The Smithsonian Jazz Masterworks Orchestra (SJMO) continues its mission of preserving the US’ jazz heritage with its latest release: “Ellington Masterworks.” While Duke Ellington is one of jazz music’s undisputed greats, the SJMO under Charlie Young makes a compelling argument that some of Ellington’s richest writing still lies just beyond the standard canon, waiting to be heard again with fresh ears.
The album was recorded live at MCG Jazz in Pittsburgh on April 6, 2024, and is slated for release in the wake of the Ellington-at-125 celebrations. The best thing about the album is its refusal to coast on the obvious, as the program reaches for rarer, more architecturally ambitious pieces from 1940 to 1968.
https://americanhistory.si.edu/explore/projects/smithsonian-jazz/smithsonian-jazz-masterworks-orchestra
https://en.wikipedia.org/wiki/Smithsonian_Jazz_Masterworks_Orchestra
The album opens with “The Flaming Sword,” a short and lively Latin-tinged number that sets the energy for the compositions that follow. However, the first real standout track is “Tattooed Bride,” which runs for over twelve minutes. Reportedly, Ellington drew inspiration for this track from the story of a naive groom who discovered his bride had multiple variations of the letter “W” tattooed on her. This delightfully complex track is built on a simple four-note motive derived from the shape of the letter “W,” which is typical of prime late-’40s Ellington: playful in concept, but rigorous in execution.
“Ad Lib on Nippon,” is also a candidate for the sleeper favorite of listeners who care about ensemble texture and improvisational architecture. The piece is based on the Duke Ellington orchestra’s 1964 Japan tour, and has more recently been understood to include material by clarinetist Jimmy Hamilton. While the oriental influences are subtle in relation to Ellington’s classic style, the piano, bass, and clarinet improvisations provide an interesting contrast to the rest of the album.
The performance and production on this record are exceptional as usual, and prove why the SJMO stands as the national jazz orchestra of the US. The MCG jazz studio in Pittsburgh is a perfect venue for the occasion, with little to no acoustic imperfections audible in the tracks.
Ellington Masterworks is not designed for casual listeners who want to be introduced to Ellington’s hits. It’s targeted at jazz enthusiasts who want to be reminded that Ellington’s greatness was not confined to a handful of standards or a few canonical periods. Delivered with intelligence and conviction, this is one of those rare tribute projects that actually expands the legacy it celebrates.