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Back to Duke Ellington Memorial Service – London – June 1974

Duke Ellington Memorial Service – London – June 1974 002

Duke Ellington Memorial Service – London – June 1974 002

Inside pages of the programme for a memorial service following the death of Duke Ellington.

Image Details

Catalogue Reference Number NJA/PRO/15
Creator
Date Made 1974
Item Format Programme
Title or Caption

This text has been generated by computer from the image and may contain typographical and/or grammatical errors.

A MEMORIAL SERVICE FOR DUKE ELLINGTON
Organ Prelude:
Introduction:
Music:
The Lesson : Music:
Prayers: Address: Music:
Closing Prayer and the Blessing: Recessional Music:
The Music of Duke Ellington played by Robert Vincent, Master of Music,
St. Martin-in-the-Fields.
The Rev. Austen Williams, Vicar of St. Martin-in-the-Fields.
“Gloria” from The Bloomsbury Mass,
(Ian Hall): The Singers, led by Ian Hall, Organist and Director of Music, St. Michael’s, Chester Square, London. “Come Sunday” from Black Brown and Beige (Duke Ellington): played by The Musicians —
John Dankworth, Danny Moss, Tommy Whittle, Mike Page (reeds), Humphrey Lyttelton (trumpet), Chris Barber, Mike Gibbs (trombones), Stan Tracey (piano), Lennie Bush (bass), Tony Crombie (drums).
taken from Samuel, Book 2, Chapter 6, and read by the Hon. Gerald Lascelles.
“In a Mellotone” (Duke Ellington): played by The Musicians.
“Prelude to a Kiss” (Gordon, Mills, Ellington): played by Stan Tracey (piano)
led by The Rev. Austen Williams, given by Derek Jewell.
“Mood Indigo”, (Ellington, Mills, Bigard): sung by Cleo Laine, with Larry Adler (harmonica) and The Musicians.
“Never No Lament” (Duke Ellington): performed by The Singers and The Musicians.
led by The Rev. Austen Williams.
“Let Us Break Bread Together” (trad, spiritual) — Cleo Laine and The Choir.
The Music of Duke Ellington, played by The Musicians.
The words of Duke Ellington
“I’m not old enough to be historical, and I’m too young to be biographical. Biographies are like tombstones. Who wants one?”
“I’m not worried about creating music for posterity.
I just want it to sound good right now.”
In performance: “And now, ‘Creole Love Call’, — 1927.1 shall never forget 1927.1 was three weeks old that year.”
“I like great big ole tears. That’s why I liked Whetsol. When he played the Funeral March in ‘Black and Tan Fantasy’ I used to see great big ole tears running down people’s faces . . . Bubber used to say,
‘If it ain’t got swing, it ain’t worth playin’;
‘if it ain’t got gutbucket, it ain’t worth doin’.”
“Screaming about civil rights on stage doesn’t make a show. It’s all right for some cat on a soapbox, but in the theatre you’ve got to find some way of saying it, you dig. At the end of My People, we’ve got the song,
‘What Colour is Virtue, What Colour is Love?’ You know?”
“I’m so damned fickle, I never could stick with what I was doing. Always wanted to try something new.”
“I had three educations — the street corner, going to school, and The Bible. The Bible is the most important. It taught me to look at a man’s insides instead of the outside of his suit.”
Of serious fans, who questioned his performing for jive dancing in ballrooms: “If they’d been told it was a Balkan folk dance, they’d think it was wonderful.”
“All the kids in the band want you to know that we do love you madly.”
Of his Sacred Concerts: “Now I can say loudly and openly what I’ve been saying to myself for years on my knees.”