Creole love call

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Creole Love Call is a ballad that is now considered a typical composition by Duke Ellington . In addition to Ellington Bubber, Miley and Rudy Jackson are registered as authors . The piece, which was written in 1927, became the jazz standard .

History of origin

The solemn and soulful piece was supposedly created at the suggestion of clarinetist Rudy Jackson, who played a blues to Ellington during a guest performance at the New Brunswick Hotel and suggested that he orchestrate it and play it with his orchestra. Ellington orchestrated the piece, gave it his name (which alludes to Rudolf Friml's hit operetta Indian Love Call ) and added a first part of the theme, which came from trumpeter Bubber Miley.

The specific jungle style arrangement of the piece, which the band had played all summer, was further refined in the recording studio on October 26, 1927: As the Ellington band warmed up, the session singer Adelaide Hall hummed the piece did not know a counter melody. Ellington heard this and asked her to sing that tune. For the first time in jazz, a voice was used not to sing a text but as an obligatory instrumental part. "This track perfectly embodies Ellington's ability to merge the specifics of his musicians with his sound ideas in such a way that afterwards the overall result can hardly be divided."

The part that Rudy Jackson contributed to the composition actually came from King Oliver's "Camp Meetin 'Blues". Like Ellington's, the Oliver play consists of two main themes; in Creole Love Call only the clarinet part comes from Oliver's composition. Compared to Ellington Jackson had passed this melody out as his own composition. After Ellington's version came out and King Oliver made legal claims, Ellington fired Rudy Jackson over the incident; Oliver could not enforce his legal claims because he did not hold a valid copyright on the "Camp Meetin 'Blues".

Development to the jazz standard

The Creole Love Call quickly became known around the world. The Comedian Harmonists added the piece to their program as early as 1928 . The song developed into a classic of the Dixieland repertoire. Earl Hines recorded the piece in 1971 in a particularly successful version. For the Modern Jazz opened up Rahsaan Roland Kirk , the piece, which he recorded in 1967 almost single-handedly and almost "erotic" designed. Several years later Albert Mangelsdorff also included the piece in his solo program. Oliver Nelson recorded a large format version of his Ellington tribute Black, Brown and Beautiful . The pianistic solo version by Ellis Marsalis , performed in a casual spontaneity, goes "right to the heart."

See also

literature

Web links

Individual references, comments

  1. ^ AH Lawrence: Duke Ellington and His World (London: Routledge, 2001) p. 91; ISBN 0-415-93012-X
  2. ^ Will Friedwald Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond (New York: Oxford University Press, 1988) p. 57, ISBN 0684185229
  3. ↑ a b c d H .J. Schaal, Jazz-Standards , p. 106f.
  4. ^ AH Lawrence: Duke Ellington and His World , p. 96
  5. ↑ Hans Ruland Duke Ellington: His life, his music, his records (Oreos 1983), p. 66 and AH Lawrence: Duke Ellington and His World , p. 403
  6. ↑ James L. Collier: Duke Ellington. Genius of jazz . Ullstein, Berlin 1999, ISBN 3-548-35839-X ; see. also the more detailed musicological analysis in Mark Tucker Ellington: The Early Years (University of Illinois Press 1991) p. 238ff.
  7. ↑ AH Lawrence: Duke Ellington and His World , pp. 127f .; for Jackson Barney Bigard joined the orchestra as a clarinetist
  8. ^ W. Friedwald Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond , p. 58