Such Sweet Thunder: http. The Count Meets Duke Ellington. Download the rolling stones discography mega greatest hits RAR + grandes exitos para baixar. Such Sweet Thunder is a Duke Ellington album, released in 1957. The record is a twelve part suite based on the work of William Shakespeare Track listing 'Such Sweet.
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Duke Ellington, photographed by William P. Gottlieb at the Aquarium in New York, between 1946-1948. Library of Congress. It’s been 60 years since Duke Ellington recorded Such Sweet Thunder, a jazz suite based on Shakespeare’s plays. James Blunt Chasing Time The Bedlam Sessions Rar there.
Eleven songs are linked to Shakespearean characters like Othello and Lady Macbeth, and the final number is a tribute to Shakespeare himself. In honor of Duke Ellington’s birthday this past weekend, we’re looking back at “Jazzing Up Shakespeare,” an essay written by Douglas M. Lanier, for the Shakespeare in American Life exhibition catalog in 2007. The except below was first published on the, now archived. Maurice Jackson of Georgetown University delves into Duke Ellington’s album Timon of Athens: Incidental Music for Shakespeare’s Play. Come to hear and discuss this jazzy take on Shakespeare’s tale of fortune and friendship.
Duke Ellington conducting during the recording session for Such Sweet Thunder. © Don Hunstein. Jazzing Up Shakespeare By Douglas M. Lanier Duke Ellington created a milestone in the relationship between jazz and Shakespeare with his 1957 jazz suite Such Sweet Thunder.
By the mid-1950s, the precipitous post-war fall of swing and rise of bop, changes in personnel in his band, and a creeping conservatism in his repertoire had made Ellington seem a relic of jazz’s past. His career’s second chapter, most jazz historians agree, began with his band’s electrifying performance of “Diminuendo and Crescendo in Blue” at the 1956 Newport Jazz Festival, a performance which prompted the press to dub Ellington an elder statesman of jazz. Such Sweet Thunder was composed a year later, after a series of concerts for the Stratford, Ontario, Shakespeare Festival, performances which affirmed Ellington’s stature as a hip classic. Stratford’s invitation of jazz musicians of an older generation to the festival reinforced the perception that pre-bop jazz now constituted an art form akin in cultural stature to Shakespeare. Ellington’s suite acknowledges this act of legitimation, but it also deepens the affinities between Shakespeare’s art and Ellington’s own, suggesting in several ways that the analogy is not superficial but thoroughgoing.