Customer Reviews

Black Brown & Beige

5 star:		(10)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

The idea of an extended jazz work more suitable for the concert hall than dance floor was nothing new, Gershwin had gone down that road in 1924 with "Rhapsody in Blue." But Ellington's "Black, Brown & beige," is light years ahead of "Rhapsody," both harmonically (listen to Ellington's orchestration of "Come Sunday") and in capturing that fiery spirit and spirituality which seemed to elude Gershwin. Ellington's band could swing with the best of them, but there is also quite a bit of extrodinary detail in this work. His orchestration is a sure-footed as anything you find in the works of his more classically-minded contemporaries (e.g Hanson, Piston, Bernstien or Barber) and certainly his melodic sense is similarly refined. It really shouldn't have come as any surprise that Ellington would venture out into the concert world; as far back as the early 30's he was producing works of astonishing complexity - look no further than "Ko-Ko" for proof of that. A great recording, essential to any student or lover of Swing - and that not even considering Mahalia Jackson's stunning vocals.

Ellington's "Black, Brown, & Beige" ranks as probably his most ambitious work and the one in which he made his heaviest emotional investment. When critics mauled its premiere in the early Forties, Ellington more or less withdrew it. Fifteen years later, he brought it back, substantially reworked, and with at least two of the original movements gone. We get here a kind of Official Portrait of, in my opinion, a more interesting original, but it's still an extraordinarily beautiful work. Also, the Ellington band plays the bejeezus out of it. Ellington wanted Mahalia Jackson for the recording. She had doubts, but Ellington soothed her out of them. Good thing, too. Her "Come Sunday" (written especially for her) ranks as one of her most extraordinary, uplifting performances, and that's saying something. I also love the solos from John Sanders on valve trombone and especially Ray Nance on violin. Grappelli, eat your heart out!

Firstly, I want to address an errror in the songlisting: Mahalia Jackson does not "swear" on this CD. Where did that come from? On the title track # 15 (the track in question) Mahalia says; "Aww Duke, you finna (Fixing to) cut this too!?... Jesus." Who heard a cuss word in that?

Anyway, I have only heard of this project in Mahalia's and Ellington's bios. I had never had an opportunity to hear it until recently. The majesty of the Duke's arrangements are classical in their approach with a feeling of a sacred contata. At times while listening I was reminded of musical arrangements such as "Porgy and Bess". Duke Ellington's jazz flourishes are well represented and present throughout the sections they are more subdued and less prominent on the "Twenty-Third Psalm" and "Come Sunday".

At times the CD is difficult to listen to as a entire project. It lacks fluidity because it's divided in the way the CD is formatted. I would've preferred the project be presented with the sections that comprised the original release with the previously unreleased sections as an addendum. The additions are what sounds like rehearsal outakes or re-takes because of errors; as in once instance Mahalia's need to cough. My disatisfaction with the formatt does not diminish the commanding performances of the Ellington Orchestra or Mahalia Jackson's rich and soaring contralto. On the acappela version of "Come Sunday" she is absolutely magnificent. This was recorded during a period in her career where her voice was matured and at its most lucious. The bottom of her voice is deep and resonant. Her upper register is in the mezzo-sporano range; simply beautiful. Her characteristic mispronunciations and her pronounced New Orleans accent are the only things that keep this song from passing as an operatic solo.

This is jazz and the sacred at its pinnacle. A superb blend. I'm glad I made the decision to track it down and purchse it. You will too.

When I first began learning about Ellington eight years ago, one of the first things I read about was "Black, Brown & Beige." Perhaps his most ambitious composition, certainly one of his most famous, it was underappreciated when it first premiered in 1943, and unfortunately, the 'original' arrangement was never given a proper a studio recording. Fortunately, the celebrated Carnegie Hall performance was recorded and is available, but Ellington would later re-work "Black, Brown & Beige" in the studio a number of times.

THIS CD, featuring Mahalia Jackson, is roughly the third time Ellington would record "Black, Brown & Beige," depending on how you count, and like all of his re-workings, it has much to love. It's actually not fair to label it as a 're-working,' because to some, that suggests a work that has been ruined or mutilated. Far from it, this is actually a wonderful and moving performance, a beautiful re-interpretation that greatly benefits from the presence of Mahalia Jackson. The themes from "Work Song" and "Come Sunday" still sound transcendant; the new arrangement works off them, building on the spiritual tone that has always been inherent in this piece and becomes overtly apparent when Mahalia is introduced on Part IV.

