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Laura N. Josephson                                          Josephson 1
Professor Bennett
Humanities 2710
08 May 2002

              Ellington's Adventures in Music and Geography


      In studying the influence of Latin American, African, and Asian

music on modern American composers, music historians tend to discuss

such figures as Aaron Copland, George Gershwin, Henry Cowell, Alan

Hovhaness, and John Cage (Brindle, Griffiths 104-39, Hitchcock 173-98).

They usually overlook Duke Ellington, whom Gunther Schuller rightly

calls "one of America's great composers" (318), probably because they

are familiar only with Ellington's popular pieces, like "Sophisticated

Lady," "Mood Indigo," and "Solitude."  Still little known are the many

ambitious orchestral suites Ellington composed, several of which, such

as Black, Brown, and Beige (originally entitled The African Suite), The

Liberian Suite, The Far East Suite, The Latin American Suite, and Afro-

Eurasian Eclipse, explore his impressions of the people, places, and

music of other countries.

      Not all music critics, however, have ignored Ellington's

excursions into longer musical forms.  In the 1950s, for example, while

Ellington was still alive, Raymond Herricks compared him with Ravel,

Delius, and Debussy:


            The continually enquiring mind of Ellington [ . . . ] has

            sought to extend steadily the imaginative boundaries of the

            musical form on which it subsists.  [ . . . ] Ellington since

            the mid-1930s has been engaged upon extending both the

            imagery and the formal construction of written jazz. (122-23)


Ellington's earliest attempts to move beyond the three-minute limit

were continued on the next page of this paper, and remain unknown to us.