Synopses & Reviews
A major new biography of Duke Ellington from the acclaimed author of Pops: A Life of Louis Armstrong
Edward Kennedy Duke” Ellington was the greatest jazz composer of the twentieth century and an impenetrably enigmatic personality whom no one, not even his closest friends, claimed to understand. The grandson of a slave, he dropped out of high school to become one of the worlds most famous musicians, a showman of incomparable suavity who was as comfortable in Carnegie Hall as in the nightclubs where he honed his style. He wrote some fifteen hundred compositions, many of which, like Mood Indigo” and Sophisticated Lady,” remain beloved standards, and he sought inspiration in an endless string of transient lovers, concealing his inner self behind a smiling mask of flowery language and ironic charm.
As the biographer of Louis Armstrong, Terry Teachout is uniquely qualified to tell the story of the public and private lives of Duke Ellington. Duke peels away countless layers of Ellington's evasion and public deception to tell the unvarnished truth about the creative genius who inspired Miles Davis to say, All the musicians should get together one certain day and get down on their knees and thank Duke.”
"The revealing biography chronicles the life of the legendary jazz bandleader and composer, who conjured great music out of other men's ideas. Wall Street Journal critic Teachout (Pops: A Life of Louis Armstrong) presents a charismatic, charming, debonair man who brought a new artistic depth to a disreputable popular entertainment and a self-centered bastard who suavely manipulated everyone from his sidemen to his countless paramours. (His infidelities provoked his wife to slash him with a razor and a mistress to pull a gun when she caught him in bed with another woman.) Teachout's focus on his subject's creative process sometimes clashes with his assertion that Ellington was 'the greatest composer in the history of jazz'; the unevenness of the Duke's oeuvre and his reliance on tunes appropriated from writing partner Billy Strayhorn and other band members without proper crediting raises the question of whether his 'radically collaborative' methods really comport with our notion of a brilliant composer. Yet Ellington's crucial role as a shaper and solidifier of his band's improvisational musical outpourings comes through clearly in the book. Teachout neatly balances colorful anecdote with shrewd character assessments and musicological analysis, and he manages to debunk Ellington's self-mythologizing, while preserving his stature as the man who caught jazz's ephemeral genius in a bottle. Photos. Agent: Glen Hartley and Lynn Chu, Writers' Representatives." Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
Praise for Pops; A Life of Louis Armstrong:
“Teachout restores this jazzman to his deserved place in the pantheon of American artists.”
-The New York Times
"Thirty-eight years after Louis Armstrong's death, Terry Teachout has made the possible, possible: He has written a definitive narrative biography of the greatest jazz musician of the twentieth century."
-San Francisco Chronicle
“Teachout excels at conveying the interplay between Armstrong the artist and Armstrong the entertainer, and at examining the particular challenge of his legacy.”
-The New Yorker
“[An] exceptional biography… Upon finishing this definitive biography, the reader is instructed to flip to the discography, download every last song, listen and grin the hell back.”
-The Washington Post
Amazon Best Books of the Month, December 2009
“Crafted with a musician's ear and an historian's eye, Pops is a vibrant biography of the iconic Louis Armstrong that resonates with the same warmth as ol' Satchmos distinctive voice. Wall Street Journal critic Terry Teachout draws from a wealth of previously unavailable material - including over 650 reels of Armstrong's own personal tape recordings - to create an engaging profile that slips behind the jazz legend's megawatt smile. Teachout reveals that the beaming visage of "Reverend Satchelmouth" was not a mark of racial subservience, but a clear symbol of Louis's refusal to let anything cloud the joy he derived from blowing his horn. "Faced with the terrible realities of the time and place into which he had been born," explains Teachout, "he didn't repine, but returned love for hatred and sought salvation in work." Armstrong was hardly impervious to the injustices of his era, but in his mind, nothing was more sacred than the music.
“Teachout turns to another mighty pillar of 20th-century American culture, Louis Armstrong, a black man born at the turn of the century in the poorest quarter of New Orleans who by the end of his life was known and loved in every corner of the earth. … Teachout brings a fresh perspective… Teachout's portrait reminds us why we fell in love with Armstrong's music in the first place.”
