Bibliography

BIBLIOGRAPHY

Books

Albertson, Chris.  Louis  Armstrong.  Alexandria, Va.:  Time-Life Records, 1978.

Blackstone, Orin.  Index to Jazz:  Jazz Recordings 1917-1944.  Westport, CT:  Greenwood, 1978.

Blesh, Rudi and Harriet Janis.  They All Played Ragtime:  The True Story of an American Music.  New York:  Knopf, 1950.

Claerbaut, Alyce and David Schlesinger, eds.  Strayhorn:  An Illustrated Life.  Chicago:  Bolden, 2015.

Cohen, Harvey G.  Duke Ellington’s America.  Chicago:  U of Chicago, 2010.

Cruse, Harold.  The Crisis of the Negro Intellectual.  New York:  Morrow, 1967.

_____.  Rebellion or Revolution?  New York:  Morrow, 1968.

_____.  The Essential Harold Cruse:  A Reader.  New York:  Palgrave, 2002.

Dance, Stanley.  The World of Duke Ellington.  New York:  Scribner’s, 1970.

_____.  The World of Swing:  An Oral History of Big Band Jazz.  New York:  Da Capo, 1974, 2001.

De Lerma Dominique-Rene, ed.  Black Music in Our Culture.  Kent State, 1970.

Denisoff, R. Serge and Richard A. Peterson.  The Sounds of Social Change:  Studies in Popular Culture.  Chicago:  Rand-McNally, 1972

Ellington, Duke.  Music Is My Mistress.  New York:  Doubleday, 1973.

Ellington, Mercer with Stanley Dance.  Duke Ellington In Person:  An Intimate Memoir.  Boston:  Houghton Mifflin, 1978.

Finkelstein, Sidney.   Jazz:  A People’s Music.  New York:  Citadel, 1948.

Franceschina, John.  Duke Ellington’s Music for the Theatre.  Jefferson NC:  Mc Farland, 2001.

Gammond, Peter, ed.  Duke Ellington:  His Life and Music.  New York:  Roy, 1958.

Gleason, Ralph J.  Celebrating the Duke & Louis, Bessie, Billie, Bird, Carmen, Miles, Dizzy & Other Heroes.  Boston:  Little, Brown, 1975.

Green, Benny.  The Reluctant Art.  New York:  Horizon, 1963.

Hajdu, David.  Lush Life:  A Biography of Billy Strayhorn.  New York:  Farrar Straus Giroux, 1996.

Hammond, John with Irving Townsend.   John Hammond On Record:   An Autobiography.  New York:  Summit, 1977.

Haskins, James.  The Cotton Club.   New York:  Random House, 1977.

Jewell, Derek.  Duke:  A Portrait of Duke Ellington.  New York:  Norton, 1977.

Jones, LeRoi.  Blues  People.  Morrow, 1963.

Kanfer, Stefan.  A Journal of the Plague Years.  New York:  Atheneum, 1973.

Kofsky, Frank.  Black Nationalism and the Revolution in Music.  New York:  Pathfinder, 1970.

Leonard, Neil.  Jazz and the White Americans:  The Accepttance of a New Art Form.  Chicago:  U of Chicago, 1962.

Nolan, William A.  Communism Versus the Negro.  Regnery, 1951.

Oakley, Giles.  The Devil’s Music:  A History of the Blues.  New York:  Taplinger, 1976.

Perrett, Geoffrey.   Days of Sadness, Years of Triumph:  The American People, 1939-1945.  Baltimore:  Penguin, 1974.

Pleasants, Henry.  Serious Music—And All That Jazz!  New York:  Simon and Schuster, 1969.

Record, Wilson.  The Negro and the Communist Party.  New York:  Atheneum, 1971.

Schafer, William J. and Johannes Reidel.  The Art of Ragtime:  Form and Meaning of an Original Black American Art.  Baton Rouge:  LSU, 1973.

Schicke, C. A.  Revolution in Sound:  A Biography of the Recording Industry.  Boston:  Little, Brown, 1974.

Schuller, Gunther.   Early Jazz:  Its Roots and Musical Development.  New York:  Oxford, 1968.

Simon, George T.  The Big Bands.  New York:  Collier, 1974.

Spellman, A. B.  Black Music::  Four Lives.  New York:  Schocken, 1970.

Sprigg, Christopher St. John [Christopher Caudwell].  Studies and Further Studies in a Dying Culture.  New York:  Monthly Review, 1971.

