In a Mellow Tone

In a Mellow Tone (also known under the title In a Mellotone ) is a jazz song Duke Ellington composed and published in 1940. He is developing into a jazz standard.

Background of the composition

The Duke Ellington Orchestra since 1939 was " in better shape " than ever before " and gathered almost the crème of swing musicians "; The band was strongly influenced by the newly added musician Ben Webster, Jimmy Blanton and Billy Strayhorn. Furthermore, it was Ellington managed to separate himself from his manager and publisher Irving Mills.

Ellington's composition In a Mellow Tone belonged to the series of pieces with his orchestra from March to October 1940 grossed the pianist for Victor, like the Concerto for Cootie, Cotton Tail, Bojangles, Harlem Air Shaft, Warm Valley and Ko-Ko, which are considered classic pieces of this ' " Blanton -Webster band" '. The piece was first recorded on September 5, 1940 in Chicago.

Musical Analysis

The song is based on the harmonies of the older jazz standards Rose Room, the Art Hickman and Harry Williams had written in 1917. This topic affects reef -like. The piece is held in the form of a song ABAC and includes 32 bars. Since the interpreted in the medium - swing tempo piece is consistently written in a major key, it acts carefree. It has a four-bar intro.

In the first recording of the band was " at its best": " Ellington's character tables block chords, Blanton's casual bass lines and solos by the mischievous Cootie Williams and Johnny Hodges " gave rise to the " a classic recording session ." Hodges played his solo in double time.

Reception

Unlike other recordings of Ellington, the piece was not a hit; its long-term success it achieved because of the skillful arrangements and the way in which the Ellington musicians einpassten. Therefore, the original version is still considered important recording. Ruland particularly emphasizes the role of Johnny Hodges, who " all presented with liquid, loose game as SwingStar. "

Other recordings

Not only followers of Ellington as Ben Webster and Paul Gonsalves took up the piece; also rival Count Basie took it to the repertoire. Numerous recordings followed, such as Oscar Peterson (1952 ), Erroll Garner (1954 ), Coleman Hawkins ( 1957), Gerry Mulligan (1959 ), Jimmy Smith ( 1962), Benny Carter, Milt Jackson, Joe Pass, John Dankworth, Art Pepper Mel Lewis and Ellis Marsalis.

Versions with Text

Only in the 1950s, the text was written for the play, which was simple, yet very catchy and was entered for the producer Milt Gabler as author. In a warm tone you feel is chic and free, and be not alone, but have company. Everything is good, because with a warm song nothing could go wrong. This text led to vocal interpretations of Sarah Vaughan (1979 ), Lambert, Hendricks & Ross, then of Tony Bennett or Manhattan Transfer. As a reference recording applies here Ella Fitzgerald's recording of 1957 on their Ellington album.