Duke Ellington and Queen Elizabeth…who knew?
Duke Ellington in 1959, and without any desire to make money or even generating publicity from the incident—which took place in secret, without fanfare or press releases, created a unique album solely for the pleasure of giving it to Queen Elizabeth. With the help of Billy Strayhorn, he composed The Queen’s Suite, had one record manufactured—and sent it directly to Buckingham Palace, solely intended for Her Majesty’s ears.
In a historic Duke-meets-Queen encounter the previous year, Ellington served up his famous charm for the monarch. When she asked him whether this was his first visit to Britain, Duke replied that his initial trip to London was in 1933, “way before you were born.” This was out-and-out flattery, because Queen Elizabeth had been born in 1926—but she played along with the game. “She gave me a real American look,” he later recalled, “very cool man, which I thought was too much.”
Give Duke credit for savviness. He understood that even a queen wants to hear how young she looks. Ellington followed up saying that Her Majesty “was so inspiring that something musical would come out of it.” She told him that she would be listening.
According to Ellington’s son Mercer, his father began working on the music to The Queen’s Suite as soon as he got back to his hotel room. He enlisted colleague and collaborator Billy Strayhorn. In addition to royal inspiration, the work also borrowed from the natural world: the opening movement draws on birdsong heard during a Florida visit, another section was a response to an unexpected encounter with “a million lightning bugs” serenaded by a frog. The best known part of the Suite, “The Single Petal of a Rose,” was spurred by a floral display on a piano at a friend’s home.
This latter movement has even entered the jazz standard repertoire as a standalone piece. It is most often performed by pianists, and has been recorded by Marcus Roberts, Marian McPartland, Sir Roland Hanna, John Hicks, Bill Mays, James Williams, and Andy LaVerne, as well as Ellington himself.
By early 1959, the finished work was ready for performance. The Queen’s Suite was now a 20-minute work in six movements. The band recorded it over the course of three sessions in February and April 1959. A single golden disc was made, and sent to Buckingham Palace. In order to ensure that no other copies were released, Ellington reimbursed Columbia, his label, some $2,500 in production costs, and thus retained personal ownership of the master tapes.
The original score to The Queen’s Suite is now in the collection of the National Museum of American History. I’m not sure where that single recording is nowadays—but Duke made certain that the music was never released during his lifetime. Not many people even knew about the existence of this recording, which was a kind of secret between him and the Queen. Yet, according to producer Irving Townsend, Ellington worked harder on this music than any other piece during that period.
What was the Queen’s response at the time? We will never know. But I note that as recently as 2019, Her Majesty surprised British jazz musician Gary Crosby by mentioning how much she admired Duke Ellington. And that same year, she made specific reference to The Queen’s Suite in a conversation with saxophonist Tommy Smith.
Few Ellington fans were aware of the story behind this music during the artist’s lifetime, but parts of the Suite showed up in his repertoire. “The Single Petal of a Rose” became a particular favorite with audiences.
Finally in 1976, two years after Ellington’s death, the piece appeared on an album entitled The Ellington Suites, released by Norman Granz. A few months later, that record won a Grammy.
With the recent passing of Britain’s Queen Elizabeth, here is a little known story of their jazz connection from their meeting in 1959.
Duke Ellington in 1959, and without any desire to make money or even generating publicity from the incident—which took place in secret, without fanfare or press releases, created a unique album solely for the pleasure of giving it to Queen Elizabeth. With the help of Billy Strayhorn, he composed The Queen’s Suite, had one record manufactured—and sent it directly to Buckingham Palace, solely intended for Her Majesty’s ears.
In a historic Duke-meets-Queen encounter the previous year, Ellington served up his famous charm for the monarch. When she asked him whether this was his first visit to Britain, Duke replied that his initial trip to London was in 1933, “way before you were born.” This was out-and-out flattery, because Queen Elizabeth had been born in 1926—but she played along with the game. “She gave me a real American look,” he later recalled, “very cool man, which I thought was too much.”
Give Duke credit for savviness. He understood that even a queen wants to hear how young she looks. Ellington followed up saying that Her Majesty “was so inspiring that something musical would come out of it.” She told him that she would be listening.
According to Ellington’s son Mercer, his father began working on the music to The Queen’s Suite as soon as he got back to his hotel room. He enlisted colleague and collaborator Billy Strayhorn. In addition to royal inspiration, the work also borrowed from the natural world: the opening movement draws on birdsong heard during a Florida visit, another section was a response to an unexpected encounter with “a million lightning bugs” serenaded by a frog. The best known part of the Suite, “The Single Petal of a Rose,” was spurred by a floral display on a piano at a friend’s home.
This latter movement has even entered the jazz standard repertoire as a standalone piece. It is most often performed by pianists, and has been recorded by Marcus Roberts, Marian McPartland, Sir Roland Hanna, John Hicks, Bill Mays, James Williams, and Andy LaVerne, as well as Ellington himself.
