Echoes of Harlem: Difference between revisions
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{{Short description|1936 composition by Duke Ellington}} |
{{Short description|1936 composition by Duke Ellington}} |
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"'''Echoes of Harlem'''", also known as "Cootie's Concerto",<ref name="WallaceMcGrattan2011">{{cite book|last1=Wallace|first1=John|last2=McGrattan|first2=Alexander|title=The Trumpet|url=https://books.google.com/books?id=JcyYpIKW78kC&pg=PA272|year=2011|publisher=Yale University Press|isbn=978-0-300-11230-6|page=272}}</ref> is a 1936 composition by [[Duke Ellington]]. A piece with a jazz blues sound in [[F minor]] with an ostinato piano pattern, it has been cited as one of Ellington's "mood" pieces. It opens with trumpet, playing blues sounds in F minor over the ostinato pattern, followed by a segment of 14 bars with some harmony. The third part, played in velvet sound, by the saxophone section, is in Ab majeur, but starts with Db, the subdominant of Ab. The piece contains thus 3 segments.<ref name="GatesHigginbotham2009">{{cite book|last1=Gates|first1=Henry Louis|last2=Higginbotham|first2=Evelyn Brooks|title=Harlem Renaissance Lives from the African American National Biography|url=https://books.google.com/books?id=E_vRLcgEdGoC&pg=PA185|year=2009|publisher=Oxford University Press|isbn=978-0-19-538795-7|page=185}}</ref> The original recording features [[Cootie Williams]] on trumpet,<ref name="Stewart2007">{{cite book|last=Stewart|first=Alexander|title=Making the Scene: Contemporary New York City Big Band Jazz|url=https://books.google.com/books?id=qFgowjbqfl8C&pg=PA158|date=2 August 2007|publisher=University of California Press|isbn=978-0-520-94016-1|page=158}}</ref> playing in what Lawrence McClellan describes as "muted" and "in a somber minor key".<ref name="McClellan2004">{{cite book|last=McClellan|first=Lawrence|title=The Later Swing Era, 1942 to 1955|url=https://books.google.com/books?id=Oit7y0bS4MUC&pg=PA81|year=2004|publisher=Greenwood Publishing Group|isbn=978-0-313-30157-5|page=81}}</ref> It has been performed by [[Roy Eldridge]], with [[Oscar Peterson]] and [[Herb Ellis]].<ref name="Inc.1995">{{cite journal|title=JazzTimes|journal = Jazztimes |
"'''Echoes of Harlem'''", also known as "Cootie's Concerto",<ref name="WallaceMcGrattan2011">{{cite book|last1=Wallace|first1=John|last2=McGrattan|first2=Alexander|title=The Trumpet|url=https://books.google.com/books?id=JcyYpIKW78kC&pg=PA272|year=2011|publisher=Yale University Press|isbn=978-0-300-11230-6|page=272}}</ref> is a 1936 composition by [[Duke Ellington]]. A piece with a jazz blues sound in [[F minor]] with an ostinato piano pattern, it has been cited as one of Ellington's "mood" pieces. It opens with trumpet, playing blues sounds in F minor over the ostinato pattern, followed by a segment of 14 bars with some harmony. The third part, played in velvet sound, by the saxophone section, is in Ab majeur, but starts with Db, the subdominant of Ab. The piece contains thus 3 segments.<ref name="GatesHigginbotham2009">{{cite book|last1=Gates|first1=Henry Louis|last2=Higginbotham|first2=Evelyn Brooks|title=Harlem Renaissance Lives from the African American National Biography|url=https://books.google.com/books?id=E_vRLcgEdGoC&pg=PA185|year=2009|publisher=Oxford University Press|isbn=978-0-19-538795-7|page=185}}</ref> The original recording features [[Cootie Williams]] on trumpet,<ref name="Stewart2007">{{cite book|last=Stewart|first=Alexander|title=Making the Scene: Contemporary New York City Big Band Jazz|url=https://books.google.com/books?id=qFgowjbqfl8C&pg=PA158|date=2 August 2007|publisher=University of California Press|isbn=978-0-520-94016-1|page=158}}</ref> playing in what Lawrence McClellan describes as "muted" and "in a somber minor key".