0 - 521 - 88119 - 7 - The Cambridge Companion to Duke Ellington
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چکیده
Abrams, Muhal Richard, 272 Absinthe, 191 Acht O’Clock Rock, 176 Across the Track Blues, 123, 176 Ad Lib on Nippon, 62, 162, 178, 207, 208, 258 Adams, Stephen, 215 Adler, Richard, 158 Adventures in Jazz (television), xvii Aesthetic Realism, 1, 4, 14, 17 Afro-Bossa (LP), xviii, 38, 158, 257 Afro-Eurasian Eclipse, The, xx, 52, 64, 165, 210, 222, 259 After All, 190 Agnew, Spiro, 164 Agra, 194, 258 Ailey, Alvin, xx, 165, 225 Air Conditioned Jungle, xvi, 46, 135 Alexander, Clifford Jr., 159 Alexander’s Ragtime Band, 235 Ali, Muhammad, 166 All American in Jazz (LP), 194, 257 All Too Soon, xvi, 122 Allah Bye, 191 All-Star White House Tribute to Duke Ellington (CD), xix Almighty God Has Those Angels, 260 Alvis, Hayes, xv, 119 Amad, 194, 258 American Ballet Company, xx American Federation of Musicians (AFM), xvi, 126, 131, 250 American in Paris, An, 6, 230 Amos ’n’ Andy, 102, 108 Anatomy of a Murder, xviii, 134, 147–48, 150, 152, 155, 180, 192, 255 . . .And His Mother Called Him Bill (LP), xix, 163, 195 Anderson, Cat, xvi, xviii, 45, 46, 141, 145, 148, 149, 163, 166, 204, 219, 226, 256 Anderson, Edmund, 154, 189, 238 Anderson, Ivie, xv, xvi, 57, 106, 111, 112, 126, 177, 191, 233, 239 Anderson, Marian, 127, 166 Antheil, George, 73 Apollo Theater (New York), xv, 265 Appo, William, 75 Aquacade, xvii, 151 Argentina, 63, 164 Argue, Darcy James, 273 Aristocracy à la Jean Lafitte, 165 Arlen, Harold, 112, 158, 229 Armstrong, Louis, xviii, 89, 155–56, 165, 166, 241, 255, 259 Arnaz, Desi, 153 ASCAP, xvi, 49, 124, 190, 242 Ashby, Harold, xix, 163, 166, 256 Asphalt Jungle (television), xviii Assault on a Queen (film), xix, 155, 255 At Basin Street East (CD), xix At the Bal Masque (LP), xviii, 194, 257 At the Hollywood Empire (CD), xvii Auer, Karl, 132 Austin, Charlotte, 233 Austin, Gene, 233 Avakian, George, 136, 141, 142, 149 Awful Sad, 94–95, 102, 223 Azalea, 156 Azure, xv, 220
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Since the beginning of Duke Ellington’s career as composer and leader of his own jazz orchestra in the 1920s, a common critical theme has been the comparison with European art music composers such as Delius and Debussy. Assertions such as Constant Lambert’s 1934 statement that Duke Ellington set a “standard by which we may judge . . . highbrow composers” focused on the complex compositional dev...
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