By early 1959, the finished work was ready for performance. The Queen’s Suite was now a 20-minute work in six movements. The band recorded it over the course of three sessions in February and April 1959. A single golden disc was made, and sent to Buckingham Palace. In order to ensure that no other copies were released, Ellington reimbursed Columbia, his label, some $2,500 in production costs, and thus retained personal ownership of the master tapes.
The original score to The Queen’s Suite is now in the collection of the National Museum of American History. I’m not sure where that single recording is nowadays—but Duke made certain that the music was never released during his lifetime. Not many people even knew about the existence of this recording, which was a kind of secret between him and the Queen. Yet, according to producer Irving Townsend, Ellington worked harder on this music than any other piece during that period.
What was the Queen’s response at the time? We will never know. But I note that as recently as 2019, Her Majesty surprised British jazz musician Gary Crosby by mentioning how much she admired Duke Ellington. And that same year, she made specific reference to The Queen’s Suite in a conversation with saxophonist Tommy Smith.
Few Ellington fans were aware of the story behind this music during the artist’s lifetime, but parts of the Suite showed up in his repertoire. “The Single Petal of a Rose” became a particular favorite with audiences.
Finally in 1976, two years after Ellington’s death, the piece appeared on an album entitled The Ellington Suites, released by Norman Granz. A few months later, that record won a Grammy.
Alternative Recording # 2 ‘Caillou’s Buddy’
When recording my latest CD 'Jawanza Kobie Jazz Composer' as part of the process of recording, several takes of tracks were recorded. Then the best track is selected for the final version to appear on the CD. All recordings by other artist are done in the same way. Well I also recorded the same tracks of the tunes with different takes, but in this case I rerecorded the entire tune with another band altogether. This take of 'Caillou’s Buddy’ was recorded and mixed but not mastered (final process in the recording) and was not used for the CD. You're exclusively hearing for the first time, the alternate version of the tune with these fine musicians. I ultimately used the original 1st recording with another band for the CD.
When recording my latest CD 'Jawanza Kobie Jazz Composer' as part of the process of recording, several takes of tracks were recorded. Then the best track is selected for the final version to appear on the CD. All recordings by other artist are done in the same way. Well I also recorded the same tracks of the tunes with different takes, but in this case I rerecorded the entire tune with another band altogether. This take of 'Caillou’s Buddy’ was recorded and mixed but not mastered (final process in the recording) and was not used for the CD. You're exclusively hearing for the first time, the alternate version of the tune with these fine musicians. I ultimately used the original 1st recording with another band for the CD.
Classical Music Practice
I recently purchased Chopin Preludes and Nocturnes along with other classical music to practice. I have not practiced classical music consistently for quite some time now. Occasionally I worked on Gershwin preludes and Bach Inventions (musical term) that I use to know from memory some 40+ years ago :o) but like all things as the saying goes 'if you don't use it, you lose it'. So here I am mistakes and all sight reading one of the easier Preludes no. 4. Hopefully doing this consistently this will improve my playing in other areas. I'll post progress videos (if there is any progress :o) in the future.
I recently purchased Chopin Preludes and Nocturnes along with other classical music to practice. I have not practiced classical music consistently for quite some time now. Occasionally I worked on Gershwin preludes and Bach Inventions (musical term) that I use to know from memory some 40+ years ago :o) but like all things as the saying goes 'if you don't use it, you lose it'. So here I am mistakes and all sight reading one of the easier Preludes no. 4. Hopefully doing this consistently this will improve my playing in other areas. I'll post progress videos (if there is any progress :o) in the future.
Blog Post Title Two
It all begins with an idea.
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
Don’t worry about sounding professional. Sound like you. There are over 1.5 billion websites out there, but your story is what’s going to separate this one from the rest. If you read the words back and don’t hear your own voice in your head, that’s a good sign you still have more work to do.
Be clear, be confident and don’t overthink it. The beauty of your story is that it’s going to continue to evolve and your site can evolve with it. Your goal should be to make it feel right for right now. Later will take care of itself. It always does.
Blog Post Title Three
It all begins with an idea.
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
Don’t worry about sounding professional. Sound like you. There are over 1.5 billion websites out there, but your story is what’s going to separate this one from the rest. If you read the words back and don’t hear your own voice in your head, that’s a good sign you still have more work to do.
Be clear, be confident and don’t overthink it. The beauty of your story is that it’s going to continue to evolve and your site can evolve with it. Your goal should be to make it feel right for right now. Later will take care of itself. It always does.
Blog Post Title Four
It all begins with an idea.
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
Don’t worry about sounding professional. Sound like you. There are over 1.5 billion websites out there, but your story is what’s going to separate this one from the rest. If you read the words back and don’t hear your own voice in your head, that’s a good sign you still have more work to do.
Be clear, be confident and don’t overthink it. The beauty of your story is that it’s going to continue to evolve and your site can evolve with it. Your goal should be to make it feel right for right now. Later will take care of itself. It always does.