INDEX
Page numbers listed correspond to the print edition of this book. You can use your device’s search function to locate particular terms in the text.
Page numbers in italics indicate photographs.
AABA song form, 182, 191, 192
Abbey Road (the Beatles), 304–13
Abbey Road studio, 186, 203
Across the Universe, 280–81, 341
Act Naturally, 252
Adagio for Strings (Samuel Barber), 303–4
Adams, Stephen, 36
Ad Lib on Nippon, 153
African Baptist Church (Port Royal, South Carolina), xi
Agra, 155–56
Ain’t Misbehavin’, 16
Ain’t That a Shame, 138, 167
All Things Must Pass (song), 299, 312
All Too Soon, 104
All You Need Is Love, 271
Alpert, Richard, 239
Amad, 154–55
“amen cadence,” 229, 293, 294
American Popular Song (Alec Wilder), 16–17
Amos ‘n’ Andy, 65
amphetamines, 196, 334–35
Anderson, Cat, 147
Anderson, Ivie, 83, 84, 110, 129, 130
And I Love Her, xxvi, 227, 228
And Your Bird Can Sing, 249
Anthology 2 (the Beatles), xxii
Apple, Fiona, 341
Arabesque Cookie, 147, 153
Arabian Dance, 153
Arlen, Harold, 70
Armstrong, Louis
and arranger/composer distinction, 159
and Baptist church, xiv
Big Butter and Egg Man, 34
Lawrence Brown and, 71
and composed solos, 35
Dinah, 83–84
Dippermouth Blues, 11
and Ellington’s Cotton Club broadcasts, 53
Adelaide Hall and, 39
in Fletcher Henderson’s Orchestra, 21
Holy City, 37
Hot Five recordings, 18, 34
Constance Lambert on, 79–80
and New Orleans funerals, 36
King Oliver and, 5
Perdido, 93
post-Swing Era success, 137
and race records, 18
and record sales, 60
on rock and roll, 217
and soloist’s voice, 42–43
solo style, 42
Sugar Foot Stomp, 22
T.N.T., 23
arrangers; See also specific arrangers
and composers, 159
in early jazz, 21–22
in hi fi pop, 183
and soloists, 35
art school, British rock musicians and, 10, 39, 172–73, 193–94, 275, 298
Art Worlds (Howard Becker), xviii–xx
ASCAP (American Society of Composers and Publishers), 328
Asher, Jane, 182, 244, 266, 280, 283
Asher, Margaret Eliot, 182
Asher, Peter, 244
Ask Me Why, 203, 212
Aspinall, Neil, 198, 206
Austin, Mary, 34
auteur directors, 69–70
authenticity, 219, 298
Autobiography of a Yogi (Yogananda), 278, 279
Baby You’re a Rich Man, 271–72
Bach, J. S., xxiii, 76, 148, 249, 285
back beat, 188
Bailey, Buster, 21
Bakiff, 92
Balanchine, George, 150
Ballad of a Thin Man, 261
Balzac, Honoré de, 170
Band, the, 296, 299, 300
Barber, Samuel, 303–4
Baroque, 249
Bartók, Béla, 126
Basie, William “Count,” 95–98, 101, 124
Basin Street Blues, 89–90
Baum, L. Frank, 69
BBC, 212–13
Beach Boys, See Wilson, Brian
Beatlemania, 215
Beatles, the, 198, 218; See also individual members; specific albums; specific songs
and collaboration, 160
commonalities with Ellington Orchestra, xvii–xx
as communal creators, xvii–xviii
and communal tradition, xv
composition business model, 63
creative methods compared to Ellington, 236
decision making among, 312–13
distance from vernacular practices, xiv, 13
Dylan and, 226–27
Ed Sullivan Show appearance, 165
first Parlophone recording session, 202–8
haircuts, 197
learning tunes from records, 21
Little Richard covers by, 167
Elvis Presley’s influence on, 168
quality of post-breakup solo projects, 314–15
recording of first album, 212–13
Royal Variety Show appearance, 216–18
as studio-only band, 236–74
Because, 305, 306, 308
Bechet, Sidney, 3, 6, 30, 33, 71–72
Becker, Howard, xviii–xx
Beethoven, Ludwig van, 306, 318
Beggar’s Holiday, 136
Being for the Benefit of Mr. Kite, 268
Berlin Hochschule für Musik, 29
Bernstein, Leonard, 262
Berry, Chuck, 190
and blues inflections, 188
and Come Together, 298, 305
as composer model for Lennon and McCartney, 169
and early Beatles repertoire, 200–201
and I Saw Her Standing There, 190
and lo fi aesthetic, 186
and Subterranean Homesick Blues, 226
Best, Pete, 183, 197, 199, 206
Bhagavad Gita, The, 278
Bigard, Albany “Barney,” 5, 60, 120
birth and early life, 55
Caravan, 91
Clarinet Lament, 89–90
composer’s credits claimed by, 61
departure from Ellington Orchestra, 134
on Great Depression, 68
Mood Indigo, 5, 56–59, 61
Old Man Blues, 65
on Jelly Roll Morton, 26
Big Butter and Egg Man, 34
Black, Brown and Beige, 10, 130–34
Black and Tan (movie), 64
Black and Tan Fantasy, 36–39
and African American identity, 44
Robert Donaldson Darrell on, 46–47, 64–65
Ellington’s contributions to, 40
Ellington’s explanation for title, 321
and Mood Indigo, 59
black and tans, 14–15, 47
Black and White Minstrel Show, The (TV program), 176
Black Beauty, 57
Blackbird, 285
Black Bottom Stomp, 24–27
blackface minstrelsy, 176
Black Swan Records, 20
Blake, Eubie, 16
Blake, Peter, 259
Blankfort, Henry, 129
Blanton, Jimmie, 98, 99–100, 103, 118, 120, 122–25, 134
Bli-Blip, 129
Blood Count, 156
Blowin’ in the Wind, 224
Blue Belles of Harlem, 133
Bluebird of Delhi, 155
blue notes, 188, 337
blues form
Black and Tan Fantasy, 37–38
C Jam Blues, 127–28
Creole Love Call, 39–40
Diminuendo and Crescendo in Blue, 76–78
Ko-Ko, 124–26
and lo fi, 185–86
and race records, 18
and rock and roll, 163–65, 189
Rocks in My Bed, 130
Sepia Panorama, 123–24
Body and Soul, 102
Bolden, Buddy, xiv, 159
Boogie Chillen’, 164
Book of Laughter and Forgetting (Kundera), 274
Boone, Pat, 167, 192
Bowles, Paul, 132
Boy Meets Horn, 89
Boys, 185
Braque, Georges, 31–32, 250
Braud, Wellman, 58, 71, 78
bridge (in AABA form), 182, 191–92
