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

Ralph Miles Jones (con’t)

that comes to you through the reflection and miracle of GOD, such as all the wonder and beauty we live with and are exposed to while on Earth.”

As these words trailed off into my subconscious, the A train pulled into the 125th Street station. I gathered my notebooks and recorder, and hit the stairs, heading for Roscoe’s, where we were to meet. Totally out of breath, I opened the door and stepped inside, asking the waitress of cocoa brown hue, with a killer smile and fine brown frame, “Was an elderly, elegant, and regal gentleman here?“

She said, “Oh, you mean mister Duke, baby?” She smiled with a soft sensuousness that melted my heart strings and said, “Mister Duke regretted that he had to leave. He said he’d be on the road for a long time.”

My heart sank in deep disappointment. She continued, “He didn’t leave any forwarding information, but he asked me to give you this letter and some music he left for you.”

I took the note which was on a napkin and some music paper with music, untitled, written in a style I had never seen before. It was written neatly and clearly. It had no notes, only symbols and arrows pointing to a heart that said “LOVE GOD!!!” I looked at the napkin and it touched my heart to the core. “Be yourself. Love You Madly!“

Signed, Duke Ellington

Ralph Miles Jones Aerophonist, Ethnomusicologist, Instantaneous Composer, Educator Ralph was born, raised and mentored in the musical womb of Detroit. He has been active as a performance artist in the African American Instantaneous Compositional tradition for over 40 years. As an internationally recognized artist, he toured, performed and recorded with Dr. Yusef Lateef, Pharoah Sanders, Wadada Leo Smith, Issa Abramaleem, Norman Connors, Kenn Cox, The MC5, Wayne Kramer, Adam Rudolph’s Moving Pictures and Go Organic Orchestra, and his ensemble, Seekers of Truth Revolutionary Ensemble (SOTRE), among many other stellar artists.

He was a featured soloist in the world premiere of Yusef Lateef’s African American Epic Suite with the WDR Radio Orchestra, and the Atlanta and Detroit Symphonies. Ralph was a founding member of the world music ensemble Eternal Wind, along with Dr. Charles Moore, Adam Rudolph and Federico Ramos. His most recent releases are Woodwinds with Yusef Lateef, Ye-Yi duos with Adam Rudolph, the Karuna Ensemble and Yusef Lateef’s MetaMusic, performed by Eternal Wind.

Ralph earned his Master’s degree in African American Studies and his B.A. in Ethnomusicology, from U.C.L.A. He taught for 19 years in the CSSSA summer program at Cal-Arts, five years at Oberlin College, and four years at Spelman College. Ralph has taught master classes in musical concepts and performance in Rio De Janeiro, Brazil, among other schools throughout the world. Ralph composed original music for the award winning documentary, Tell Me Cuba. In 2020, Ralph founded Aesthetically Speaking Music (ASM), a Zoom meeting that explores African and African

Special offer for WIJSF members! CD/DVD/LPS, logos, EPKs & promotional items, song graphics, etc., for print and online.

Call: 203 770 7149 or email: jltalevi@gmail.com jodylynntalevi.wixsite.com/jtdesign

Layout of this magazine was done by JT Design

Original SONGS for placement with Artists, film, streaming, TV & commercials, etc.

Songwriter, Lyricist (Alt rock, Blues, singer/songwriter) Can write from scripts, storyboards and concepts

Listen at: https://s.disco.ac/aqgiyfhbamxm

20% discount on design projects for WIJSF Members

The Strolling 20s’

Musical variety tribute to the“Harlem Renaissance”

George Kirby, Sidney Poitier, Gloria Lynne, Langston Hughes, Harry Belafonte, Joe Williams, Diahann Carroll, Nipsey Russell, Paula Kelly & Duke Ellington (1966)