Duke (93 page)

Frazier, George, 152

funeral of Ellington, 16–17, 359

Gaillard, Slim, 202

Garfield, John, 224, 227

Garland, Judy, 182

Garner, Erroll, 286

Gay, John, 257

George, Don: on Ellington’s composing style, 112; and Ellington’s extramarital affairs, 250; and Ellington’s funeral, 359; and Ellington’s illness, 357; on Monte, 311; and Strayhorn, 184, 334; and
Such Sweet Thunder,
297; and superstitions of Ellington, 132; on Webster’s departure, 254

Gershwin, George, 51, 77, 88n, 90, 92, 119, 121–23, 156–57, 189, 244, 258, 269

Gershwin, Ira, 77, 225

Giddins, Gary, 230

Gillespie, Dizzy, 255, 267, 286, 343

Glaser, Joe, 175, 276, 303–4, 327, 345

Gleason, Jackie, 279

Gleason, Ralph, 220, 280–81, 303

Glenn, Tyree, 307, 358

Godkin, Paul, 296

Goldberg, Isaac, 56–57

Gonsalves, Paul: death, 358; and
The Ed Sullivan Show,
295
; and
Ellington Uptown,
275; and heroin, 277, 313; hired, 268; and Hodges’s return, 284; importance to band’s sound, 308; and
New Orleans Suite,
347; and the Newport Jazz Festival, 288–90,
289
; and Rainbow Grill gig, 335; and
The River,
351; talent as soloist, 322; and television appearances, 306

Goodman, Benny: and
Black, Brown and Beige,
7; at Carnegie Hall, 4; and Cootie Williams, 216–17, 234; and Ellington’s funeral, 359; and Ellington’s opinion of swing music, 178–80; and “Hot Bach” profile, 252; at Palomar Ballroom, 153; and racial integration, 162–63; signed with Columbia, 182; style contrasted with Ellington, 12, 213; and White House birthday celebration, 343; and World War II, 253

Gordon, Claire, 329

Gosden, Freeman, 104

Gottlieb, William,
167,
218

Gould, Jack, 297

Grace Cathedral commission, 328–32

Grainger, Percy, 4, 5, 16,
60,
140

Grammy Awards, 329

Grant, Henry, 43

Granz, Norman: and
Black, Brown and Beige,
11; and blues-oriented works, 308; on Ellington’s enigmatic nature, 360–61; on Ellington’s loneliness, 338; on Ellington’s talent, 307; and Fitzgerald recordings, 301; and foreign tours, 303–4, 318; and Hodges, 271–72, 283, 346; on
Jump for Joy,
231; on Monte, 312; and ‘New Testament’ band, 282; on recording session schedules, 292; and small-group recordings, 353; on Wild Bill Davis, 342

Great Depression, 89, 126, 162

The
Great Paris Concert,
316

Green, Abel, 49, 78

Greer, Sonny: and alcohol consumption, 174; and the ASCAP boycott, 222; and the Blanton-Webster band, 211, 215, 217–19,
218
; on break with Mills, 180; and “Caravan,” 164; and Ciro’s gig, 249; and the Cotton Club years, 83, 84–85, 90,
133
; departure from band, 270–71, 273–75; and domestic tours, 144–45; and Duke’s Serenaders,
37,
41; on “East St. Louis Toodle-O,” 65; and Ellington’s composing style, 98; and Ellington’s funeral, 358–59; on Ellington’s personality, 2; and foreign tours, 135–36, 140; and the Harlem Renaissance, 46; on Madden, 73; and Mills, 71; and
Music Is My Mistress,
354; and New Orleans jazz, 45; and recording sessions, 263; relationship with Ellington, 40–41, 41–42; and Strayhorn, 193, 199; on Swing Era, 162; and timing of gigs, 151; and Tizol, 102; on Washington, D. C., 24; and The Washingtonians,
47,
50; on Ziegfeld shows, 94

