Steve Little, drummer on “And His Mother Called Him Bill” still plays marvelously, and can be heard most Sunday afternoons, along with bassist Bill Crow, trumpet Ryo Sasaki, and pianist Steve Ash, at Smalls Jazz Club in NYC. It’s a GREAT gig—and Strayhorn’s “The Intimacy of the Blues”, heard on the album, is usually played!
According to "Something To Live For," Walter van de Leur's definitive book on Strayhorn's music, "Northern Lights," the fourth movement of "The Queen's Suite," is by Strayhorn. The rest of the six movements are by Ellington.
As soon as I saw the subject of this blog I thought of “And his mother called him Bill”..
Billy Strayhorn is one of my all time favorite composers..and this tribute album by Duke is so poignant, especially him playing a solo of “Lotus blossom” at the end of the album..thanks for your memories Marc..
For some reason, the line "When Duke got out, he seemed to be followed by a half-dozen women" takes me back. I remember when we used to dream about that as young musicians! Of course, we didn't have the talent (or charisma) of the Duke. Come to think of it, I probably would have been broke and alone had I continued down that path; thankfully I'm neither.
For other lovers of Strayhorn’s music, who may not be be aware of this tribute album, I’ve taken the liberty of posting the following from Amazon’s music website:
“Though Billy Strayhorn is best known as Duke Ellington's tireless collaborator, his contributions to the jazz cannon make him one of the most important composer/arrangers of the century--with or without the Duke. Take the A-Train, the song most associated with Ellington is, in fact, a Strayhorn composition. During his 28- year relationship with Ellington, Strayhorn wrote an average of one piece per week--an astounding output especially considering the painstaking detail and highly crafted nuance for which Strayhorn is known. On Portrait of a Silk Thread, the Dutch Jazz Orchestra led by Jerry Van Rooijen unearths pieces, which, unlike "Lush Life," or "Passion Flower," never made it into the Ellington band's songbook. While the treatment here is certainly reverent, it also underscores the highly stylized grace and almost withering beauty of these richly lyrical compositions. Strayhorn could compose with a masterful, sense of wonder and ornamentation. Just as importantly, he could make those gilded creations dance. --S. Duda
Product description
CD: the Dutch Jazz Orchestra,Portrait of a Silk Thread
"And His Mother Called Him 'Bill'" is my all-time favorite Ellington album. I am a huge fan of Billy Strayhorn's music and this album was clearly done with love and passion and great sorrow. Marc must have seen Duke & the band the same summer I saw them. They did a one week artist-in-residence at the University of Wisconsin-Madison and played a public concert at Camp Randall Stadium. I, too, remember Duke coming down the track in a large convertible, waving to the crowd as the band struck up "Take the 'A' Train." Wonderful memories!
Re Ed Newman's comment, here's a link to a very interesting interview with Steve Little, who says that he had just joined the Ellington band when "And His Mother Called Him Bill" was recorded, had never played any of the pieces before, and there was no drum book for any of the pieces. No pressure, of course!
Thanks for sharing that story with us. I can truthfully say that in all of my jazz celebrity encounters, I was never disappointed. One does learn from Mercer Ellington’s book, “Duke Ellington In Person,” that Ellington lost his signature cool at the end of his life. This was Mercer’s observation. By 1972 he likely already had the lung cancer that would later claim him. Indeed, you can find clips of him on YouTube from this period where he is being quite short and impatient with handlers, press, etc. I think he was aware that time was short. This doesn’t change your disappointing experience with him, but it may explain it. “His Mother Called Him Bill” is also one of my favorites. Strayhorn’s voicings were singular and gorgeous.
Glad you enjoyed, Peter. And thanks for sharing. Duke did me a favor. He inadvertently introduced me to Bill Evans, leading to my "album": "...And His Sourness Sent Him to Bill."
Steve Little, drummer on “And His Mother Called Him Bill” still plays marvelously, and can be heard most Sunday afternoons, along with bassist Bill Crow, trumpet Ryo Sasaki, and pianist Steve Ash, at Smalls Jazz Club in NYC. It’s a GREAT gig—and Strayhorn’s “The Intimacy of the Blues”, heard on the album, is usually played!
Great to know, Ed. Valuable info. Thanks.
