Ralph Miles Jones (con’t) A composer is like a scientist. Duke measured and mixed notes and textures like a black culinary genius, down home in the kitchen. He blended harmonies and, like a black seamstress, he wove musical ideas. Duke composed a mood of indigo and sentimentality, a place like Mississippi Moan, a Memphis Wail, or a tribute to a special type of charming woman who was a sophisticated satin doll, as elusive as a black butterfly. He wrote tributes to his dear friend and musical partner, Swee-pee. At 42nd Street, the screeching sounds of metal hypnotized me. I thought about going places, taking a band around the world to be loved abroad. The responsibility of a bandleader, moving 15 to 20 musicians with crew from place to place, making sure they get paid, stay in good health, and eat well is a huge job. You’re supporting their families, spouses, children, and lovers. But what a blessing, “having all the kicks,“ as Duke often said. They make all the money but “the kick was having world-class musicians play your music, night after night. They played their personalities and experiences. What a blending.” Duke’s music was personalized and written to suit the character of the instrumentalist and vocalist. A core of musicians stayed for many years. There was Rabbit, Cootie, Stuff, Con Carney, and Bubba. They breathed the music and phrases as extensions of The Duke. At 57th Street and Carnegie Hall, I thought of Black, Brown and Beige. Duke wanted the William Morris Agency to premiere his original work at Carnegie hall. This exceptional work was a tone parallel to the history of the American Negro that embodied Duke’s criticism of his race and its caste system. Since the premiere of Jump for Joy in Los Angeles met with artistic success but financial disaster, Duke was subtle in his approach saying, “I think a statement of social protest in the theater should be made without saying it.” Black, Brown, and Beige documented Black contributions to Amerikan his-story and its involvement in wars. It received mixed reactions not new to Duke. Critics thought they knew what direction he should take his music, but they were a small voice in the scheme of musical things. Black, Brown, and Beige was a success and selections extracted from the score became popular. This performance led to several appearances at Carnegie Hall. Each performance required a major work, allowing Duke to express himself about problems confronting Blacks. His works Blutopia, The Deep South Suite, Harlem, and New World A-Comin heralded Black ambitions and aspirations. As I slipped in and out of my dream state, we stopped at Central Park, the only concentrated greenery in the city. I panicked, wondering would I get there in time to speak with Duke. I dozed off, thinking about how Duke defied category. He never liked the term Jazz, and used it with caution. In his spiritual life, he opposed categorization. He walked among Catholics, Muslims,, Methodists, Episcopalians, Unitarians, Pentecostals, and Baptists. He had close relations with a few Rabbis. Hard times bring one closer to God. In 1951, Duke experienced artistic success. But he was not earning enough money to sustain the band. He had management problems and public recognition diminished. Then, in 1956, came the Newport Jazz Festival, Diminuendo and Crescendo in Blue, and the cover of Time Magazine. Duke’s faith, patience, and wisdom had paid off. At 110th Street, I thought about In the Beginning. I heard the majestic voice of Sister Mahalia Jackson singing How Great Thou Art. These sacred concerts featured Duke’s first improvisational and sacred music. He said, “Now, I can say openly what I say on my knees. How can anyone expect to be understood unless he presents his or her thoughts with complete honesty. This situation is unfair because it asks too much of the world. In effect, we say, I don’t dare show you what I am because I don’t trust you for a minute, but please love me anyway because I need you, too. Of course, if you don’t love me, you’re a dirty dog, just as I suspected. So, I was right in the first place. Yet, every time GOD’s Children have thrown away fear in pursuit of honesty, trying to communicate themselves, understood or not, miracles have happened. So, be wise and satisfied with the joy
35
