Duke Ellington Memorial Service – London – June 1974 002
Inside pages of the programme for a memorial service following the death of Duke Ellington.
|Catalogue Reference Number||NJA/PRO/15|
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This text has been generated by computer from the image and may contain typographical and/or grammatical errors.
ï»¿A MEMORIAL SERVICE FOR DUKE ELLINGTON
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,
The Rev. Austen Williams, Vicar of St. Martin-in-the-Fields.
âGloriaâ from The Bloomsbury Mass,
(Ian Hall): The Singers, led by Ian Hall, Organist and Director of Music, St. Michaelâs, Chester Square, London. âCome Sundayâ from Black Brown and Beige (Duke Ellington): played by The Musicians â
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.
âIn a Mellotoneâ (Duke Ellington): played by The Musicians.
âPrelude to a Kissâ (Gordon, Mills, Ellington): played by Stan Tracey (piano)
led by The Rev. Austen Williams, given by Derek Jewell.
âMood Indigoâ, (Ellington, Mills, Bigard): sung by Cleo Laine, with Larry Adler (harmonica) and The Musicians.
âNever No Lamentâ (Duke Ellington): performed by The Singers and The Musicians.
led by The Rev. Austen Williams.
âLet Us Break Bread Togetherâ (trad, spiritual) â Cleo Laine and The Choir.
The Music of Duke Ellington, played by The Musicians.
The words of Duke Ellington
âIâm not old enough to be historical, and Iâm too young to be biographical. Biographies are like tombstones. Who wants one?â
âIâm not worried about creating music for posterity.
I just want it to sound good right now.â
In performance: âAnd now, âCreole Love Callâ, â 1927.1 shall never forget 1927.1 was three weeks old that year.â
âI like great big ole tears. Thatâs why I liked Whetsol. When he played the Funeral March in âBlack and Tan Fantasyâ I used to see great big ole tears running down peopleâs faces . . . Bubber used to say,
âIf it ainât got swing, it ainât worth playinâ;
âif it ainât got gutbucket, it ainât worth doinâ.â
âScreaming about civil rights on stage doesnât make a show. Itâs all right for some cat on a soapbox, but in the theatre youâve got to find some way of saying it, you dig. At the end of My People, weâve got the song,
âWhat Colour is Virtue, What Colour is Love?â You know?â
âIâm so damned fickle, I never could stick with what I was doing. Always wanted to try something new.â
âI had three educations â the street corner, going to school, and The Bible. The Bible is the most important. It taught me to look at a manâs insides instead of the outside of his suit.â
Of serious fans, who questioned his performing for jive dancing in ballrooms: âIf theyâd been told it was a Balkan folk dance, theyâd think it was wonderful.â
âAll the kids in the band want you to know that we do love you madly.â
Of his Sacred Concerts: âNow I can say loudly and openly what Iâve been saying to myself for years on my knees.â
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