-Publishers Weekly Starred Review
"To this fine, exhaustively researched...biography, Teachout brings an insider's knowledge--he was a jazz musician before launching a career as cultural critic and biographer."
-National Post The Afterword
"No one does better in exploring Armstrong's social context than Teachout."
Praise for The Skeptic: A Life of H.L. Mencken
“Teachout simplifies the process for the casual reader, distilling the weight of information on Mencken into a tidy, fascinating biography that has much of the neat phrasing and sly wit that the rancorous writer displayed himself.”
"A lively and unvarnished portrayal of a complex and fascinating figure."
-The Baltimore Sun
Praise for All in the Dances: A Brief Life of George Balanchine
“His book is pithy, conversational and vivid, touching on all the major points of Balanchine's life. ... Balanchine's ballets are modern masterpieces, and Teachout, moving chronologically from work to work, uses them as stepping stones to tell Balanchine's own story. This is highly recommended as a first book on the life and art of George Balanchine.”
“Funny, even catty… [Teachout] generates great excitement with his spirited descriptions of Balanchines triumphs.”
A Conversation with TERRY TEACHOUT, author of DUKE
Exactly how important a composer was Duke Ellington?
Ellington was the most important jazz composer of the twentieth century, and one of the greatest composers in any genre of music. Not only was he a major composer of purely instrumental music, but he wrote some of the centurys most successful popular songs, including “Mood Indigo” and “Sophisticated Lady,” many of which continue to this day to be performed and recorded. No jazz composer has left a deeper mark on world culture.
What kind of a person was he in private life? Was he trustworthy? Loyal? Honest?
Thats a tricky question! Like many geniuses, Ellington was almost entirely self-centered, though his selfishness didnt exclude kindness and benevolence—on his own terms. But a fair number of his sidemen considered him unscrupulous, and I cant say that I blame them for feeling that way.
Was Ellington as great a lover as hes said to have been?
Even greater, by all accounts. Throughout his life Ellington was catnip to women, and he rarely said “no” when they invited him into their beds. I didnt even try to count his lovers—I cant count that high.
Did Ellington really write all of his hit songs and instrumental compositions—or did he have unacknowledged collaborators?
He had many unacknowledged collaborators, starting with Billy Strayhorn, his closest musical associate. He wasnt a plagiarist, but to an extent thats not generally realized or fully understood by most of his fans, Ellington created his music collectively—though he was always the auteur, the man who made the ultimate decisions, and he was solely responsible for writing most of his major instrumental pieces. On the other hand, bits and pieces of the melodies of most of his big pop hits were written by his sidemen. To be sure, he usually gave credit where it was due, but not always, and he tried whenever possible to buy those bits and pieces for flat fees instead of cutting his collaborators in on the songwriting royalties.
What effect did Ellingtons middle-class family background have on his personality and music?
It was absolutely central to his personality—as well as to his music. Ellington saw himself as a member of the light-skinned black bourgeoisie, an elegant, cultivated gentleman who insisted on being taken seriously by the white world and performing not only in nightclubs but in concert halls.
For the uninitiated, what should be the three Ellington songs one should listen to first? Why?
Id start with “Ko-Ko,” Ellingtons most perfect instrumental composition, written and recorded in 1940. Its an explosively dynamic blues that comes as close as any record can to summing him up in three minutes. Then Id choose the original 1930 recording of “Mood Indigo,” which shows us Ellington in a quiet, pensive mood. Last of all, Id opt for the frenzied live recording of “Diminuendo and Crescendo in Blue” that he made in 1956 at the Newport Jazz Festival. Not only will that give you a taste of Ellingtons large-scale compositions, but its of enormous historical importance as well, for its popular success shaped the last part of his life.
What was the most surprising fact you came across in your research of his life?
Speaking as a musician and a scholar, I was most surprised by the extent of his borrowings from other musicians. I knew he was in the habit of doing so, but I didnt fully realize the extent to which his compositional process was shaped by his need to collaborate—which arose in large part from the fact that he found it difficult to write memorable tunes. (Ill admit, though, that the details of his very enthusiastic sex life occasionally surprised me as well!)
How did Duke get that scar on his face? Why was he so ashamed to show it?