Briggs, Bunny, 157
Bringing It All Back Home, 226
Broadway Boogie Woogie (Piet Mondrian), 116
Broadway musicals, 15–17, 29, 128–30, 136
Brooks, Harvey Oliver, 10–11
Brown, James, 159
Brown, Lawrence, 35, 61, 71–72, 72, 104, 155
Bryan, Dora, 210
Bryant, Marie, 129
Buddhism, xix, 239–41
Bushell, Garvin, 5
Byrds, the, 235, 242, 251
Cage, John, 289
call and response, 22, 26, 37, 39, 51, 77, 85, 86, 100, 102, 107, 124, 125, 155, 187, 191, 200, 217, 266, 274, 286, 293
Cameron, Basil, 74
Camp Meeting Blues, 39
Caravan, 51–52, 91–92, 104, 147
Cardew, Cornelius, 244
Carnegie Hall, 95, 114, 131, 133, 134
Carney, Harry, 61, 65, 71, 152, 156
Carnival of Light, 289
Carol, 188
Carolina Shout, 12, 27
Carolina Stomp, 23
Carroll, Lewis, 170, 273, 319
Carry that Weight, xx, 308
Casbah Club (Liverpool), 177
Cavern Club (Liverpool), 176, 186, 188, 200, 201
CBS radio network, 53
Celler, Emmanuel, 167–68
“chain, the,” 206, 208, 312
chalumeau range, 54, 59
Charles, Ray, 165, 191
Chauvin, Louis, 11
Check and Double Check (movie), 65
Chelsea Bridge, 118–19
Chicago, Illinois, 5
Chicago Defender, 23, 53, 54, 65
Chimes Blues, 37
Chimes of Freedom, 226
Chinoiserie, 151–53
Chocolate Kiddies (Broadway musical), 15–16
Chopin, Frederic, 38, 118
Christgau, Robert, 270
Christian, Charlie, 101
Christian Science Monitor, 79
C Jam Blues, 127–28
Clapton, Eric, 195, 286–87, 297, 300
Clarinet Lament (Barney’s Concerto), 89–90, 107
class system, British, 213–16
clave rhythm, 91
Clayton, Buck, 96
Cleveland News, 68
Clinkscales, Mrs., 10
Cochran, Eddie, 177
“cock rock,” 217
Coffin, Charles Carleton, xi, 185
collaboration (generally)
and African American communal tradition, xiv
and art, xviii–xix
and compositional vision, xviii
Ellington and Beatles’ approach to, xvii–xviii
Ellington arrangements, 70–72
Ellington’s discovery of model for, 29–30
in literature, xviii–xx
in music, xx
phonograph as aid to, xxvii–xxviii
Picasso–Braque partnership, 31–32
Strawberry Fields Forever as model of, xxi–xxvi
collage
Abbey Road, 304
album as, 309
Revolution 9, 289–91
Revolver, 250–52
Sgt. Pepper, 259, 260
collective improvisation, 6–7, 26, 142
Collins, Wilkie, 209
Columbia Records, 21, 143, 183
Come Go With Me, 177
Come Sunday, 131–33, 157
Come Together, 298, 304–5
Coming Home Baby, 298
Complete Illustrated Book of Yoga, The (Vishnudevananda), 276, 279
conceptualization, 38–39, 67
Concerto for Cootie, 105–7, 124
“concerto” pieces, 88–90
Conga Brava, 51, 104–5
Cook, Will Marion, 28–29
Cotton Club (New York), 46–54, 67–68
Cotton Club Band, 48
Cotton Tail, 102–3, 118
Cox, Baby, 53
Crawdaddy Club (London), 164
Crazy Blues (Mamie Smith), 18
Creamer, Henry, 27
creativity, Steinbeck’s view of, 109
Creole Love Call, 39–40, 44, 52
Creole Rhapsody, 73–75
Creoles of color, 55
cross rhythms, 188–89
Crouch, Stanley, 103
Cry, 183
Cut Piece (Yoko Ono), 290
Dance, Helen Oakley, 50, 91
Dance, Stanley, 119
Dandridge, Dorothy, 129
Darrell, Robert Donaldson, 46–47, 64–65, 76
David Danced Before the Lord, 157
Davies, Hunter, 266
Davis, Kay, 114
Daybreak Express, 85–86
Day Dream, 116–17
Day in the Life, A, 260–64, 267, 270
Day Tripper, 233
Dear Prudence, 282, 287, 291
Debussy, Claude, xxv, 119, 147
Decca Records, Beatles’ audition for, 202–3
Dekker, Thomas, 308
Democratic National Convention (Chicago, 1968), 287–88
Depk, 154–55
Dickens, Charles, 204, 209
Diddley, Bo, 164
Diminuendo and Crescendo in Blue, 76–78, 85
Dinah, 83–84
Dippermouth Blues, 11, 18, 22, 34
“doctoring the stocks,” 21, 30
Dodds, Johnny, 11
Dodge, Roger Pryor, 40–41
Domino, Antoine “Fats,” 138, 167, 169
Donegan, Lonnie, 172
Donovan, 282
Don’t Get Around Much Anymore, 16–17, 90, 133
Don’t Let Me Down, 298, 302
Don’t Think Twice, It’s All Right, 225
Doran, Terry, 198
DownBeat magazine, 95–96, 134, 137, 149, 156
Dream Baby, 210, 211
drugs, See specific drugs, e.g.: LSD
Drum Is A Woman, A (Ellington and Strayhorn), 319
Du Bois, W. E. B., 20
Duchamp, Marcel, 290
Duke, Doris, 279
Dunbar, John, 244
Durante, Jimmy, 53
Durham, Eddie, 97
Dvořák, Antonín, 29
Dylan, Bob, 223–27, 224
and A Day in the Life, 261
Elvis as influence on, 167
and I Am the Walrus, 273
as influence on Lennon, 221–22, 232–35, 255–56
on I Want to Hold Your Hand, 221
I Want You, 305
and Norwegian Wood, 234–35
and Sgt. Pepper, 270
and Tomorrow Never Knows, 241
Eastman, Linda, 307
East of Eden (Steinbeck), 109
East St. Louis Toodle-O, 33–37, 40, 44, 45, 59, 124
Echoes of Harlem (Cootie’s Concerto), 90
Echoes of the Jungle, 51
Eckstine, Billy, 114
editors, xx, 203–4
Ed Sullivan Show, 165
Eight Miles High, 242
Eleanor Rigby, 188, 247–49, 337
Elizabeth, Queen Mother, 216
Ellington, Daisy, 9
Ellington, Edward Kennedy “Duke,” 9, 74, 89, 112, 181
arrival in New York, 13–15
1940 band, 98–108
Sidney Bechet and, 3
on Bechet’s influence on Hodges, 6
birth of, 8
and Broadway musicals, 15–16
and collaboration, xxvi–xxvii
and collaborative composition/
arrangement, 70–72
on collaborative process, 77
and communal tradition, xv
and composer credits, 61–68
“concerto” pieces, 88–90
Will Marion Cook and, 28–29
and Cotton Club, 46–54, 48
creative methods compared to
Beatles, 236
cut-and-paste composition/editing, 144–45
deficiencies as melodist, 16–17
discovery of collaborative model, 29–30
distance from vernacular practices, xiii–xiv, 13