For someone just getting acquainted with "Black, Brown & Beige," this CD may be the most accessible version, especially if you're new to jazz. However, I'd recommend this CD to anyone. This release was actually a re-issue coinciding with Duke's centennial, and the packaging is done very well - original liner notes plus new ones from Monsignor John Sanders and producer Phil Schaap. Best of all is the bonus tracks, which include a complete, alternate version to the entire album: Mahalia performs a wonderful a cappella version of "Come Sunday," and though her alternate performance on Part IV isn't flawless like the master, it reaches greater heights; the alternate Part V, featuring Ray Nance on violin, is also markedly different from the master, and some may prefer it. In terms of sound, this re-issue does sound pinched and shrill - whenever Schaap is involved with the mastering, he always pushes for this sound, which is how he likes it - so I'd recommend turning down the treble. Regardless, this is a great album, a great re-interpretation and an Ellington classic.

With great sound, good linear notes and an incredible program, with all the alternate takes you'll want. Now, Duke never recorded the original 'Black Brown and Baige' complete, so this is only an excerpt. He only played it complete a couple of times, being the most notable the Carnegie Hall in 1943. I own this Columbia release, the 1943 live version in Carnegie Hall and the RCA version recorded before the Columbia. To me, the best is the RCA version, mainly because of the good sound quality and Johnny Hodges on Come Sunday and the incredible track "the Blues", which is missing on this version. The RCA version can be obtained in 'the complete mid forties recordings', one of the best collections of Ellington in the market.

I've enjoyed the music of Mahalia Jackson, the favorite singer of my grandmother, all my life. The famous Duke Ellington, on the other hand, was someone who I didn't encounter until an Ella Fitzgerald album when I heard the arrangement for "I Let A Song Go Out Of My Heart". At that point, I was sold; but I didn't know where to start. I choose this album because it featured Mahalia's familiar face, and, by far, the choice was good one. Ellington's music is very moving and understanding the concepts behind them make the listening experience richer; I enjoy this album most while reading. I reccomend this album to anyone who appriciates a soaring voice like Mahalia's and outstanding music by the inimitable Duke Ellington.

Além de ser diferente do que nos habituamos a ouvir da orquestra de Duke Ellington, Black, Brown & Beige traz a incrivel cantora de spirituals Mahalia Jackson. Eu não sou grande entusiasta dessas formas rebuscadas de jazz mas Duke dá conta do recado muito bem. Mas a voz de Mahalia é uma coisa do outro mundo. Os outtakes trazem uma versão a capella de Come Sunday que é de arrepiar qualquer ateu. Nota 1000.

Mahalia, generally speaking DIDN'T record (or sing for that matter) jazz, soul, r&b and other genres;
but she had a high opinion of Duke's work and Duke's orchestra (not a huge surprise there) and he did give her a role that goes well with her religious convictions: she was to sing the religious segment of the African American historical experience... Something she was famous for...
So, this is not a typical Ellington orchestra album, but it's a great album nevertheless, with LOVELY and emotional contributions by Ray Nance, Harry Carney, John Sanders, Quentin Jackson, Cat Anderson, Shorty Baker (...) and the Duke himself.

Additional tracks (two of which I already have on my CBS Jazz Masterbieces "Blues in Orbit" CD - Duke Ellington: Blues in Orbit (Columbia Jazz Masterpieces))
are very, very welcome, even if they sometimes dilute the sheer beauty of the core performances of the album, the selected parts from "Black, Brown and Beige" suite. For me, Ellington's music shows continuous development from the late 1920s until the 1960s (I haven't yet listened to the last few years of his orchestrations) so, this peculiar album is something that will repeatedly find its way to my CD player.

No reason to knock Gershwin to praise this composition and performance by the Duke Ellington Orchestra, with the amazing Mahalia Jackson. This is an exquisite, beautiful, moody, and emotional piece of music. It is not really a departure from what we know about Ellington from his song compositions...just a longer and deeper journey. If you are a fan of Ellington's incredible oeuvre of superbly arranged songs, this will introduce you to something perhaps even greater, if that's possible. You just get to stay with Ellington's muse a lot longer. The performance and sound quality are sublime.

Here I found something, I never expected: Mahalia Jackson in combination with Duke Ellington. What a pleasant surprise for an old Jazz addikt. Especially the up to now unreleased selections are a valuable addition to my collection.