Gregory, Dick, 358

Grennard, Elliott, 239

Grissom, Jimmy, 288

Grofé, Frede, 118, 122

Guy, Fred, 50n, 71, 83, 84, 102,
133,
215–16,
218,
219, 263, 343

Haggart, Bob, 201–2

Hajdu, David, 188

Hall, Adelaide, 66–67

Hall Johnson Choir, 252

Hallock, Ted, 262–63, 276

Halperin, Daniel, 219

Hamilton, Jimmy, 247, 254–55, 273, 284, 287, 294, 297, 300, 341, 347–48,
356

Hammett, Dashiell, 224–25

Hammond, John, 10, 58, 75, 131, 133, 152,
157,
158–60, 161, 178–82, 226, 246, 263

Hampton, Lionel, 168, 276, 279

Handy, W. C., 75, 100

“Happy-Go-Lucky Local,” 245

Hardwick, Otto “Toby”: and alcohol consumption, 174; and “Black and Tan Fantasy,” 66; and the Blanton-Webster band, 216,
218,
219; on “Blood Count,” 333; and Brown, 131, 132; and the Cotton Club years, 86, 90,
133
; and Duke’s Serenaders, 40–41; and Ellington’s composing style, 13, 14; and the Harlem Renaissance, 46; and “In a Sentimental Mood,” 152; and New Orleans jazz, 45; retirement from music, 254; and “Sophisticated Lady,” 113; and Strayhorn, 185, 185n, 193; and “The Mooche,” 86n; and The Washingtonians,
47

Harlem,
316

“Harlem Air-Shaft,” 3, 209, 211, 214,
218,
241, 298, 306

Harlem Footwarmers, 107

Harlem on the Prairie,
216

Harlem Renaissance, 46

Harman, Carter, 305, 353–54

Harrison, Max, 155–56, 339, 348

Haughton, Chauncey, 235, 247, 252

Hawkins, Coleman, 85, 117, 137n, 215, 268, 314

“head arrangement,” 51n

Healy, Dan, 80–81

Hefti, Neal, 282

Hellinger, Mark, 83

Hellman, Lillian, 224–25

Hemingway, Ernest, 5

Henderson, Fletcher, 7, 51, 54, 59, 65, 78, 85, 117, 206, 213–14, 221

Henderson, Horace, 217

Henderson, Luther, 258, 260, 270, 270n, 294, 350–51

Hendler, Herb, 250, 322

Hendrix, Jimi, 65

Hentoff, Nat, 18, 249, 285, 291, 305, 326, 359

Herman, Woody, 253

Hibbler, Al, 12, 253, 255, 256, 315–16

Hicks, Granville, 159

Hindemith, Paul, 165

Hines, Earl, 7, 128, 216–17, 343, 359

Hinton, Milt, 201–2, 204

Hirschfeld, Al, 142,
143

Hitchcock, Alfred, 135

H.M. Pulham, Esquire
(Marquand), 56

Hodeir, André, 285, 339

Hodges, Johnny: and
Anatomy of a Murder,
303; and the ASCAP boycott, 223; and Babs recordings, 341; and band discipline, 322; and
Black, Brown and Beige,
4, 6, 7, 240; and the Blanton-Webster band,
203,
207, 211n, 212–16, 213n, 214n, 216n, 218,
218
; and “Blood Count,” 333; and the Cotton Club years, 86–87,
133
; death, 346–48; departure from band, 18, 271–72, 273–74; and
A Drum Is a Woman,
296; and Duke’s Serenaders, 41; and Ellington documentary, 337; and Ellington’s composing style, 13, 114; and Fitzgerald recordings, 301; and “Isfahan,” 321; and
Jump for Joy,
230; and the Newport Jazz Festival, 290; and pop song collaborations, 254; and Rainbow Grill gig, 335; and recording sessions, 163–64, 172–73, 263, 316; return to band, 283–85, 308; and songwriting, 163n; and “Sophisticated Lady,” 130; and “St. Louis Blues,” 127; and Strayhorn, 190, 191–93, 194–95; and television appearances, 306; and “The Mooche,” 86n; and timing of gigs, 151; on large-scale works, 246; and Webster, 202, 205, 207; and Wild Bill Davis, 342

