One could say that Duke Ellington (1899-1974) devoted his entire career to celebrating Black people and Black life in music. But, like many Black musicians of his generation, he was very cautious about discussing racism and civil rights with white hosts on TV and radio.
The Duke knew his talent didn't exempt him from the prejudices inherent in being a Black man. And so much of his music is a response to those prejudices....
Lewis, many thanks for another revelatory post. The anecdote about his stopping at a gas station south of Chicago and being refused service is so telling.
Yes, it's not the kind of thing he usually talked about. Possibly he felt, as many other Black artists did, that the Europeans were more open to discussing American racism.
Thanks for sharing! From what Claes states in his Swedish introduction, the interview was recorded on April 27 as he states that "Duke by the way celebrates his birthday on the day after tomorrow". The interview date is also discussed on that day in “The Duke Where and When” although the conclusion is wrong.
Hello Bo, thank you for this! I think that April 27 is the broadcast date as stated in TDWAW. I will add that to my posting. Remember, Claes's introduction was recorded separately, and he knew in advance what day it was going to be broadcast. Why do you think that TDWAW is wrong?
The Claes Dahlgren 30 minute show “Jazzglimtar från USA” (Jazz Flashes from USA) was broadcast about once a month by the public service Swedish Broadcast Company. The broadcast weekdays were not fixed. At that time, Sweden had two public service radio channels and one TV channel. There were no legal commercial broadcasts. As can be seen from program schedules in newspapers, the show was broadcast on Mach 14, 1961, April 27, and May 25. So the Ellington interview was really broadcast on April 27. Since Dahlgren wrote his manuscript April 14, the interview should have been recorded prior to that day. But we don’t know when; it could even have been recorded long before and saved just for being broadcast two days before the Ellington birthday celebration.
My comment on TDWAW being wrong was not accurate; what I meant was that the statement was based on reasoning without exact facts.
I understand and thank you for your skill in doing this good research. I have edited my post in accord with your information—except that I did not say that it might have been recorded long before. The reason for that is that the Dahlgren archive informed me that the scripts were usually written very soon after the interviews (sometimes on the same day). Therefore it is most likely--but not definite-- that the interview was done in the month of April. THANK YOU!
Coming up, I played with lots of Black musicians. Many of them famous and great players The criteria was if you could play you belonged. If you didn't, don't even attempt play or get on the bandstand.I learned a lot in those days.
Sadly I think today it might be a little different. There are are some black musicians who will not play jazz with white musicians, claiming it is black music and whites don't have the right to play it.
Couldn't buy a stick of gum--both Orlando Patterson and, recently, Isabel Wilkerson write about the "invisible" (as per Ellison) or "untouchable" caste, who often are captives taken in war. So it becomes the "law of the land." Those who follow this "law" don't think twice about it--any more than the MAGA group sees no flaw in their position. Yet in New Orleans, Black and White musicians played often together. As Dom Minasi has noted, "if you could play you belonged." PG
The Duke knew his talent didn't exempt him from the prejudices inherent in being a Black man. And so much of his music is a response to those prejudices....
Absolutely true.
Lewis, many thanks for another revelatory post. The anecdote about his stopping at a gas station south of Chicago and being refused service is so telling.
Yes, it's not the kind of thing he usually talked about. Possibly he felt, as many other Black artists did, that the Europeans were more open to discussing American racism.
Thanks for sharing! From what Claes states in his Swedish introduction, the interview was recorded on April 27 as he states that "Duke by the way celebrates his birthday on the day after tomorrow". The interview date is also discussed on that day in “The Duke Where and When” although the conclusion is wrong.
Hello Bo, thank you for this! I think that April 27 is the broadcast date as stated in TDWAW. I will add that to my posting. Remember, Claes's introduction was recorded separately, and he knew in advance what day it was going to be broadcast. Why do you think that TDWAW is wrong?
The Claes Dahlgren 30 minute show “Jazzglimtar från USA” (Jazz Flashes from USA) was broadcast about once a month by the public service Swedish Broadcast Company. The broadcast weekdays were not fixed. At that time, Sweden had two public service radio channels and one TV channel. There were no legal commercial broadcasts. As can be seen from program schedules in newspapers, the show was broadcast on Mach 14, 1961, April 27, and May 25. So the Ellington interview was really broadcast on April 27. Since Dahlgren wrote his manuscript April 14, the interview should have been recorded prior to that day. But we don’t know when; it could even have been recorded long before and saved just for being broadcast two days before the Ellington birthday celebration.
My comment on TDWAW being wrong was not accurate; what I meant was that the statement was based on reasoning without exact facts.
I understand and thank you for your skill in doing this good research. I have edited my post in accord with your information—except that I did not say that it might have been recorded long before. The reason for that is that the Dahlgren archive informed me that the scripts were usually written very soon after the interviews (sometimes on the same day). Therefore it is most likely--but not definite-- that the interview was done in the month of April. THANK YOU!
Dahlgren's interview goes too fast. I heard a lot of his shows so I know what he sounds like. Could it be my computer that is wrong?
/Martin
Hmm--I don't know. It sounds right to me--Claes's voice and also Duke's voice. Maybe try playing it again?
Coming up, I played with lots of Black musicians. Many of them famous and great players The criteria was if you could play you belonged. If you didn't, don't even attempt play or get on the bandstand.I learned a lot in those days.
Sadly I think today it might be a little different. There are are some black musicians who will not play jazz with white musicians, claiming it is black music and whites don't have the right to play it.
Yes, it's a complicated issue. I too have worked with many black musicians over the years, and still do.
Couldn't buy a stick of gum--both Orlando Patterson and, recently, Isabel Wilkerson write about the "invisible" (as per Ellison) or "untouchable" caste, who often are captives taken in war. So it becomes the "law of the land." Those who follow this "law" don't think twice about it--any more than the MAGA group sees no flaw in their position. Yet in New Orleans, Black and White musicians played often together. As Dom Minasi has noted, "if you could play you belonged." PG
Exactly. As Duke said, the young woman seemed very nice, but she didn't think twice, as you say, about saying what she was supposed to say.