and dynamics of collaboration, 209
early years in Washington, D.C., 8–13
eulogy for Strayhorn, 111, 156
exaggeration of personal role in compositions, xvii
“extended” compositions, 73–81
first encounter with Strayhorn, 110
on Flamingo, 121
John Hammond on, 297–98
on Fletcher Henderson, 19, 23
innovations in harmony and tone color, 58
inversion of usual relation of arranger and soloist, 42
last years, 157–60
Bubber Miley and, 32–33, 35–46, 41
on Mood Indigo’s origins, 56
and New Orleans jazz, 7–8
parallels with the Beatles, 270
and publishing royalties, 203
“race records,” 17–19
1924-1926 recording sessions, 18–19
on rock and roll, 317
sidemen’s reaction to uncredited contributions, 61–63
on simplicity, 302
and Strayhorn, See Ellington–Strayhorn partnership
and Swing Era, 82–96
Ellington, James Edward “J.E.,” 8–10
Ellington, Mercer
on Black, Brown and Beige, 131
on Duke’s transcribing of arrangements from records, 21
on J. E. Ellington’s influence, 8
on Ellington–Strayhorn relationship, 138–39
on Johnny Hodges, 50
on Miley’s importance to Ellington
Orchestra, 40
on Willie “The Lion” Smith’s influence on Ellington, 13
on “veneers of sophistication,” 74
Ellington, Ruth, 8, 10, 63, 116, 126, 156–57
Ellington at Newport (album), 78
Ellington effect, 56–57, 121
Ellington problem, 66–68
Ellington–Strayhorn partnership, 109, 117–18, 138–41
and composer credits, 135–36, 146
parallels with Lennon–McCartney partnership, 110–11, 144–46
and 1940s compositions, 121–37
and suites, 144–56
Ellison, Ralph, 45, 94
Emerick, Geoff
on Abbey Road sessions, 304, 306, 309, 311
on I Am the Walrus, 274
on George Martin’s legacy, 205–6
on McCartney and Brian Epstein, 272
and Strawberry Fields Forever, xxii
on The White Album sessions, 285, 292, 293
EMI, 203; See also Parlophone
End, The, 309–10
Epstein, Brian, 230
and Beatles’ image, 201–2
and Pete Best, 206
death of, 271–72, 279
“Get Back Project,” 299
I Want to Hold Your Hand, 220, 221
legal status of Lennon–McCartney partnership, 208
and Liverpool, 213
Love Me Do, 208
and repertoire, 202, 203
You Never Give Me Your Money, 307
Esquire magazine, 134, 270
Evans, Gil, 119
Evans, Mal, 198, 258
Evans-Wentz, Walter, 239, 240
Everett, Walter, 267
Everly Brothers, 191, 199
Every Tub, 97
“extended” compositions, 73–81, 145–46
Famous Door (New York), 96
Fantastic Rhythm (revue), 113–14
Far East Suite, The (Ellington and Strayhorn), 92, 154–56
Farrow, Mia, 282
Farrow, Prudence, 282
Feather, Leonard, 137, 140
Fields, Dorothy, 52
Film No. 4 (Yoko Ono), 290
Fisher, Rudolph, 47–48
Fitzgerald, Ella, 169
Fixing a Hole, 266–67
Flamingo, 121
Flaming Reeds and Screaming Brass, 85
Fleming, Victor, 70
Fletcher Henderson’s Orchestra, 19–23
folk music, 222, 224–25
folk songs, 79
Fonda, Peter, 239, 251
Fool on the Hill, The, 280, 297
For No One, 251
Foster, Fred, 205
Foster, George Murphy “Pops,” 4
Fraser, Robert, 259
Freeman, Bud, 7
Freewheelin’ Bob Dylan, The (album), 224, 226
Frith, Simon, 194
From Me to You, 220
Funeral March, 38, 39
Garner, Erroll, 114
George, Don, 57, 62, 133–34
Gershwin, George, 28, 53, 189, 228
Gesang der Jünglinge (Stockhausen), 244–46
Get Back (song), 302–3, 307
Get Back: The Unauthorized Chronicle of the Beatles’ Let It Be Disaster (Sulpy and Schweighardt), 294–95
“Get Back Project,” 294–301; See also Let It Be (album)
Getting Better, 266
Ghirlandaio, Domenico, xix
Giddins, Gary, 57
Gillespie, Dizzy, 165
Ginsberg, Allen, 225, 240
Godard, Jean-Luc, 294
God Only Knows, 252
Going Home, 36
Golden Slumbers, 308
Gonsalves, Paul, 77–78, 143, 148
Goodman, Benny, 81–82
Charlie Christian’s audition for, 101
concert and movie appearances, 95
on Johnny Hodges, 50
King Porter Stomp, 24
popularity of, 94
riff-based arrangements, 97
In a Sentimental Mood, 134
Good Morning Good Morning, 268
Good Night, 285
Good Rockin’ Tonight, 166–67
Good Vibrations, 255
Goon Show, The (radio program), 214
Gordy, Berry, 205, 219–20
Got to Get You Into My Life, 251
Grace Cathedral (San Francisco), 157
Grainger, Percy, 73, 74
Grant, Henry, 11
Grapefruit (Yoko Ono), 290, 313
Great Depression, 68, 81–82
Great Migration, 23
Green, Freddie, 96
Greer, Sonny, 13, 36, 83
Grieg, Edvard, 113
Grofé, Ferde, 28
Guildhall School of Music and Drama, 182
Guthrie, Woody, 224
Guy, Freddy, 17, 64
Gypsy Without a Song, 93
Hadi, Shafi, 142
Haight-Ashbury (San Francisco), 271
Haitian Fight Song, 142
Hajdu, David, 109, 139
Haley, Bill, 138
Half the Fun, 147, 149–50
half-valve technique, 89
Hall, Adelaide, 39, 39, 40, 52
Hamburg, Germany, 195–200
Hamilton, Chico, 62, 140
Hamilton, Jimmy, 116, 138, 153, 155
Hamilton, Margaret, 70
Hamilton, Richard, 284
Hammond, John, 297–98
Hampton, Locksley “Slide,” 117
Handy, W. C., 20, 163–64, 185
Hang on to Your Ego, 254
Harburg, Yip, 69–70
Hard Day’s Night, A (movie), xvii, 219, 226, 274
Hard Day’s Night, A (album), 226
Hard Day’s Night, A (song), 217, 318
Hard Rain’s a-Gonna Fall, A, 225
Hardwick, Otto, 12, 37, 61, 71, 87
Harlem, New York City, 14–15
harmonica, 205, 207, 212, 233
Harris, Wynonie, 166
Harrison, George, 282, 310
Abbey Road sessions, 304, 306–12
And I Love Her, xxvi
on being from Liverpool, 213
creative position in Beatles, 199
Don’t Let Me Down, 302
Get Back (song), 303
“Get Back Project,” 295–300
Hamburg era, 195, 197, 200
in A Hard Day’s Night, 219