Holiday, Billie, 147–48, 276, 286

Holliday, Frank, 31, 34

Hollywood, 95

The Hollywood (club), 48–49, 53

Hollywood Theatre Alliance, 225

Holman, Libby, 259

Holmes, Fanny, 40

Holmes, Oliver Wendell, Jr., 40

homosexuality, 189, 197–98, 245n, 273, 299–300

Honegger, Arthur, 145

Hoover, J. Edgar, 226, 266

Horne, Lena, 197, 252, 272, 333

“The Hot Bach” (Boyer), 20, 199, 251–52

Hot Chocolate
(floor show), 83

House Un-American Activities Committee (HUAC), 225

Houseman, John, 17, 257, 258–59, 261

Howard Theatre, 22, 31, 42, 44, 263

Howard University, 22, 28, 44

Hughes, Langston, 30, 46, 76, 159, 223, 225

Hughes, Luther, 24–25

Hughes, Spike: and the Blanton-Webster band, 213; and Brown, 131; and the Cotton Club years, 74, 75, 80; and
Creole Rhapsody,
123; and foreign tours, 135, 137, 137n; and Mills, 56; and
Reminiscing in Tempo,
155, 158; and “Rude Interlude,” 149

Hurd, Peter, 291

Hurricane Restaurant, 247–49

Hurston, Zora Neale, 46

Husing, Ted, 89, 107

Hutton, Ina Ray, 179

Hylton, Jack, 135

hypochondria of Ellington, 352

“I Let a Song Go Out of My Heart,” 16, 172–73

Imitation of Life
(1933), 98

improvisation, 82, 102, 343–44

“In a Sentimental Mood,” 35, 130, 152

In Dahomey,
52

integration, 162–63

Internal Revenue Service (IRS), 323, 360

“Intimacy of the Blues,” 336

Irvis, Charlie,
47,
50–51, 61

“It Don’t Mean a Thing (If It Ain’t Got That Swing)”, 57, 129, 139, 246

It’s All True,
232–33

Jack Mills, Inc., 57, 68

“Jack the Bear,” 6, 207–8, 306

Jackson, Mahalia, 300, 328, 343, 347

Jackson, Quentin, 306–7

Jackson, Rudy, 66–67, 85

Jacobs, Phoebe, 251

James, Daniel, 278

James, Harry, 253, 254, 273–74, 279

Jazz Masters of the Thirties
(Stewart), 151

The
Jazz Singer
(1927), 77, 95

Jeffries, Herb, 146n, 197–98, 207–8, 227–28, 231, 233

Jenkins, Freddie “Posey”: and the Blanton-Webster band, 217; and
Check and Double Check,
104–5; and the Cotton Club jubilee, 279; and the Cotton Club years, 82, 85–86, 88,
133
; departure from band, 150; and Ellington’s finances, 140; and “Old Man Blues,” 106; and recording sessions, 173; and
Time
profile of band, 140

Jenkins, Gordon, 279

Jewell, Derek, 197

Jim Crow segregation, 24

Johnson, Howard “Stretch,” 81–82

Johnson, Jack, 73

Johnson, James P., 32, 42–45, 52, 54, 96, 212

Johnson, James Weldon, 46

Jolson, Al, 77, 227

Jones, Claude, 130

Jones, Hank, 359

Jones, Herbie, 288

Jones, Jimmy, 102, 317, 337

Jones, Jo, 289

Jones, Quincy, 186, 355

Jones, Richard B., 125

Jones, Rufus, 341

Jones, Wallace, 174n, 216,
218,
219, 252

Joplin, Scott, 32–33

Jordan, Louis, 267–68

Jump For Joy,
222,
223–25, 227–36, 257–60, 318

“jungle music,” 90

“Junk Man Rag,” 31

Kalmar, Bert, 104

“Kansas City Man Blues,” 44

Kaye, Sammy, 279

Keeler, Ruby, 92

Kenton, Stan, 279

Kern, Jerome, 7, 105–6

Kerr, Brooks, 300–301, 348, 358