Duke Ellington
Duke Ellington was an American composer and performer. He was born on April 29, 1899. At this period of time, the Wright Brothers were trying to build the first sustained flight with a powered, controlled aircraft. Aviation history can be found online Aviation history, no date. Black people back then were subjected to systematic policies of discrimination and segregation. However, these were not to be for long. His musical talent enabled him to create music that would then transpire from the segregated environments to be performed on media and the rest of the world.
He began his career at the age of seventeen whilst still in high school. According to Lawrence (2001), he began gigging at the Washington True Reformers Hall that opened grounds for him to start writing compositions such as ‘Soda Fountain Rag’ and tunes with lyrics: ‘What Are You Going To Do WHEN The Bed Breaks Down?’. Duke must have been a very good player at a young age. The formation of his profession is evident by him playing with key band leaders and performing at theatres. Thereby various band leaders Louis Thomas, Daniel Doyle, Oliver ‘Doc’Perry, Elmer Snowden and The Oriental Theater are mentioned as his key major players (Rattenbury, 1990).
Duke played trumpet and piano as his key instruments. Influenced by the dad, who was a trumpeter-composer and piano player, he acquired his skills and utilized them to create his own sound. Other aspects of his growth matured from Russell Wooding’s 34 -piece orchestra, where he was one of his five pianist players, and from his mum Daisy, who was a piano player. As he was gaining experience, the entertainment world he would soon enter was undergoing a rapid, violent change. A profound shift that experts in the field like Lewis A. Erenberg, in a study of New York nightlife, says, ”Scholars have recognized that the period from 1890 to 1930 marked a profound reorientation in American culture, one that broke from older forms to gentility in which individuals were to subordinate themselves voluntarily to a social code. By the 1890s, values were more informal, and restrictions that were placed on the individual’s impulses and personal desires were less.
The music that Duke grew up listening to was mainly ragtime. It has been found that ragtime was ”created by black pianists, possibly as a result of an attempt to transfer banjo strumming to the piano sometime in the third quarter of the nineteenth century.” In an attempt to describe ragtime, suggest that ragtime is an electric term that could be applied to almost any music that is syncopated. It is my assumption to believe that ragtime was mainly spread to other cities by the publication of song sheets.
Other forms of music like the blues then followed up, making ragtime and blue the mainstream style performances. Hymn gospel music which was mainly sung in church, together with work songs, inspired him to start writing pieces such as Black, Brown and Beige, as explained by Collier [1987, p. 18]
Jazz History
The birth of jazz came into the scene around 1913, as it was explained by Scott (2004) when the word jazz was coined by San Francisco Bulletin in an attempt to explain a dance that was full of pep and vigour. There are many descriptions of the word jazz today, making it difficult to define. The Oxford English Dictionary calls it music whose origin is American, and it’s characterized by syncopation and improvisation, which is danced with a forceful rhythm or regular dance [Oxford English Dictionary 2nd ed. s. v ”jazz”]. On the other hand, the Merriam Webstar Dictionary describes jazz as ”American music developed especially from blues and ragtime was characterized by polyphonic sound, syncopated rhythms and degrees of improvisation which is varying, and often deliberate distortion pitch and timber” (All Media Guide, 2002).
One of the reasons why jazz cannot be easily defined is because it muddles the different types of music, therefore, forming its own unique style. Each generation has developed its own music style that was derived from the syncretic mixture of African and European rhythms. The integration of different cultures, such as Latinos and Americans, made jazz to be seen as world music. Other styles such as Acid Jazz were mainly influenced by musicians who were raised playing funk, hip-hop and jazz music, using all three elements (Chilton, 1989). America’s key role in music made it possible for jazz to spread to the rest of the world from its origin.
Different forms of jazz have developed ever since. Afro Cuban Jazz is mainly rhythms from Cuba and Africa, also known as Latin Jazz. It gradually developed around the 1920s to 1940s. Bebop, on the other hand, exploded in the year 1945. Electro Jazz, Folk Jazz, Free Jazz, Contemporary Jazz, Mainstream Jazz and Jazz-Rock etc.