Hey Jude, 293–94
and India, 275–81, 282, 283, 284
The Inner Light, 281
on Lennon, 171–72, 179
Love Me Do, 208
and LSD, 276
Michelle, 235
Norwegian Wood, 235
Nowhere Man, 235
Please Please Me, 212
Revolver sessions, 238–39, 242, 248, 251
rooftop concert, 301
sitar, 275–76
Ringo Starr and, 207
Strawberry Fields Forever, xxiii
teenage years, 175
We Can Work It Out, 233–34
White Album sessions, 284, 286–87, 290
Within You Without You, 268–70
Harrison, Pattie, 214, 239, 278, 280
Have a Heart, 93
Havel, Václav, 221
Hawkins, Coleman, 101, 103
head arrangements, xx, 30
Heartbreak Hotel, 168, 185
Heebie Jeebies, 18
Heliotrope Bouquet, 11
Hello Goodbye, 274
Hello Little Girl, 202
Help! (movie), 275–76
Help! (song), 232, 233
Helter Skelter, 188
Henderson, Fletcher, 19–23, 23, 41, 97
Henderson, Fletcher, Sr., 20
Henderson, Luther, 136
Hendricks, Jon, 157
Hendrix, Jimi, 264
Here, There, and Everywhere, 251
Here Comes the Sun, 310–11
Her Majesty, 309
heroin, 284, 292–93, 296–97
Hey Jude, 188, 287, 291, 293–94, 305
hi fi, 180–84, 192, 309
Hillsborough, North Carolina, 111–13
Hinton, Milt, 101
Hodeir, André, 105–6, 159
Hodges, Johnny, 6, 98
Blood Count, 156
on collaborative nature of Ellington arrangements, 71
Come Sunday, 132, 133, 157
Don’t Get around Much Anymore, 17
and Ellington’s Swing Era success, 90–91
Half the Fun, 147
I’m Beginning to See the Light, 133–34
Isfahan, 153
Jeep’s Blues, 90
In a Mellotone, 102
as melodist, 50–51
Nutcracker Suite, 153
Old Man Blues, 65
salary as reflection of contributions, 62–63
Sheik of Araby, 71–72
Star-Crossed Lovers, 147–48
Strayhorn and, 115, 117
Webster and, 104
Holly, Buddy, 169, 174
Hollywood Café (New York), 15, 17
Hollywood Hotel (movie), 95
Holy City, The, 36–39
homosexuality, 116, 117, 136
Honeysuckle Rose, 16
Hoochie Coochie Man, 164
Hooker, John Lee, 164
Horne, Howard, 194
Horne, Lena, 140, 158
Hound Dog, 166, 168, 185
Howard Theatre (Washington, D.C.), 3
How Do You Do It?, 207
How Do You Sleep?, 302
How I Won the War (movie), xxi
Howlin’ Wolf (Chester Arthur Burnett), 164, 185
Hughes, Langston, 42, 128
Hughes, Spike, 49
Hunter, Alberta, 36
Huxley, Aldous, 239
I Am the Walrus, 183, 226, 273–74
Iberian Peninsula, 92
I Feel Fine, 185, 190–93
If I Could Be with You (One Hour Tonight), 27
I Got a Woman, 165
I Got It Bad (and That Ain’t Good), 127, 128, 130
I Got Rhythm, 103
I Let a Song Go Out of My Heart, 90
I Lost My Little Girl, 178
Imagine, 313–14
I’m a Loser, 233
I’m Beginning to See the Light, 133–34
I’m Down, 188, 231, 337
I’m Looking Through You, 337
improvisation
and blues, 164
collective, 6–7, 26, 142
composed solos vs., 34
and composition, 27
I’m Talking About You, 190
In a Mellotone, 101–2
In a Sentimental Mood, 86–88, 134
India, 155–156, 199, 269, 270, 275–84, 282
Indian music
and The Inner Light, 281
and Love You To, 250, 276
and Norwegian Wood, 235, 275
and Strawberry Fields Forever, xxiii, 255
and Tomorrow Never Knows, 242–43, 246
and Within You Without You, 269–70, 279
Indian Music Association (London), 242, 276
Indica Gallery and Bookstore, 244
indies (independent recording studios), 184
Ink Spots, the, 133, 134
In My Life, 234
Inner Light, The, 281
Irvis, Charlie, 15
I Saw Her Standing There, 189, 190, 207, 210, 217, 221, 222
Isfahan, 153
Isley Brothers, 217
Italy, xix
It Don’t Mean a Thing (If It Ain’t Got That Swing), 83, 84
I’ve Got a Feeling, 301
I’ve Got a Passport from Georgia, 129
I’ve Just Seen a Face, 231
I Wanna Be Your Man, 233
I Want to Hold Your Hand, 165, 220–21
I Want You (She’s So Heavy), 298, 304–6
Jackson, Mahalia, 44, 133
Jack the Bear, 100, 122, 124, 125
Jagger, Mick, 195, 233
Jamal, Ahmad, 113
James, Harry, 134
jam sessions, 96–97
jazz (generally)
creative control of recording environment, 204
developments in mid-1920s, 19–30
in New Orleans, 3–8
Jazz: Its Evolution and Essence (Hodeir), 105
Jazznocracy, 85
Jealous Guy, 283
Jeep’s Blues, 90
Jeffries, Herb, 121
Jelly Roll Morton’s Red Hot Peppers, 24, 27
Jenkins, Freddie, 58, 65
Jim Crow, 47, 80, 117
Joachim, Joseph, 29
Johnson, Bill, 22
Johnson, James P., 4, 12, 16, 27–28, 42
Jones, Jo, 96
Joplin, Janis, 166
Joplin, Laura, 166
Joplin, Scott, 11
Julia, 178–79, 232, 285
Jump for Joy: A Sun-Tanned Revu-sical, 128–30
Jung, Carl, 240
Junk Man Rag, 10–11
Juvenile Protection Agency of Chicago, 25
Kansas City, Missouri, 96, 100–101
Keeler, Ruby, 53
Kennedy, John F., 154
Kentucky Club (New York), 17, 19
Kerouac, Jack, 225
King, Ben E., 186–87
King Porter Stomp, 24, 97
Kirchherr, Astrid, 196–97, 290
Knepper, Jimmy, 142
Ko-Ko, 98, 124–26
Ku Klux Klan, 129
Kuller, Sid, 129–30
Kundera, Milan, 274
Lady Madonna, 281
Lambert, Constance, 75, 79–80, 159
Lambert, Eddie, 151, 152
Lanin, Sam, 20
Latin jazz, 91–93
Lead Belly (Huddie Ledbetter), 172
Leary, Timothy, xxiii, 238–41, 240, 276, 299, 312
Legge, Wade, 142
Leiber, Jerry, 166, 186, 247, 253
Leiber and Stoller, 166, 186–87, 193
Leitch, Donovan, 251, 282, 285
Lennon, Alfred, 169
Lennon, Cynthia, 200, 210, 237, 239, 280, 281, 283
Lennon, John, 167, 177, 261, 280, 289
Abbey Road sessions, 304–9, 313–14
Across the Universe, 280–81
“Alchemical Wedding,” 297
All You Need Is Love, 271
Ask Me Why, 212
and avant garde, xxiv
Chuck Berry and, 188
birth and childhood, 169–71
breakup of the Beatles, 296–97