Stewart, Rex.  Jazz Masters of the Thirties.  New York:  MacMillan, 1972.

Timner, W. E.  Ellingtonia:  The Recorded Music of Duke Ellington and His Sidemen, fourth edition.  Lanham MD and London:  Scarecrow, 1996.  

Tucker, Mark.  Ellington:  The Early Years.  Urbana IL:  U of I, 1991.

-----, ed.  The Duke Ellington Reader.  New York:  Oxford, 1993.

Ulanov, Barry.  Duke Ellington.  New York:  Creative Age, 1946.

Van de Leur,  Walter.  Something to Live For:  The Music of Billy Strayhorn.  New York:  Oxford, 2002.

Waller, Maurice and Anthony Calabrese.  Fats Waller.  New York:  Schirmer, 1977.

Wilson, John S.  Jazz:  The Transition Years, 1940-1960.  New York:  Appleton-Century-CCrofts, 1966.

 

Articles

Abbreviations:

·         BMOC = De Lerma, Dominique-Rene, ed.  Black Music in Our Culture.  Kent State, 1970.

·         JOR = McCarthy, Albert, Alun Morgan, Paul Oliver and Max Harrison ed.  Jazz on Record:  A Critical Guide to the First Fifty Years, 1917-1967.  London:  Hanover, 1968.

·         SSC = Denisoff, R. Serge and Richard A. Peterson, eds.  The Sounds of Social Change:  Studies in Popular Culture.  Chicago:  Rand McNally, 1972.

·         TDER = Tucker, Mark, ed.  The Duke Ellington Reader.  New York:  Oxford, 1993.

·         TWED = Dance, Stanley, ed.  The World of Duke Ellington.  New York, Da Capo, 1970.

Anderson, Thomas Jefferson, Hale Smith and Olly Wilson.  “Black Composers and the Avant-garde,” BMOC, 63-77.

Baker, David N. Jr.  “Indiana University’s Black Music Committee,” BMOC, 12-23.

Boyer, Richard O.  “The Hot Bach,” TDER, 214-245.

Cruse, Harold.  “Interludes with Duke Ellington,” original typescript; in The Essential Harold Cruse:  A Reader, ed William Jelani Cobb.  New York:  Palgrave, 2002, 244-249.

Darrell, R. D. "Black Beauty," disques, 1932.  TDER, 61.

Feather, Leonard.  Introduction, The Great Music of Duke Ellington.  New York:  Belwin Mills, 1973.

Feist, Leonard, John Hammond, Russell Sanjek and Hale Smith.  “”Problems Relative to the Publication and Recording of Music,” BMOC, 109-120.

Fox, Charles.  “Duke Ellington on Record:  The Nineteen-thirties,” Duke Ellington:  His Life and Music, ed. Peter Gammond.  New York:  Roy, 1958.

Gillette, Charles.  “The Black Market Roots of Rock,” SSC, 274-281.

Hammond, John.  “An Experience in Jazz History,” BMOC, 42-61.

Lasker, Steven.  liner notes to Early Ellington: The Original Decca Recordings (GRP/ MCA, 1994)

Miller, Lloyd and James K. Skipper, “Sounds of Black Protest in
Avant-garde Jazz,” SSC, 26-37.

Mooney, H.F.  “Popular Music Since the 1920’s,”  SSC, 181-197.

Peterson, Richard A.  “Market and Moralist Censors of a Black Art Form:  Jazz.”  SSC, 236-247.

_____ and David G. Berger.  “Three Eras in the Manufacture of Popular Music Lyrics.”  SSC, 282-306.

Still, William Grant.  “A Composer’s Viewpoint,” BMOC, 93-107.

Wright, Laurie.  “Clarence Williams,” JOR, 307-308. 

Periodicals and Journals

Balliett, Whitney.  “The Talk of the Town,” New Yorker, Junee 10, 1974, 3ff.

De Vore, Nicholas.  “Musicians Make Sacrifices for Russian Relief.”  Musician, May, 1942, 75.

Ellington, Duke.  “No Red Songs for Me,” New Leader, September 30. 1950, 2-4.

Hobson, Wilder.  “Introducing Duke Ellington,” Fortune, August 1933, 47ff.

Miller, L.M.  “From John Doe to the Russian Front—Russian War Relief U.S.A.,” Readers Digest, May 1942, 122-124.

Mills, Irving.  “I Split With Duke When Music Started Sidetracking,” Down Beat, November 5, 1952, 6.