A recent study [All Music Guide to Jazz, 2002, p. 1] concludes that jazz music can only then be truly answered by listening to the music itself-weather recreationally, historically, critically, or academically. Duke Ellington’s work will define and illustrate true Jazz authenticity through his compositions and instruments. No one can tell us more about jazz than the musicians themselves.
Key Developments
Mechanical systems of sound production
The piano was a very expensive instrument at that time. It was only available to rich families. There was a high demand in the early 19th century and early 20th century to mass-produce pianos for home use. The player piano allowed pianos to be played mechanically. The Aeolian Company, which played a key role in the production, had a sales peak in 1924. Player piano information is available online [Player piano, no date].
Another development that came about in that era was radio. It was mainly used by the American army during World War 1 but then became common in commercial broadcasting. It then played a big role in the music industry by bringing live music played in other cities to people’s homes. It was not long before radio had a major effect on Ellington’s career.
Ellington’s life & Career Influences
Social: It was common to find pianos in most of the middle-class families of that era. Duke’s parents both played the piano. They used to sing songs during family gatherings and card games. Most of the arrangements were made by his grandfather (Erenberg, 1981). Years later, Ellington composed The Girl’s Suite, a work incorporating four songs his father and friends had rendered in barbershop fashion. “Sweet Adeline” Peg O’ My Heart, “Juanita, and Sylvia”.
Entertainment: Duke featured in various films and played a significant role in the production. Lincoln, 1987) reviews his role in the film industry by listing the productions he was involved in. He commented that “In 1935 short Symphony in Black had Duke’s band performing a concise suite consisting of “Jealousy,” “The Laborers,” ”A Triangle[Dance/Jealousy/Blues],” ”A Hymn of sorrow” and “Harlem Rhythm” which, as a whole, were meant to depict a ”Rhapsody of Negro Life””. Duke Ellington in Tivoli Gardens/pts. 1&2- COPENHAGEN’71[2003, 120 minutes, Eagle Entertainment], The Duke Ellington Octet/ The intimate Duke Ellington [2003, 57 minutes, Image Entertainment] were all originally broadcasted on Danish television.
Recording and Compositions
In his study of the work of Duke, A. H. Lawrence, [ 2001, p. xv], the piece of work was commissioned to him by the eminent conductor Arturo and was to be played by his NBC Symphony Orchestra.
- Black & Tan Fantasy in 1927
- The Three Black Kings in 1973
- Hot and Bothered
- Soda Fountain Rag
- What You Gonna Do When the Bed Breaks Down
- Mood Indigo
- Sophisticated Lady
- Solitude
- I Let a Song Go out Of my Heart
Duke Ellington’s Approach to Music Composition
The Ellington Effect
In a study of Ellington’s work Waldo (2004), a jazz writer and historian Leonard Feather noted that Ellington was fully aware of the desirability to form and present that always deeply involved with his gifted soloist. Sidney Finkelstein, on the same note, added, pointing out that his music was fundamentally his own, shaped by his taste and musical thinking. According to Mellers, ” Ellington was a new type of composer in that he had written, not merely for specific forces or a specific function, but for a particular group of human beings, each with his own distinctive characters”. [Duke Ellington Jazz Composer, 1990, p. 15].
The music he created had a profound impact on the twentieth century. He had his own unique style. These styles are discussed in detail by Joachim -Ernst Berendt. The Jungle style, mood, Concerto and standard.
Battle Royal
A composition was written by both Duke Ellington and Count Basie. Battle Royal traditionally refers to a fight involving combatants that is fought until one stands.