and collaboration, xvii–xviii, 63, 193–94
compositional methods, 144
Don’t Let Me Down, 302
Dylan and, 226, 232–35
on Brian Epstein, 201
first encounter with McCartney, 176–77
“Get Back Project,” 296–300
Hamburg years, 197, 200
on Harrison, 199
I Am the Walrus, 273, 274
and India, 279–83
I Want to Hold Your Hand, 220
as lesser melodist than McCartney, 222
Liverpool’s effect on wit, 213–14
Love Me Do, 205
and LSD, 276
as lyricist, 221–22
McCartney and, See Lennon–McCartney partnership
Please Please Me, 210, 211
Elvis Presley’s influence on, 168
Revolver sessions, 238, 239, 241–48, 251
Rock and Roll Circus performance, 297
Royal Variety Show, 217–18
Sgt. Pepper sessions, 258, 260–62, 266, 268
Strawberry Fields Forever, xxi–xxvi, 245–46, 255, 257–58
teenage years, 171–75
and visual art, 10
White Album sessions, 284, 285, 287–93
on Yesterday, 231–32
Lennon, Julia, 169, 171, 178–79
Lennon, Julian, 265, 285, 293
Lennon–McCartney partnership, 301–2
composers’ credits, 208–9
as 1963 composers of the year, 209–10
composing hiatus in 1961, 202–3
decision making, 312–13
decline of, 300–301
early days of, 176–80
and Ellington–Strayhorn partnership, 110–11, 144–46, 256
as equal partnership, 63
evolution of, 193–94, 227
I Want to Hold Your Hand, 220–21
legal formalization of, 208–9
Lennon’s contributions to, 221–23
and “Liverpool bubble,” 198
In My Life, 234
Please Please Me, 211–12
publishing royalties, 203
Sgt. Pepper, 145–46
shifting dynamics of, 256–57
We Can Work It Out, 233–34
working methods, 222–23
Yesterday’s effect on, 232
LeRoy, Mervyn, 70
Lester, Richard, 219
Lester Leaps In, 102
Let It Be (album), 171, 294–304, 313
Let It Be (film), 294; See also “Get Back Project”
Let It Be (song), 178–79, 293, 294, 313
Lewis, John, 121
Lieberson, Goddard, 183
Like Dreamers Do, 202
Limehouse Blues, 68
Lincoln Gardens (Chicago), 5, 36
Lindsay-Hogg, Michael, 300
literature, collaboration in, xviii–xx
Little Queenie, 190
Little Richard (Richard Penniman), 164–65, 167, 174, 177, 187, 300
Liverpool, England, 198–99, 213–15
Liverpool College of Art, 172
Livery Stable Blues, 7
lo fi, 180, 181, 184–87
Logan, Marian, 139
London Days of Contemporary Music Festival (1965), 244
London Evening Standard, 210
London Times, 210
Long and Winding Road, The, 182, 231, 303–4
Long Tall Sally, 174, 176, 188, 200
Lopez, Vincent, 20
Los Angeles, California, 251
Lost in Meditation, 93
Lovely Rita, 268
Love Me Do, 205, 209–10
Love of the Loved, 202
Love You To, 242, 250–51, 276
LSD, 238–41
Harrison and, 276, 277
Lennon and, 238, 239, 241, 243, 266, 279
Lucy in the Sky with Diamonds, 265
Strawberry Fields Forever, xxi, xxiii
Brian Wilson and, 254
Lucy in the Sky with Diamonds, 185, 265, 319
Lunceford, Jimmie, 84–85, 88
Lush Life (song), 114–15
Lush Life: A Biography of Billy Strayhorn (Hajdu), 109
Lutcher, Joe, 165
MacDonald, Ian, 274, 288
Madness in Great Ones, 147
Madonna, 313
Magic Alex (John Alexis Mardas), 283, 292
Magical Mystery Tour (album), 238, 272
Magical Mystery Tour (movie), 272
Magical Mystery Tour (song), 264
Mahal, Taj, 220, 229
Maharishi Mahesh Yogi, 273, 279–84, 282, 288
Mann, William, 210, 220, 231, 266
Maple Leaf Rag, 11
Margaret, Princess of England, 216, 218
marijuana, 226, 227, 241
Marrow, Queen Esther, 157
Martin, George, 230
Abbey Road sessions, 306, 312
Beatles’ first recording sessions, 203, 205
classical background, 182
A Day in the Life, 262
Eleanor Rigby, 248–49
I Saw Her Standing There, 189
and lo-fi production values, 186
on McCartney’s treatment of Harrison, 199
Penny Lane, 249–50
on Pet Sounds and Sgt. Pepper, 252
Please Please Me, 211, 212
on Billy Preston, 300
and repertory decisions, 207–8
Strawberry Fields Forever, xxii, xxiv, xxv
strengths as a producer, 205–6
on Subterranean Homesick Blues, 226
and Vipers Skiffle Group, 171
The White Album, 285
Yesterday, 230–31
Mason, David, 249
Masterpieces by Ellington (album), 137–38
Masters of War, 224–25
Maxwell, Jimmy, 140
Maxwell’s Silver Hammer, 307
Mayer, Louis B., 69, 70
McCartney, Jim, 174–75, 177, 267
McCartney, Mary, 174
McCartney, Mike, 178
McCartney, Paul, 177, 267, 280
Abbey Road sessions, 304–13
Ask Me Why, 212
and avant garde, xxiii–xxiv, 243–44
on Beatlemania, 215
on Beatles’ artistic ambitions, 197
birth and childhood, 174–76
and blue notes, 188
compositional methods, 144
Don’t Get Around Much Anymore, 90
Don’t Let Me Down, 302
first encounter with John Lennon, 176–77
Get Back, 303
“Get Back Project,” 295, 296, 298–300, 302
in Hamburg, 197, 198
in A Hard Day’s Night, 219
on Harrison, 199
Hello Goodbye, 274
I Am the Walrus, 274
And I Love Her, xxvi
in India, 279–82
I Want to Hold Your Hand, 220
Lennon and, See Lennon–McCartney partnership
Let It Be, 178–79, 229, 293–94
Love Me Do, 205
and LSD, 279
on George Martin’s role, 205
mother’s death, 178
and musical leadership of the Beatles, 315
In My Life, 234
Penny Lane, 255
Please Please Me, 211, 212
Elvis Presley’s influence on, 168
and Quarrymen, 177
Revolver sessions, 241–54
on Rubber Soul, 236
Sgt. Pepper sessions, 258, 262–68)
and seventh chords, 189
on simplicity, 302
Strawberry Fields Forever, xxiii–xxv
on subversive elements in Beatles’ songs, 218
teenage years, 175–77
There’s a Place, 211–12
in U. S., 173–74
White Album sessions, 283–85, 287, 289–94
Yesterday, 227–32
McGear, Mike, 280
