In a mellow tone
In a Mellow Tone (also known as In a Mellotone ) is a jazz song that Duke Ellington composed and released in 1940. It develops into the jazz standard .
Background of the composition
The Duke Ellington Orchestra was in 1939 "better shape" than ever before "and gathered almost the cream of Swing musician"; the band was also strongly influenced by the newly added musicians Ben Webster , Jimmy Blanton and Billy Strayhorn . Furthermore, Ellington had managed to part with his manager and publisher Irving Mills .
Ellington's composition In a Mellow Tone was one of a series of pieces the pianist and his orchestra recorded for Victor between March and October 1940 , such as the Concerto for Cootie , Cotton Tail , Bojangles , Harlem Air Shaft , Warm Valley and Ko-Ko , which are considered classic pieces of this '" Blanton-Webster-Band "'. The piece was first recorded on September 5, 1940 in Chicago.
Musical analysis
The song builds on the harmonies of the older jazz standard Rose Room , written by Art Hickman and Harry Williams in 1917. The theme looks like a reef . The piece is in the ABAC song form and comprises 32 bars . Since the piece, interpreted in the medium swing tempo, is composed entirely in major , it appears light-hearted. It has a four bar intro .
When it was first recorded, the band was “in top form”: “Ellington's characteristic block chords , Blanton's casual bass lines and the mischievous solos by Cootie Williams and Johnny Hodges ” made the “recording session a classic”. Hodges played his solo in double time .
reception
Unlike other recordings by Ellington , the piece was not a hit; it achieved its long-term success because of the skillful arrangements and the way in which the Ellington musicians fitted in. Therefore, the original version is still considered an important recording. Ruland particularly emphasizes the role of Johnny Hodges , who "presents himself as a swing star with a fluid, relaxed game."
Further recordings
Not only followers of Ellington like Ben Webster or Paul Gonsalves took up the play; Competitor Count Basie also added it to the repertoire. Numerous recordings followed, for example by Oscar Peterson (1952), Erroll Garner (1954), Coleman Hawkins (1957), Gerry Mulligan (1959), Jimmy Smith (1962), Benny Carter , Milt Jackson , Joe Pass , John Dankworth , Art Pepper , Mel Lewis or Ellis Marsalis .
Versions with text
It wasn't until the 1950s that the text for the piece was written, which was simple and at the same time very catchy and was registered as the author for the producer Milt Gabler . In a warm tone you feel chic and free and are not alone, but have company. Everything is good, because nothing can go wrong with a warm song. This text led to vocal interpretations by Sarah Vaughan (1979), Lambert, Hendricks & Ross , then also by Tony Bennett or Manhattan Transfer . The reference recording here is Ella Fitzgerald's recording from 1957 on her Ellington album.
literature
- Hans-Jürgen Schaal (Ed.): Jazz standards. The encyclopedia. 3rd, revised edition. Bärenreiter, Kassel u. a. 2004, ISBN 3-7618-1414-3 .
Web links
Individual evidence
- ↑ a b H.-J. Schaal, Jazz-Standards , p. 238f.
- ↑ a b c d e song portrait ( jazzstandards.com )
- ↑ Hans Ruland: Duke Ellington . Oreos Verlag, p. 84.
- ^ Obituary by Milton Gabler , New York Times