Notes
1Mark Tucker, Notes Second Series 45, no. 3 (March 1989): 499–502.
2James Lincoln Collier, Duke Ellington (New York: Oxford University Press, 1987); Stanley Dance, The World of Duke Ellington (New York: C. Scribner's Sons, 1970); John Edward Hasse, Beyond Category: The Life and Genius of Duke Ellington (New York: Simon & Schuster, 1993); Barry Ulanov, Duke Ellington (New York: Da Capo Press, 1975, reprint, New York: Creative Age Press, Inc., 1946).
3Edward Kennedy Ellington, Music is My Mistress (Garden City, NY: Doubleday, 1973).
4Scott DeVeaux, Musical Quarterly 76, no. 1 (Spring 1992): 121–135; Mark Tucker, Notes Second Series 45, no. 3 (March 1989): 499–502; Burton W. Perreti, Popular Music 14, no. 3 (October 1995): 383–385.
5Max Harrison, Ralph Ellison, Martin Williams, Albert Murray, Gunther Schuller, Lawrence Gushee, and Stanley Crouch, in The Duke Ellington Reader, ed. Mark Tucker (Oxford: Oxford University Press, 1993), 385–445.
6University of Chicago Press jazz books since 1993 begin with: Ronald Radano, New Musical Figurations: Anthony Braxton's Cultural Critique (1993); Paul Berliner, Thinking in Jazz: The Infinite Art of Improvisation (1994); Ingrid Monson, Saying Something: Jazz Improvisation and Interaction (1996); and continue up to: George Lewis, A Power Stronger than Itself: The AACM and American Experimental Music (2008); Walton Muyumba, The Shadow and the Act: Black Intellectual Practice, Jazz Improvisation, and Philosophical Pragmatism (2009).
7Chapter: Washington/New York; The Marketing Plan; Serious Listening; Credits/Exit Mills; Swingin'; Black, Brown, and Beige; Postwar Struggles; Reinvention and Nadir; Rebirth; Money; My People; 1963 State Department Tour; Sacred Concerts; Fighting Nostalgia; 1970s State Tours; Final Days.
8This chapter previously appeared as: Harvey G. Cohen, “Duke Ellington and Black, Brown and Beige: The Composer as Historian at Carnegie Hall,” American Quarterly 56, no. 4 (December 2004): 1003–1034.