McHugh, Jimmy, 52
McVicker, Carl, 113
Mean Mr. Mustard, 308
Medley, Phil, 216, 217
melismas, 188
Mellotron, xxiii melodies
Ellington’s deficiencies as creator of, 16–17
McCartney’s gift for, 222, 227–28
Mendips (Lennon home), 169, 170, 177–78
Mersey Beat (magazine), 200
Metronome magazine, 72
Metzner, Ralph, 239, 240
Mezzrow, Mezz, 7
MGM, 69
Michelangelo, xix
Michelle, 235
Middle East, 92, 153–154
Midler, Bette, 236
Midsummer Night’s Dream (Shakespeare), 148
Mike Sammes Singers, 183
Mikrophonie II (Stockhausen), 244
Miles, Barry, 244
Miley, Bubber, 30, 32
Black and Tan Fantasy, 36–39, 64–65
Black Beauty, 57
and Cotton Club, 49
Creole Love Call, 39–40
departure from Ellington Orchestra, 51
East St. Louis Toodle-O, 33–36
expressive effects as integral to melody construction, 147–48
importance to Ellington compositions, 40–43, 45, 47, 67, 68
It Don’t Mean a Thing, 83
joins Ellington Orchestra, 15
and modernism, 31
The Mooche, 53
King Oliver and, 5
pre-Ellington life and work, 32–33
recording sessions missed by, 18–19
“Miley method,” 33–46, 106
Black and Tan Fantasy, 36–39
Concerto for Cootie, 106
Creole Love Call, 39–40
East St. Louis Toodle-O, 33–37, 40
Mood Indigo, 54–61, 59
Miller, Glenn, 123, 131
Miller, Mitch, 182, 183, 185
Mills, Irving
Black, Brown and Beige, 131
composer credits, 52, 61–64, 90
and extended compositions, 73
I Let a Song Go Out of My Heart, 90
Mood Indigo royalties, 59
promotion of Ellington, 57–58, 64–66, 68, 81, 95
and sheet music sales, 60
and “veneers of sophistication,” 74, 76
Mingus, Charles, 127, 141–42
Mingus, Sue Graham, 142
Mingus Big Band, 142
minstrelsy, 176
Mr. Tambourine Man, 226
Mitchell, Mitch, 297
Moanin’ at Midnight, 164, 185
modernism, 23, 244
Mondrian, Piet, 116
Mooche, The, 53
Mood Indigo, 54–61, 60
Barney Bigard and, 5
lyrics added to, 86
on Masterpieces by Ellington LP, 138
Sy Oliver arrangement, 88
sheet music sales, 60
mood pieces, 59
Moonlight Fiesta, 91, 92
Moonlight Sonata (Beethoven), 306
Morgen, Joe, 150
Morgenstern, Dan, 156
Morning Glory, 89
Morton, Ferdinand “Jelly Roll,” 24–27, 25, 41–42, 46
Moten, Bennie, 96
Motown Records, 219–20
movie directing, 69–70
Murphy, Dudley, 64
Murray, Albert, 78, 94, 96
musicals, See Broadway musicals
Music from Big Pink (the Band), 296
musique concrète, 244–46
Mystery Song, The, 57
NAACP, 20
Nance, Ray, 128, 134
Nanton, Joe “Tricky Sam,” 35, 37, 40, 51, 60, 124
National Conservatory of Music of America (New York), 29
“National Ellington Week,” 131, 133
Nemo, Henry, 90
Never No Lament, 90
New Deal, 82
New Musical Express, 210
New Orleans, 200
Newport Festival Suite, 144
Newport Folk Festival (1963), 224
Newport Jazz Festival (1956), 78, 90, 143, 143–44
New York Clipper, 15
New Yorker, The, 72, 134, 270
New York Times, The, 149, 181
Night in Tunisia, A, 92
Niles, Abbe, 64, 65
Nocturne: Blue and Gold—Old Battersea Bridge (Whistler), 118–19
Norwegian Wood, 234–36, 275–76
Not Fade Away, 184
Nowhere Man, 235, 269–70
Nutcracker Suite, The (Ellington and Strayhorn), 147, 150–53
Oberlin College, 28–29
Ob-La-Di, Ob-La-Da, 292–93
O Come All Ye Faithful, Yeah! Yeah!
Yeah!, 210
Oh! Darling, 306–7
Okeh Records, 18, 37, 56
Old Man Blues, 65
Oliver, Joseph “King,” 5, 41
and arranger/composer distinction, 159
and Baptist church, xiv
Barney Bigard and, 56
Camp Meeting Blues, 39
and collective improvisation, 6
composed solos, 34
and Cotton Club, 52
Creole Love Call, 40
Dippermouth Blues, 11, 22
Holy City, 36–37
Miley and, 5, 32–33
and race records, 18
and white Chicago musicians, 7
Oliver, Sy, 88
One after 909, 298–99
One O’Clock Jump, 96, 97
Ono, Yoko, 232, 281, 289
Abbey Road sessions, 304–7
“Alchemical Wedding,” 297
early life, 289–90
“Get Back Project,” 294
Imagine, 313
Rock and Roll Circus, 297
White Album sessions, 287–93, 288–90, 292, 293
On the Bhagavad-Gita (Maharishi Mahesh Yogi), 273, 280–81
Orbison, Roy, 169, 205, 210–11
orchestration, 27–28
Ellington’s experiments in, 58
Mood Indigo, 54–56
on Pet Sounds, 253
Strayhorn and, 136, 152
Organ Grinder’s Swing, 88
orientalism, 277
Oriental Theatre (Chicago), 68
Original Dixieland Jazz Band, 7
Otis, Johnny, 166
Over the Rainbow, 70
Owen, Alun, 219
Pace, Harry, 20
Pace and Handy Music Company, 20
Padmasambhava, 241
Page, Patti, 183–84, 192
Page, Walter, 96
Paris Blues (movie), 150
Parish, Mitchell, 61
Parker, Bobby, 191
Parker, Charlie, 50, 332
Parlophone, 203–8
Passion Flower, 116–17
Payne, Daniel Alexander, xii
Penniman, Richard, See Little Richard
Penny Lane, 249–50, 255, 258
Perdido (Tizol’s Stomp), 51, 93
Peress, Maurice, 132
Perry, Oliver “Doc,” 11
Pet Sounds (the Beach Boys), 250, 252–55
Peyton, Dave, 23, 41
Phillips, Sam, 165
phonograph
as aid to collaborative process, xxvii–xxviii
composition and, xxv–xxvi
and Ellington’s approach to arranging, 80–81
Picasso, Pablo, 31–32, 250
Pink Floyd, 266–67
Piper at the Gates of Dawn, The (Pink Floyd), 266–67
Pitter Panther Patter, 100
Pittsburgh, Pennsylvania, 110–15
Pittsburgh Courier, 68
Pittsburgh Musical Institute, 114
Place de la République, Paris, 313
plagal (“amen”) cadence, 229, 293, 294
Plastic Ono Band (John Lennon), 313–14
Please Please Me, 203, 205, 210–12
Poe, Edgar Allen, 274
Pomus, Doc, 186
pop music
division of creative labor in, xxvi, 181–84
rock and roll vs., 192–93