According to "Something To Live For," Walter van de Leur's definitive book on Strayhorn's music, "Northern Lights," the fourth movement of "The Queen's Suite," is by Strayhorn. The rest of the six movements are by Ellington.
As always, Bill, thanks much!!
As soon as I saw the subject of this blog I thought of “And his mother called him Bill”..
Billy Strayhorn is one of my all time favorite composers..and this tribute album by Duke is so poignant, especially him playing a solo of “Lotus blossom” at the end of the album..thanks for your memories Marc..
What a salutary tale about meeting one's hero!
The Queen's Suite really is a sensual piece. Sumptuous as a royal boudoir.
Thanks for sharing the story and these pieces. My favorite Strayhorn piece is Blood Count.
For some reason, the line "When Duke got out, he seemed to be followed by a half-dozen women" takes me back. I remember when we used to dream about that as young musicians! Of course, we didn't have the talent (or charisma) of the Duke. Come to think of it, I probably would have been broke and alone had I continued down that path; thankfully I'm neither.
Great post. Based on it, I listened to the suite. I especially liked Sunset and the Mocking Bird. It breathes!
Outstanding. Lots of insight.
Apparently the Queen listened to Duke Ellington’s music on a very regular basis , even in her later years.
For other lovers of Strayhorn’s music, who may not be be aware of this tribute album, I’ve taken the liberty of posting the following from Amazon’s music website:
“Though Billy Strayhorn is best known as Duke Ellington's tireless collaborator, his contributions to the jazz cannon make him one of the most important composer/arrangers of the century--with or without the Duke. Take the A-Train, the song most associated with Ellington is, in fact, a Strayhorn composition. During his 28- year relationship with Ellington, Strayhorn wrote an average of one piece per week--an astounding output especially considering the painstaking detail and highly crafted nuance for which Strayhorn is known. On Portrait of a Silk Thread, the Dutch Jazz Orchestra led by Jerry Van Rooijen unearths pieces, which, unlike "Lush Life," or "Passion Flower," never made it into the Ellington band's songbook. While the treatment here is certainly reverent, it also underscores the highly stylized grace and almost withering beauty of these richly lyrical compositions. Strayhorn could compose with a masterful, sense of wonder and ornamentation. Just as importantly, he could make those gilded creations dance. --S. Duda
Product description
CD: the Dutch Jazz Orchestra,Portrait of a Silk Thread
Track Listings
1 Blue Star
2 Bagatelle
3 Love Has Passed Me By Again
4 Le Sacre Supreme
5 Portrait Of A Silk Thread
6 Tonk
7 Wounded Love
8 Cashmere Cutie
9 Lana Turner
10 Pentonsilic
11 Lament For An Orchid
12 The Hues
"And His Mother Called Him 'Bill'" is my all-time favorite Ellington album. I am a huge fan of Billy Strayhorn's music and this album was clearly done with love and passion and great sorrow. Marc must have seen Duke & the band the same summer I saw them. They did a one week artist-in-residence at the University of Wisconsin-Madison and played a public concert at Camp Randall Stadium. I, too, remember Duke coming down the track in a large convertible, waving to the crowd as the band struck up "Take the 'A' Train." Wonderful memories!
Re Ed Newman's comment, here's a link to a very interesting interview with Steve Little, who says that he had just joined the Ellington band when "And His Mother Called Him Bill" was recorded, had never played any of the pieces before, and there was no drum book for any of the pieces. No pressure, of course!
Link:
http://web.archive.org/web/20120619192528/http://dothemath.typepad.com/dtm/interview-with-steve-little.html
Thanks for sharing that story with us. I can truthfully say that in all of my jazz celebrity encounters, I was never disappointed. One does learn from Mercer Ellington’s book, “Duke Ellington In Person,” that Ellington lost his signature cool at the end of his life. This was Mercer’s observation. By 1972 he likely already had the lung cancer that would later claim him. Indeed, you can find clips of him on YouTube from this period where he is being quite short and impatient with handlers, press, etc. I think he was aware that time was short. This doesn’t change your disappointing experience with him, but it may explain it. “His Mother Called Him Bill” is also one of my favorites. Strayhorn’s voicings were singular and gorgeous.
Glad you enjoyed, Peter. And thanks for sharing. Duke did me a favor. He inadvertently introduced me to Bill Evans, leading to my "album": "...And His Sourness Sent Him to Bill."