Francis Bacon (Painter)
Early life
Francis Bacon is a known painter in Ireland, and his paintings are one of the most expensive in most international exhibitions. He was born on October 28, 1909, to the Australian born father, Captain Anthony Edward Mortimer Bacon, a British descendant, mothered by an English born Christina Winifred Firth, an heiress of the Sheffield steel business and also a cool mine. His pieces are best described and acknowledged by their often tortured imagery which is bold, austere and graphic (Gowrie, 2009). Most of his figures possess the abstract form of art. From an artistic point of view, this typically appears secluded in glass or steel geometrical cages, which are mostly set against flat and occasionally on nondescript backgrounds, which make this work unique in its own class.
In the early twenties, in his adult teen years, the great painter began his mastery of painting. This he worked only at irregular intervals until when he reached the age of 30. During these intervals and before he ventured to his given talent, he was working as a designer for a furniture and rugs company and finally as an interior decorator (Christophe, 2007). Many assume that this was where that this great painter got his motivation from.
Bacon paternal grandparents were offered the chance to revive the family title by Queen Victoria, Lord Oxford they declined owing it to financial reasons (Peppiatt, 2006). From this, Bacon never ever discussed his roots which he considered illustrious. Instead, portraying himself as a humbled outcast who is basically destined to shape his own destiny in the world, this was a pertinent depiction from him. He was the second born of a family of two brothers and two sisters.
London, Berlin and Paris
He survived on rent dodging and petty crimes when the going got tougher, and the fund had been exhausted. Later he was on, and of jobs, with an eye on cookery, he never tried it, though. He fancied and developed a taste for good wine and food and later made friends with prominent people3 who were friends with his father.
In the early spring of 1927, Harcourt Smith took Bacon to Berlin, and they stayed together at Hotel Adlon. From this tour, it’s assumed that Bacon saw Fritz Lang’s Metropolis. During this period, the stay lasted two months. He then went to Paris, where he stayed with Madame Bocquentin and her family and learned French. Here he frequented a lot of art galleries. On one of his visits, he went to an exhibition and saw Nicolas Poussin’s artefact known as the massacre of the innocent, which he would later reference in his work. At the Galleries, he saw the artefact that inspired him to draw by Picasso. This aroused his artistic, his curiosity in art overtook his, and this triggered his artistic senses after numerous frequent the various exhibitions.
Return to London
Late in the year 1928, Bacon made his trip back to London, he commenced the job of interior decoration. From the saving of this job, he made a studio out of a converted garage. This was in 17 Queensberry Mews West, located at South of Kensington; he shared the upper room with a companion Eric Alden.
From the previous trip, Bacon had keenly observed the work of Picasso in Paris, which he claimed was a Neo-classical drawing. From this, he coined his direction as a painter. Bacon used the term “A gentleman companion”, and this was actually on the first page of The Times.
The 1930 Look in British Decoration
Bacon first show was in the winter of 1929 at his garage turned studio. His speciality this day was carpet rugs and vintage furniture’s. This collection there included painted screen and watercolour, which remains his earliest painting that exists to date. They were all coined from these rug painting designs. They are viewed to be influenced by the tapestries and paintings from Jean Lorca. From this, the 1930 issue of the studio magazine featured Bacon studio in a double-page under the article titled “The 1930 Look in British Decoration” the most featured artefacts were the rugs and glass furniture’s
In the year 1930, Bacon returned to Germany. This visit is recognized by a large studio portrait taken by Helmar Lerski, who was a photographer of Swiss origin. Later Bacon acknowledged the work of the photographer to Stephen Spender, for his effects using mirrors and by the use of natural light, which was filtered through screens. Bacon later met De Maistre, s a painter from Australia who became his friend and mentor.
This friend belonged to the circle of the likes of Patrick White, Graham Sutherland, Douglas Cooper and Henry Moore. The second exhibition, which was held in the garage turned studio had the likes of the mentor and Jean Sheppeard. Only five items belonged to Bacon that evening (Ernst, 1992). The only print in this exhibition would later be named “a brick wall.” Another one of the still existing artifact from this er5a is the artefact listed as “tree by the sea” this only oil painting by Bacon that still exists; they were both bought by Alden. Two of the most prestigious oil painting by Bacon, “Two brothers and self portrait” and another print in the third edition known as “Dark child” just disappeared from the face of the earth.