Porto Rican Chaos (Moonlight Fiesta), 91, 92
Pound, Ezra, 320
Powers, Ollie, 36
Pratt Institute (Brooklyn), 10
Prelude to a Kiss, 87
Presley, Elvis, 166–69, 174, 175, 184, 235, 258
Preston, Billy, 297, 300, 302, 303, 305, 306
Priestley, Brian, 149–50
producers; See also specific producers, e.g.: Martin, George
dynamics with performers, 205–6
hi fi, 182
lo fi, 186
Profumo affair, 215–16
P.S. I Love You, 203
Psychedelic Experience, The (Leary, Metzner, and Alpert), xxiii, 239–41, 244, 254
psychedlia, 273; See also LSD
public image, of Ellington as composer, 65–66, 79, 109
publishing royalties, 15, 62, 203
Puerta del Vino, La, 147
Purple Haze, 264
Pyramid, 93
Quarrymen, the, 171, 176–77
race, 93–94, 187, 215
“race records,” 17–19
racism, 49, 80–81, 167–68
radio, 43, 53
Radio Luxembourg, 175
raga, 269, 311
ragtime, 11–12
Rain, 251
Rain Check, 118–21
Raja Yoga (Vivekananda), 278, 279
Ramey, Gene, 97
Ravel, Maurice, 119
Ray, Johnnie, 183–84
Redman, Don, 22–23
Reminiscing in Tempo, 75–76
Renaissance, xix
Revolution 1 (album version), 291–92
Revolution 9, 287, 289–91
Revolution (single version), 287–88
Revolver (the Beatles), 238–52
Eleanor Rigby, 247–49
LSD and, 239–41, 243, 244
as studio-only creation, 238
Tomorrow Never Knows, 241–47
Rhapsody in Blue (George Gershwin), 28, 74, 113
Rhythm (British magazine), 65
Richard, Cliff, 200, 206, 208
Richards, Keith, 233, 275, 297
Richards, Ron, 212
Richmond, Dannie, 142
riff-based arrangements, 97–98, 128
Rimbaud, Arthur, 225–26, 273
Ring Dem Bells, 51
ring shout, xii–xv, xxvii, 6, 32, 159, 201, 218
Robinson, Bill “Bojangles,” 34
Robinson, Smokey, 219
rock and roll (generally)
African American church influences on, xviii
Ellington on, 317
origins, 163–69
pop vs., 192–93
stylistic features, 187–88
Rock and Roll Circus (film), 297
Rock around the Clock, 138
Rockin’ Boogie, 165
Rockin’ in Rhythm, 61
Rock Island Line, 172
Rocks in My Bed, 127, 128, 130
Rolling Stones, the, 164, 233, 287–88
rooftop concert (January 30, 1969), 301, 301
Rorem, Ned, 266
Roseland Ballroom (New York), 19, 20
Rose Room, 101–2
Ross, Lillian, 270
Rowe, Dick, 213
Royal Albert Hall, 297
royalties, 18, 21, 59, 60, 64, 137
Royal Variety Show (11/4/63), 216–18
Rubber Soul, 226, 227, 234–36
Ruskin, John, 118–19
Russell, Bert, 216, 217
Sacred Concerts, 157, 158
Sanctified churches, xiv, 164
San Francisco, California, 271, 272
Satin Doll, 138, 149
(I Can’t Get No) Satisfaction, 233
Saturday Evening Post, 134
Schuller, Gunther
on Black Bottom Stomp, 26
on collaborative nature of Ellington arrangements, 70
on Cotton Tail, 102
on Ellington as composer, 328–29
on Ellington’s sense of harmony, 159
on Ko-Ko, 126
on Bubber Miley, 41
on Reminiscing in Tempo, 75–76
Schweighardt, Ray, 295, 299
Send Me Some Lovin’, 298
Sepia Panorama, 123–24
Sgt. Pepper’s Lonely Hearts Club Band (album), 145–46, 257–71
Being for the Benefit of Mr. Kite, 268
cover art, 259–60, 278
A Day in the Life, 260–64, 270
Fixing a Hole, 266–67
Getting Better, 266
Good Morning Good Morning, 268
With a Little Help from My Friends, 264–65
Lovely Rita, 268
Lucy in the Sky with Diamonds, 265
origin of concept, 258
She’s Leaving Home, 268
When I’m 64, 267–68
Within You Without You, 268–70
Sgt. Pepper’s Lonely Hearts Club Band (song), 264–65
Sexy Sadie, 284
Shadows, the, 200, 201, 206, 208
Shakespeare, William, 146–148, 228, 309
Shankar, Ravi, xxiii, 276–78, 310
She Belongs to Me, 225
She Came in Through the Bathroom Window, 308
Sheik of Araby, 71
She Loves You, 173, 189, 205
Sheridan, Tony, 208
She Said She Said, 239, 251
She’s Leaving Home, 268
Shirelles, the, 185
Shotton, Pete
and Eleanor Rigby, 199, 248
on India’s effect on Lennon, 279–80
on interpersonal dynamics among the Beatles, 257
on Lennon’s childhood, 170–71
on Lennon’s view of Harrison, 199
and the Quarrymen, 172, 264
Show Girl, 53–54
Shuffle Along (Sissle and Blake musical), 16
Shuman, Mort, 186
Sinatra, Frank, 189, 192, 311
Sissle, Noble, 16
sitar, xxiii, 235, 236, 242, 275–78
skiffle bands, 172
slavery, xi–xiii, xviii, 9, 49, 80, 163
Sloop John B, 253–54
small groups, 91, 121
Smallwood, Richard, 159
Smith, George, 170
Smith, Jabbo, 37
Smith, Mamie, 18, 32
Smith, Mimi, 169–72, 177
Smith, Norman, 242–43
Smith, Willie “The Lion,” 13
(In My) Solitude, 86, 87, 110, 138
Solo (Stockhausen), 246
solos, composed vs. improvised, 34–35
Something, 189–90, 310–12
Something to Live For (song), 115
Something to Live For: The Music of Billy Strayhorn (van de Leur), 109
Sonnet for Caesar, 147
Sophisticated Lady, 61, 86, 100, 110, 138, 151
Spector, Phil, 182, 205, 231, 253, 303
St. Martin’s (hymn), xi
St. Peter’s Church (Liverpool), 248
Stand By Me, 186–87, 193
Stanley Theater (Pittsburgh), 110
Star-Crossed Lovers, The, 147–48
Starkey, Elsie, 214
Starr, Ringo
Abbey Road sessions, 304, 306, 308–11
on the Beatles, 303
childhood home, 207
Don’t Let Me Down, 302
and first Beatles session, 183
Get Back, 303
“Get Back Project,” 295
I Am the Walrus, 274
on importance of recording, 205
in India, 280, 281, 283
on Lennon’s behavior in the studio, 341
Liverpool accent, 213
on McCartney’s vs. Lennon’s involvement with avant-garde, xxiii–xxiv
Please Please Me, 212
replacement of Pete Best by, 206–7
Revolver sessions, 243, 247, 248, 251
on Rubber Soul, 227
Sgt. Pepper sessions, 262, 264