<ref name="McClellan2004">{{cite book|last=McClellan|first=Lawrence|title=The Later Swing Era, 1942 to 1955|url=https://books.google.com/books?id=Oit7y0bS4MUC&pg=PA81|year=2004|publisher=Greenwood Publishing Group|isbn=978-0-313-30157-5|page=81}}</ref> It has been performed by [[Roy Eldridge]], with [[Oscar Peterson]] and [[Herb Ellis]].<ref name="Inc.1995">{{cite journal|title=JazzTimes|journal = Jazztimes: America's Jazz Magazine|url=https://books.google.com/books?id=rycEAAAAMBAJ&pg=PA190|date=September 1995|publisher=JazzTimes, Inc.|page=190|issn=0272-572X}}</ref> |
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Jazz musician and musicologist [[André Hodeir]] wrote the following: |
Jazz musician and musicologist [[André Hodeir]] wrote the following: |
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{{blockquote|Few records do more than the Concerto to make possible an appreciation of how great the role is that sonority can play in the creation of jazz. The trumpet part is a true bouqet of sonorities. The phrases given to it by Ellington which have a melodic beauty which should not be overlooked, are completely taken over by Cootie. He makes them shine forth in dazzling colors, then plunges them in the shade, plays around with them, make them glitter or delicately tones them down; and each time what he shows us is something new.<ref name="WallaceMcGrattan2011"/>|sign=|source=}} |
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==References== |
==References== |
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Revision as of 15:42, 19 August 2022
"Echoes of Harlem", also known as "Cootie's Concerto",[1] is a 1936 composition by Duke Ellington. A piece with a jazz blues sound in F minor with an ostinato piano pattern, it has been cited as one of Ellington's "mood" pieces. It opens with trumpet, playing blues sounds in F minor over the ostinato pattern, followed by a segment of 14 bars with some harmony. The third part, played in velvet sound, by the saxophone section, is in Ab majeur, but starts with Db, the subdominant of Ab. The piece contains thus 3 segments.[2] The original recording features Cootie Williams on trumpet,[3] playing in what Lawrence McClellan describes as "muted" and "in a somber minor key".[4] It has been performed by Roy Eldridge, with Oscar Peterson and Herb Ellis.[5]
Jazz musician and musicologist André Hodeir wrote the following:
Few records do more than the Concerto to make possible an appreciation of how great the role is that sonority can play in the creation of jazz. The trumpet part is a true bouqet of sonorities. The phrases given to it by Ellington which have a melodic beauty which should not be overlooked, are completely taken over by Cootie. He makes them shine forth in dazzling colors, then plunges them in the shade, plays around with them, make them glitter or delicately tones them down; and each time what he shows us is something new.[1]
References
- ^ a b Wallace, John; McGrattan, Alexander (2011). The Trumpet. Yale University Press. p. 272. ISBN 978-0-300-11230-6.
- ^ Gates, Henry Louis; Higginbotham, Evelyn Brooks (2009). Harlem Renaissance Lives from the African American National Biography. Oxford University Press. p. 185. ISBN 978-0-19-538795-7.
- ^ Stewart, Alexander (2 August 2007). Making the Scene: Contemporary New York City Big Band Jazz. University of California Press. p. 158. ISBN 978-0-520-94016-1.
- ^ McClellan, Lawrence (2004). The Later Swing Era, 1942 to 1955. Greenwood Publishing Group. p. 81. ISBN 978-0-313-30157-5.
- ^ "JazzTimes". Jazztimes: America's Jazz Magazine. JazzTimes, Inc.: 190 September 1995. ISSN 0272-572X.