LUSH LIFE: Billy Strayhorn on film

Ed Fuqua · #1 02-07-2007, 11:12 AM

Anybody catch this last night? Pretty happening, despite overuse of the Burnsalis "they're playing so let's talk" voice over technique. In addition to historical footage, there were performances with Dianne Reeves (including Reuben Rogers on bass), Joe Lovano (George Mraz), Hank Jones, Bill Charlap...and (surprisingly) Elvis Costello singing a lyric called MY FLAME BURNS BLUE which was the melody to BLOOD COUNT. Nailed that sucker, too...

Anyway, I dug it.

**Chris Fitzgerald** · #2 02-07-2007, 11:24 AM

I saw a good chunk of it by complete accident. Dug what I saw. Was it a Burnsalis production? I didn't catch the beginning or the end.

Ed Fuqua · #3 02-07-2007, 11:28 AM

Naw, I didn't catch the director's name, but tweren't Burnsalis.

Ellington comes off as a malicious thief.

Uncletoad · #4 02-07-2007, 12:51 PM

Quote:

Originally Posted by Ed Fuqua

Ellington comes off as a malicious thief.

Yikes!

Think that's true?

billyfalconer · #5 02-07-2007, 01:26 PM

Quote:

Originally Posted by Uncletoad

Yikes! Think that's true?

I didn't see the show, but I've read repeatedly that Duke's compositions were frequently a group effort by the whole band, and he wasn't ashamed of that.

Ed Fuqua · #6 02-07-2007, 01:28 PM

Quote:

Originally Posted by Uncletoad

Yikes!

Think that's true?

They make a pretty good case. Go here fpr a schedule and some videos and ****.

But from Ellington putting his name on compositions that Strays wrote LONG before the two ever met, to Strays pulling the band's fat out of the fire during the ASCAP broadcast ban (by basically writing an entire NEW book of tunes AND arrangements for the band in 6 days), to Ellington intentionally interfering in two productions that wanted to hire Strays independently from Ellington so that he wouldn't be hired, to Ellington arranging that NO royalties for Strays compositions get to him, well it AIN'T a pretty picture.

mrpc · #7 02-07-2007, 02:16 PM

Quote:

Originally Posted by Ed Fuqua

well it AIN'T a pretty picture.

Welcome to the MUSIC BUSINESS.

bassame · #8 02-07-2007, 02:18 PM

Directed by Robert Levi
http://www.pbs.org/independentlens/billystrayhorn/

John Sprague · #9 02-07-2007, 02:19 PM

Yeah he looked pretty bad by the end. Nice show though, in high-def too.

Uncletoad · #10 02-07-2007, 02:30 PM

Uggh. I hate when my fantasies of how things are get interrupted by reality.

I've not read much about "Ellingonia" but sensed that Strayhorns contribution was huge. I'd always hoped it was a collaboration of genius rather than your classic succubus thing.

mrpc · #11 02-07-2007, 03:28 PM

It WAS a collaboration of genius. I think your hopes are right on the , errrrrrr........money.

I always try to remember that the culture that invented/composed/provided the music was not part of the culture that SOLD it. Nowadays it's different for the large part, it seems.

Ed Fuqua · #12 02-07-2007, 04:06 PM

I dunno POOK, having somebody compose most of the music for BLACK BROWN AND BEIGE and then NOt give them any credit doesn't much sound like collaboration; more like exploitation. Sure, Strays was complicit in his own "slavery", but the few times he did exert himself to get out from under the "overseer", Ellington personally insured that it wouldn't happen; a couple of times by making sure Strayhorn wasn't around to do the work and a couple of times by going to the principals and telling them directly that they didn't need Strayhorn, nor could they have him.

This whole idea of "collaboration of genius" seems to be wholly produced by Duke's supporters. And wholly to Duke's advantage. If you haven't seen the film, you definitely should do so. It may change your outlook.

It wasn't "the business" that ****ed Strays, it was Ellington.

mrpc · #13 02-07-2007, 08:10 PM

Proprietory personol relationships between artists are seem to always start fires when money, fame and ego are involved.

JeffKissell · #14 02-08-2007, 02:22 AM

It would not be a bad idea to read Stray's biography of the same name. There are many who would say that Ellington ripped off Strayhorn and there are just as many who would say that Billy rode the Duke's coat tails. Most of the people who have to tear down one to build up the other have their own agendas. Either/Or seems pretty lame to me.

Billy Strayhorn is one of my all time idols because he lived HIS life the way he wanted, which for a gay, black, musician is not an easy thing to do. I am not gay, or black, and I'm only marginally a musician, but I could only hope to live life with the grace he did.

The reason (IMHO) the Ellington Band kicked @#$ for so long is because they had two of the greatest composers this country has ever produced at the same time.

Ellington wrote great and genre changing music before he met Strayhorn. Strayhorn wrote some of the most beautiful music in jazz, and some of the best charts for Ellington's tunes for that matter (my favorites for sure).

Peace,
-J

p.s. Mercer Ellington almost never gets ANY credit for his work rebuilding the book during the strike.

Dan in NJ · #15 02-11-2007, 10:57 AM

+1 to Jeff's excellent post--

mrpc · #16 02-11-2007, 02:22 PM

Hajdu, taking his title from one of Strayhorn's youthful works, deftly chronicles the life of the gifted composer, arranger and pianist about whom little has been known until now. Strayhorn (1915-1967), often called Duke Ellington's alter ego, collaborated with the legendary bandleader for more than 25 years, yet remained in his shadow; few outside the music world realized he composed and wrote the lyrics for "Take the 'A' Train" and many other pieces often attributed to Ellington. Drawing on interviews with Strayhorn's friends, family and fellow musicians, Hajdu, an editor at Entertainment Weekly, brings his subject out of obscurity, showing him to be a complex, shy, charming genius whose extraordinary talents were recognized mainly by other musicians and members of an elite circle of black performers, artists and writers who adored him. The extent to which Ellington deliberately kept him in the background is unclear, but Strayhorn seems to have preferred this arrangement; without the need to pursue a career on his own, he could be open about his homosexuality at a time when most gay men kept their sexual orientation secret. He died tragically of cancer of the esophagus at 52. Photos not seen by PW.

--This text refers to an out of print or unavailable edition of this title.

ee-san · #17 02-11-2007, 08:02 PM

Y'all be sure and pick up "And His Mother Called Him Bill" on CD if you haven't already...

JeffKissell · #18 02-12-2007, 07:30 PM

It's too bad this book is out of print. I've read it twice. It is a first rate biography. I might be willing to loan it out, but I'll bet it's in the public library of most big cities.
-J

Jazzdogg · #19 02-12-2007, 09:15 PM

Quote:

Originally Posted by Ed Fuqua

<SNIP>Ellington comes off as a malicious thief.

I saw most of it - and came away feeling immensely appreciative of Strayhorn and Ellington's complimentary talents. Also made me wonder about the interplay and contributions made by one of my bass heroes - Jimmy Blanton.

As to Ellington, the special affirmed my lingering gut hunch that he was narcissistic, manipulative, slippery, and an enabler (when there was something in it for him, he'd punch whichever buttons would provide the results he was after); in other words, he had a lot in common with politicans and others whose currency is power and influence.

The Lord certainly made humans complicated critters, didn't He?

mrpc · #20 02-12-2007, 10:49 PM

Quote:

Originally Posted by Jazzdogg

The Lord certainly made humans complicated critters, didn't He?

Yessir, reckon so.