Edna, his wife, attacked him with a razor when she found out in 1929 that he was sleeping with Fredi Washington, a beautiful black actress. I think he was ashamed of the scar because he hated the idea of anyone knowing that hed ever been at the mercy of a woman. He had enormously complicated feelings about women, a fascinating mixture of attraction, hatred, and—above all—distrust.
Now that youve extensively researched Duke Ellington and Louis Armstrong, who do you have more of an affinity for? Why?
Again, thats a tricky question. Louis Armstrong was clearly the more likable man, in part because his personality was so completely open and unguarded. Ellington, however, was far more intriguing, for the opposite reason: he only showed you what he wanted you to see, and nothing more. I guess Id have to say that I would have preferred to be Armstrongs friend—though I think it would have been great fun to hang out with Ellington on occasion. Im not sure I would have wanted to work for him, though.
"Compelling narrative flow...poised impartiality. . . .Teachout writes in an earthbound style marked by sound scholarship and easy readability. . . . Duke
humanizes a man whom history has kept on a pedestal.”
—The New York Times Book Review
“A thoroughly researched homage…Teachout delivers a Duke unlike any weve seen in previous biographies…At last, Teachout affirms that music was Ellingtons greatest mistress - and to her, the composer was unrelentingly loyal.”
“Comprehensive and well-researched…important….[an] entertaining and valuable biography.”
—Booklist, Starred Review
“Teachout gives much insight into Ellington's life, personality, working habits, and compositions. This work should appeal to Ellington enthusiasts as well as casual jazz fans.”
“Revealing…Teachout neatly balances colorful anecdote with shrewd character assessments and musicological analysis, and he manages to debunk Ellingtons self-mythologizing, while preserving his stature as the man who caught jazzs ephemeral genius in a bottle.”
"Terry Teachouts biography is destined to be the definitive biography of bandleader, composer, and complex man—Edward Kennedy “Duke” Ellington."
—The American Rag
One of The Daily Beasts Fall 2013 Must-Reads
Chosen as a Top 10 Music Book by Publishers Weekly
"Compelling narrative flow...poised impartiality. . . .Teachout writes in an earthbound style marked by sound scholarship and easy readability. . . . Dukeand#160;humanizes a man whom history has kept on a pedestal.and#8221;
and#8212;The New York Times Book Review
"Teachout is a sensitive writer, and one reason his biographies are moving is that he has obviously been giving himself an education in the realities of American racial history as he writes them."
and#8212;The New Yorker
"A thorough and fascinating portrait."
"A thoroughly researched homageand#8230;Teachout delivers a Duke unlike any weand#8217;ve seen in previous biographiesand#8230;At last, Teachout affirms that music was Ellingtonand#8217;s greatest mistress and#8211; and to her, the composer was unrelentingly loyal."
"This well-researched biography is sure to appeal to longtime jazz fans who revel in their memories of Ellington's work and others who may want to learn more about his fascinating life."
"Mr. Teachout adroitly chronicles how Ellington coaxed from his ensemble such timeless hits as and#8216;Mood Indigoand#8217;. . . . evokes the personalities of the ducal band."
"Descriptively rich, the book is not so much a scholarly tome as it is a delightful and entertaining read. Teachout writes with clarity and verve, presenting an astonishing amount of detail in a flowing narrative that brings to life not just Ellington and his music, but much of American culture of the period."
"[A] grand and engrossing biographyand#8230;Thanks to this frank and sympathetic biography - whose every page is studded with sharp phrases and keen insights - we now seem to know Duke Ellington as well as we ever will or need to."
and#8212;San Francisco Chronicleand#160;
"The definitive Ellington biography thus farand#8230;valuableand#8230;[one of] the most important books of 2013."
and#8212;The Buffalo News
"Dimensional, thoughtful, and rigorously researched, Duke is an enthralling read from cover to cover."
"Teachout does a first rate joband#8230;Teachoutand#8217;s book is a worthy read. It successfully brings Duke Ellington and his music back into the public consciousness, reaffirming the manand#8217;s artistic genius while telling a fascinating story."
About the Author
Terry Teachout, the drama critic at The Wall Street Journal, is the author of Pops: A Life of Louis Armstrong and Satchmo at the Waldorf, a one-man play about Armstrong's life and times. He lives in New York City.