by David Schiff
30. Ellington and Dance, Duke Ellington in Person, p. 94.
31. Ottley, “New World A-Coming,” p. 168.
32. Ibid., p. 180.
33. Ibid., p. 176.
34. Hasse, Beyond Category, p. 23.
35. Ellington, MIMM, p. 12.
36. Hasse, Beyond Category, p. 23.
37. Ottley, “New World A-Coming,” p. 343.
38. Ibid., p. 347.
39. Ibid., p. 2.
40. Copland and Perlis, Copland, p. 44.
41. Oja and Tick, eds., Aaron Copland and His World, p. 137.
42. See William Brooks, “Simple Gifts and Involuntary Accretions,” in Dickinson, ed., Copland Connotations.
43. Robertson, “A Gift to Be Simple,” p. 30.
44. See Levy, “From Orient to Occident,” for a detailed account of Copland's westward turn and its erasure of black history in “Music for Radio.” See Lynn Garafola, “Making an American Dance,” for detailed histories of the three ballets. Both chapters are in Oja and Tick, eds., Aaron Copland and His World.
45. Oja and Tick, eds., Aaron Copland and His World, p. 125.
46. Ibid., p. 128.
47. Cited in Levy, “From Orient to Occident,” p. 337.
48. Cited in Garafola, “Making an American Dance,” p. 132.
49. Pollack, Aaron Copland, p. 367.
50. Garafola, “Making an American Dance,” p. 135.
51. See Robertson, “A Gift to Be Simple,” chapter 3.
52. Pollack, Aaron Copland, pp. 394-97.
53. Ibid., p. 393.
54. Copland and Perlis, Copland, p. 41.
55. Pollack, Aaron Copland, p. 403. I should note that the normally astute Edwin Denby assumed that the Husbandman was alive at the end; but, then, Denby's review of the premiere made no mention of any of its “netherworld” elements, instead praising it as a realistic (!) portrayal of “our country ancestors and inherited mores” (Denby and MacKay, Dance Writings, p. 314). On second viewing Denby praised the way the work “persuades you of the value of domestic and neighborly ties” and described the Revivalist as a cross between Saint Francis and Thoreau (ibid., p. 318).
56. Copland and Perlis, Copland, p. 43.
57. Ibid., p. 45.
58. Pollack, Aaron Copland, pp. 400-401.
59. Copland and Perlis, Copland, p. 45.
7. “HEAVEN”: GOD
Epigraphs, p. 248: Igor Stravinsky, in Conversation Robert Craft, p. 136; Duke Ellington, MIMM, p. 262.
1. Steed, Duke Ellington, p. 140.
2. See Lloyd, “The Revival of an Early ‘Crossover’ Masterwork.”
3. See Edwards in O'Meally, Edwards, and Griffin, eds., UC, pp. 348-49.
4. Nicholson, Reminiscing in Tempo, p. 348; Ellington, MIMM, p. 198.
5. Dance, The World of Duke Ellington, p. 26.
6. The recording does not include all the music from the show; most notably it omits “Work Song” from Black, Brown and Beige, which was danced by the Alvin Ailey company (Cohen, Duke Ellington's America, p. 395).
7. Harvey Cohen demonstrates that there is little evidence to support the claim by Stuart Nicholson that the show was criticized for a lack of political commitment (ibid., pp. 396-97).
8. Ibid., p. 396.
9. See ibid., pp. 456-60.
10. Tucker, ed., DER, p. 377.
11. See Murchison, “Mary Lou Williams's Hymn Black Christ of the Andes (St. Martin de Porres).”
12. Steed, Duke Ellington, p. 135.
13. See the program in Stratemann, Duke Ellington, Day by Day and Film by Film, p. 516.
14. I'll use the three RCA recordings as the basis for my discussion, even though all are incomplete in some way; Ellington performed the concerts differently on many occasions. There are also two fine recordings that combine numbers from different concerts by the Seattle Repertory Jazz Orchestra and the Big Band de Lausanne.
15. Stratemann, Duke Ellington, Day by Day and Film by Film, p. 516.
16. Nicholson, Reminiscing in Tempo, p. 366.
17. Ellington, MIMM. p. 156.
18. Cohen, Duke Ellington's America, p. 484.
19. Tucker, ed., DER, p. 378—but perhaps the real resemblance was to “The Girl from Ipanema.”
20. Ibid., p. 376.
21. Ellington and Dance, Duke Ellington in Person, pp. 192-93.
22. Vail, Duke's Diary, p. 441.
23. Steed, Duke Ellington, p. 147.
24. See Lloyd, “The Revival of an Early ‘Crossover’ Masterwork,” for a thorough account of the problems involved.
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