The year 1931 saw Bacon make a drastic move from his garage turned studio. He would later share a studio with Roy De Maistre. This is the year 1931-1932, which was named the Carlyle studios situated at Kings Road. From this studio, the “Chelsea portrait” was coined and also “Portrait” were purchased by Diana Watson.
The year 1933 saw Bacon move again to Chelsea road from Ebury Street, where he had shared a studio with De Maistre temporary studio, this studio here was also another converted garage (Sinclair, 1994). It was earlier owned by Bacon friend, an interior designer and also property developer known as Arundel Clarke, before his move to Mayfair.
Early works
One of the first Bacon paintings, which was named Women in the Sunlight, was actually campaigned by Douglas Cooper, who was a curator at the Mayor Gallery. This was included in the group show, which was held in 1933. Many credits also are praised to Douglas Cooper for the campaign to have another painting by Bacon, the Crucifix, which was actually reproduced in the Herbert Read book known as “art now.” This publication was followed by an exhibition for these works. This was featured by the Mayor Gallery at the end of October. This saw the Crucifix being shown as a composition. The year 1933 saw the first painting of Crucifix by Sir Michael Sadler. He would later commission another version, which was supposed to use gouache, pencil and chalk. The material from which this piece had to come from was the x-ray photograph of the skull of Sir Michael Sadler.
Bacon’s painting “Women in the Sunlight” was campaigned by Douglas Cooper, the Mayor Gallery curator and was included in a group show which was in April 1933. Douglas Cooper is also acclaimed for the fact he orchestrated how Bacon’s crucifix painting to be reproduced in Herbert read publication the “Art Now” book. From this, there was an accomplishment for the painting by Bacon, the exhibition of the works, in October, which was held at the Mayor Gallery (Lawrence, 2001). From this, the painting of Crucifixion was first shown as Composition. This is the year 1933 saw the first sale of the Crucifix purchased by Sir Michael Sadler. He also commissioned the second version of this painting and had some rather weird proposition. He sent an x-ray photograph from which he suggested that Bacon paints a portrait from it. From this, he duly obliged, and the x-ray was incorporated directly into the painting.
Arundel Clark helped Bacon to set up a gallery. He also assisted him in organizing and marketing his work as well as presenting them in exhibitions. Such assistance has made Bacon works to be easily accessible to admirers of his pieces. It was during 1934 when Arundel was assisting him in marketing his work when he did his first solo show. In the first show, he presented seven paintings which six of which were accepted in the galley, and its promotion was successful, and he commenced his successful career as an artist (Tucker, 1993). Most of the artefacts which were sold on this expedition, mostly which were bought by Bacon, cousin Diana Watson which was destroyed afterwards by him.
Some of the two artefacts that survived were Corner of the studio, which was purchased by one Gladys McDermott, and also the Studio Interior, which was purchased to circa.
At the end of 1935, Bacon visited Paris. From this expedition, he bought a second-hand book that featured most of the diseases of the mouth. This publication featured high-quality hand-coloured plates which included both open mouths and oral interiors, from this it is believed that for the remainder of his life, they haunted and obsessed him, from this it is believed that at sometimes in his life, Bacon had undergone an operation on the top of his mouth (Harvey, 2004). The same year also saw Bacon frequent Eisenstein’s in the theme “The Battleship Potemkin” from this, he was very much fascinated with this show that he coined a major theme in his paintings, from the scene of the nurse screaming on Odessa steps.
January of 1937 saw a major elevation on the work of Bacon as he was featured in the group show called the “Young British Painters” this show included faces like Victor Patmore, Roy De Maistre and Graham Sutherland (Stryker, 2009). This show was organized by Eric Hall, who was a friend to Jerry Agnew, famous for the “Old Master painting show. This procession saw four of Bacon paintings exhibited. From the record, only one of the paintings from this expedition survived to date.