Strawberry Fields Forever, xxiii
on symbiosis of the Beatles, 275
White Album sessions, 285, 292
State Department, U.S., 153–54
Stay, 200
Steinbeck, John, 109
Stewart, Rex, 89, 101, 134
Still, William Grant, 28
Stills, Stephen, 270
Stockhausen, Karlheinz, 238, 244–46, 245
Stoller, Mike, 166, 186–87; See also Leiber and Stoller
Stratford Shakespearean Festival, 146
Stravinsky, Igor, 121, 126
Strawberry Fields Forever, xxi–xxvi, 255, 257–58, 266, 273
Strayhorn, James, 111–12
Strayhorn, Lillian, 111
Strayhorn, William “Billy,” 99, 107–57, 112, 120
as arranger, 121
arrival in New York, 116–17
birth and childhood, 111–13
Black, Brown and Beige, 130–34
Chelsea Bridge, 118–19
as composer for Ellington’s 1940-1941 band, 118–21
and composer’s credit, 62
Concerto for Cootie, 106–7
death of, 156–57
direct collaboration with Ellington, 121–38
early compositions, 113–15
Ellington and, See Ellington–Strayhorn partnership
and “Ellington Effect,” 56–57
and 1940-1941 Ellington Orchestra, 118–38
first encounter with Ellington, 110
Flamingo, 121
I Got It Bad, 130
I Want to Hold Your Hand, 165
Jack the Bear, 122, 125
Jump for Joy, 128–30
Ko-Ko, 123–26
lack of formal contract with Ellington, 136–37
Masterpieces by Ellington, 138
Rain Check, 118–21
relationship with Ellington, 117–18
Sepia Panorama, 122–23
Take the “A” Train, 86, 115–16, 124–27, 143, 149
uncredited contributions of, 135–37
Street Fighting Man, 291
Subterranean Homesick Blues, 226, 251–52
Such Sweet Thunder (The Shakespeare Suite) (Duke Ellington and Billy Strayhorn), 144–49
Sugar Foot Stomp, 22
Sugar Plum Fairy, 152
Sugar Rum Cherry, 152
suites, 144–56
Sulpy, Doug, 295, 299
Summer of Love, 272
Sunday Times, 217
Sun King, 308
Sun Records, 185
Sunset Cafe (Chicago), 34, 39
Sutcliffe, Stuart, 173, 193–97, 202, 290
swarmandal, xxiii, 255
Sweatman, Wilber, 13
Swing Era, 24, 81–93, 95–98, 137–38
“Swing is Stagnant” (Duke Ellington), 95–96
Sympathy for the Devil (One Plus One) (movie), 294
Take It Away, 122
Take the “A” Train, 86, 115–16, 124–27, 143, 149
“talented tenth,” 20, 21, 23, 28, 44
Tao Te Ching (Lao-tzu), 281
Tattooed Bride, The, 138
Tatum, Art, 114
Taxman, 251
Taylor, Derek, 214, 253
Tchaikovsky, Peter Ilyich, 150–51, 153
Teddy Boys, 171
Tempo Music, 156
Terry, Clark, 61, 148, 156
There’s a Place, 211–12
Thompson, Johnny, 134
Thornton, Willie Mae, 166
Through the Looking Glass (Carroll), 265
Tibetan Book of the Dead, 239
Tibetan Buddhism, 239–41
‘Till There Was You, 202, 216, 227, 228
Time magazine, 78, 288
Tio, Lorenzo, Jr., 55, 56
Tizol, Juan, 50–52, 120
as composer, 51–52, 91–93, 104
departure from Ellington Orchestra, 134
distinctive sonority of, 54
as “extractor,” 72
Tizol, Rose, 52
T.N.T., 22–23
Tomorrow Never Knows, xxiii, xxiv, 241–47, 257
Tone Parallel to Harlem, A, 149
Toot Toot Tootie Toot (Dance of the Reed Pipes), 152
Trent, Joe, 15
Trollope, Anthony, xviii–xix
Trumpet in Spades (Rex’s Concerto), 89, 107
Turner, Big Joe, 130
Tutti Frutti, 165, 167, 176
Tuxedo Junction, 123
Twenty Flight Rock, 177
Twist and Shout, 188, 200, 216–18
Two of Us, 307
Two Virgins (John Lennon and Yoko Ono), 289
Up and Down, Up and Down (I Will Lead Them Up and Down), 148–49
Valses Nobles et Sentimentales (Ravel), 119
van de Leur, Walter, 107, 109, 135, 327
Variety, 49, 94–95
Vedic tradition, 269, 270, 279
Velvet Underground, 259
Vishnudevananda, Swami, 276
visual art, 10, 31–32, 172–73
Vivaldi, Antonio, xxiii, 249
Vivekananda, Swami, 278
Vocalion Records, 21
Vodery, Will, 58
Volcano, 97–98, 124
Voormann, Klaus, 196, 279
WABC radio, 53
Waller, Fats, 16
“Walrus and the Carpenter, The” (Lewis Carroll), 273
Warhol, Andy, 259–60
Washington, D.C., 8–13
Washingtonians, The, 13–14, 14, 15, 17
Waste Land, The (Eliot), 320
Watch Your Step, 191, 192
Waters, Muddy, 164, 188
Webster, Ben, 99, 100–104, 118–20, 120, 123, 134
We Can Work It Out, 233–34
West Meets East (Ravi Shankar and Yehudi Menuhin), 269
Wexler, Jerry, 193
What’d I Say, 191, 192, 196, 268
When I’m 64, 175, 267–68
Whetsol, Arthur, 60, 64
While My Guitar Gently Weeps, 286–87
Whistler, James, 118–19
White, Andy, 183
White, Paul, 129
White Album, The (the Beatles), 281, 283–93
White Heat, 85
White House, 158
Whiteman, Paul, 17, 54, 65, 73–74
WHN radio, 53
Wilder, Alec, 16–17, 135, 221
Williams, Charles “Cootie”
Armstrong’s influence on, 5
on audiences for Ellington’s music, 94
on collaborative nature of Ellington arrangements, 71
Concerto for Cootie, 105–7
departure from Ellington Orchestra, 134
Echoes of Harlem, 90
joins Ellington Orchestra, 51
In a Mellotone, 102
on rewards of composition, 136
Williams, Clarence, 3
Williams, Mary Lou, 100–101
Wilson, Brian
as influence on McCartney, 251, 255–56, 296
Pet Sounds, 250, 252–54, 270
on Rubber Soul, 236
Wilson, Teddy, 114
With a Little Help from My Friends, 264–65
Within You Without You, 268–70, 278–79
Wizard of Oz, The, 69–70
Woodyard, Sam, 147, 152
Wooler, Bob, 200, 201
Yamekraw: A Negro Rhapsody (James P. Johnson), 27
Yellow Submarine, 251–52
Yer Blues, 297
Yesterday, 144, 188, 227–32
Yogananda, Paramahansa, 278
You Never Give Me Your Money, 307–8
Young, Lee, 126
Young, Lester, 96, 101, 102
Young Blood, 186
Your Love Has Faded, 115
You Still Believe in Me, 252
You’ve Got to Hide Your Love Away, 233
Ziegfeld, Florenz, Jr., 53, 58
Zinovieff, Peter, 262