Mize, J.T.H.  “Goes to Bat for Brown, Black and Beige; Rye Music Educator Puts in One Good Lick for Ellington, and Two Better Ones Against the Critics,” Musician, December 1943, 159.

Williams, Ned E.  “Reminiscing in Tempo—Ned on Early Ellingtonia,”  Down Beat, November 5, 1952, 14.

 

Newspapers

 

Roy, Rob.  “Chicago Really Turns Out To Hear  Duke And His Band,” Chicago Defender, January 11, 1936.

_____.  “The Duke Is Featured At The Congress,” Chicago Defender, May 16, 1936.

Duckett, Alfred A.  “Duke of Windsor May Attend Ellington’s Concert At Carnegie,” New York Age, January 23, 1943.

_____.  “Duke Ellington’s Concert At Carnegie Demonstrates Maestro’s Unique Genius,” New York Age, January 30,1943,

Editorial.  “Moscow Decrees ‘Peace’ Sabotage,” New York Times, July 22, 1950, 4.

Editorial.  “The Phony Peace Drive,” Pittsburgh Courier, August 26, 1950, 6.

Hicks, James L.  “Duke Benefit for NAACP Netter $1,500, Not 13 Gs,” Baltimore Afro-American, December 1, 1951, 5.

Moses, Al.  “Credit Duke’s Rise to Fight  For Rights,” Baltimore Afro-American, December 8, 1951, 7.

Ellington, Duke and Otis N. Thompson, Jr., “Duke Ellington Says He Didn’t Say It; Reporter Insists That He Did,” Baltimore Afro-American, December 15, 1951, 1.

McDonough, John.  “Goodman At Carnegie Hall:  The Clas of ’38 Swings Into’78,” Chicago Tribune, January 15, 1978, sec. 6, 3.

Spitz, Robert Stephen.  “Superstars Are Made, Not Born,” Chcago Tribune, May 14, 1978, sec. 6. 3.

 

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Unsigned.  “Josh White Admits Being Duped; Commies Make Ellington See ‘Red’,” fragment of article from unknown newspaper, presumably New York, September 1950.  Found in the files of Chicago Defender.

_____.  “Duke Ellington Attacks TV, Then Signs For Show,” Chicago Defender, September 2, 1950, 27.

_____.  “No Red Stain On Me:  Hazel Scott,” Chicago Defender, September 23, 1950.

_____.  “Dr. DuBois Denies He’s Foreign Agent,” Baltimore Afro-American, December 1, 1951, 5.

_____.  “Red Hysteria Blocks Progress,” Pittsburgh Courier, September 30, 1950, 14.

_____.  “Duke Ellington’s Views on Jim Crow Shock Nation,” Baltimore Afro-American, December 1, 1951, 5.

_____.  “Duke, Master Composer,” Chicago Defender, May 28, 1974

Public Documents

 

U.S.  Congress, House.  Committee on Un-American Activities.  Report on the Communist “Peace” Offensive:  A Campaign to Disarm and Defeat the United States.  H.R. 378, 1 april 1951.  Washington, D.C.”  Government Printing Office, 1951.”

_____.   Communist Infiltration of Hollywood Motion-Picture Industry (Part ii).  Testimony of Henry Blankfort, 18 September, 1951, pp. 1497-1505.  Washington, D.C.:  Government Printing Office, 1951.

_____.  Communist Methods of Infiltration:  Entertainment (Part I).  Testimony of Allen E. Sloane, 13 January, 1954.  Washington, D.C.:  Government Printing Office, 1954.

_____.  Investigation of Communist Activities, New York Area:  Parts VI-VIII (Entertainment).  Roster of Sponsors for Artist’s Front to Win the War benefit performance, Carnegie Hall, October 16, 1942; included with testimony of Sam (Zero) Mostel, 14 October, 1955.  Washington, D.C.:  Government Printing Office.

_____.  Cumulative Index to Publications of the Committee on Un-American Activities, 1938-1954.  Washington, D.C.:  Government Printing office, 1962.

 

Archives

 

Library of the Chicago Historical Society, Claude Barnett file:  includes personal correspondence, Associated Negro Press releases pertaining to Duke Ellington, and “Twelve Essays in Critical Appreciation Concrrning the Music of Duke Ellington,” by Russell Woodward (typewritten manuscript).

_____, Frank Holzfeind file:  contains Ellington’s Blue Note contracts,

New York Public Library, Schomburg Center for Research in Black Culture:  materials pertaining to Beggars Holiday.

 

Recordings

 

 

 

 

 

 

 

Internet

 

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