventions, and subtleties of European music and to force their own American musical sense of life into the forms created by Europe's greatest composers. Thus the history of American classical music has been marked by a struggle to force American experience into European forms.

In other words, our most highly regarded musical standards remained those of the Europe from which the majority of Americans derived. Fortunately, however, not all Americans spring from Europe (or not only from Europe), and while these standards obtained, Negro American composers were not really held to them, since it seemed obvious that blacks had nothing to do with Europe—even though during slavery Negroes had made up comic verses about a dance to which "Miss Rose come in her mistress's clothes / But how she got them nobody knows / And long before the ball did meet / She was dancing Taglioni at the corner of the street" (Taglioni being a dancer who was the rage of Europe during the 1850s).

Be that as it may, the dominance of European standards did work a hardship on the Negro American composer because it meant that no matter how inventive he might become, his music would not be considered important—or even American—(1) because of his race and (2) because of the form, if he was a jazzman, in which he worked. Therefore, such a composer as Ellington was at odds with European music and its American representatives, just as he was at odds with the racial attitudes of the majority of the American population, and while primarily a creative composer, he was seen mainly in his role as entertainer. Doubtless this explains the withholding from Ellington of the nation's highest honors.

It isn't a matter of being protected, as he suggests, from being too famous too young—he is one of the world's most famous composers and recognized by the likes of Stravinsky, Stokowski, and Milhaud as one of the greatest moderns—but the fact that his creations are far too American. Then there is also the fact of Ellington's aura of mockery. Mockery speaks through his work and through his bearing. He is one of the most handsome of men, and to many his stage manners are so suave and gracious as to appear a put-on—which quite often they are. And his manner, like his work, serves to remind us of the inadequacies of our myths, our legends, our conduct, and Ellington's is a creative mockery in that it rises above itself to offer us something better, more creative and hopeful, than we've attained while seeking other standards.

*

During a period when groups of young English entertainers who based their creations upon the Negro American musical tradition have effected a questionable revolution of manners among American youths, perhaps it is time we paid our respects to a man who has spent his life reducing the violence and chaos of American life to artistic order. I have no idea where we shall all be a hundred years from now, but if there is a classical music in which the American experience has finally discovered the voice of its own complexity, it will owe much of its direction to the achievements of Edward Kennedy Ellington. For many years he has been telling us how marvelous, mad, violent, hopeful, nostalgic, and (perhaps) decent we are. He is one of the musical fathers of our country, and throughout all these years he has, as he tells us so mockingly, loved us madly. We are privileged to have lived during his time and to have known so great a man, so great a musician.

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Excerpted from Living With Music by Ralph Ellison. Copyright © 2002 by Ralph Ellison. Excerpted by permission of Modern Library, a division of Random House. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.