The Millais House studio, 7 Cromwell Place: 1943 – 1951
The latter part of 1943 saw both Bacon and Hall Returning from Hampshire. They accommodated the ground floor of Cromwell place, located in South Kensington. This was earlier home to John Everett Millais, which he used as both his home and studio. The house was high vaulted and also northern lit. Much of its roof was recently bombed. Bacon adapted at the back of the house his own studio from a large old billiard room. Illicit parties, which include roulette games, were held in this house for the financial benefit of both of the occupants (Rose, 2010). The year 1945 first saw the show called “Recent Painting by Francis Bacon” this was held at the Lefebvre gallery, this featured other artists like Mathew Smith, Graham Sutherland, Frances Hodgkin’s and Henry Moore, this saw Bacon two paintings featured “The figure in a landscape” and “Three studies for figures at the base of a crucifixion.”
Comparison of Duke Ellington and Francis Bacon
Both of these two famous men of the 19th century have a great reputation in a different category of art. Ellington was from the jazz genre music industry, while Bacon was from the painting art industry (Tucker & Ellington, 1995). They are both from different backgrounds as one is African American and the other is of British origin. The most important fact is that they both were considered key figures in each one discipline of the line of work.
From the relation point of view, Duke Ellington was a straight man. He had a wife and kids in his later life. However, this is contrary to the nature of the same-sex relationship that Bacon harboured from his childhood. This is actually seen in the fact that he had multiple same-sex relationships. This is contrary to the Duke of Ellington, who was considered a womanizer in his era till he later tied the knot.
Duke Ellington background is marred with poverty and violence, which is very contrary to Bacon background, which is of a well family with very rich roots connected to very royal families (Duke, 1970).
Most of the achievement by Duke Ellington is mostly due to his dedication and hard work; however, this is very contrasting to the achievement of the great painter Bacon, whose most of his achievements in the early years were basically consistent with favours from his companions.
Bibliography
All Media Guide. (2002). All Music Guide to Jazz 4th Ed. San Francisco: Backbeat Books.
Christophe, D. (2007). Francis Bacon. London: Thames & Hudson
Chilton, J. (1989). Who’s Who of Jazz 5th Ed. London: PaperMac
Duke, E. (1970). Current Biography. Dublin: Wilson Company
Erenberg, L. (1981). Steppin’ Out Westport, Conn: Greenwood Press
Ernst, V. (1992). Francis Bacon & the Loss of Self. London, Reaktion Books
Gowrie, G. (2009). In time for the Francis Bacon exhibition at Tate Britain, Alligator. Web.
Harvey, C. (2004). The Marketing of Duke Ellington. The Journal of African-American History. 89(4), pp. 291-315
Lawrence, A. (2001). Duke Ellington and his world. New York: Routledge.
Lawrence, H. (2001). Duke Ellington and His World: A Biography, New York: Routledge.
Lincoln, J. (1987). Duke Ellington. London: Penguin Books.
Peppiatt, M. (2006). Francis Bacon: Anatomy of an Enigma. London: Weidenfeld and Nicolson
Rattenbury, K. (1990). Duke ellington Jazz Composer. New York: Yale University
Rose, R. (2010). Duke Ellington: Symphony of the Body and Soul. All About Jazz. Web.
Scott, Y. (2004). Jazz on Film. San Francisco: Backbeat Books.
Sinclair, F. (1994). Bacon: His Life & Violent Times. New York, Crown
Stryker, M. (2009). Ellington’s score still celebrated, Cambridge: Cambridge Press
Tucker, M. (1993). The Duke Ellington Reader, New York: Oxford University Press
Tucker, M, & Ellington, D. (1995). The Duke Ellington reader. Oxford: Oxford University Press.
Waldo, T. (2004). This Is Ragtime, New York: Da Capo Press.