Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2018 | 01 | Something To Live For | 20181119 | 20220627 (R3) | Donald Macleod looks at the life and work of American jazz musician Billy Strayhorn, beginning with his early days growing up in difficult circumstances in Homewood, Pittsburgh. The biggest human being who ever lived, a man with the most majestic artistic stature', so began Duke Ellington's eulogy on Billy Strayhorn. A life cut short at just 51, Strayhorn's funeral on 5 June 1967 drew a line on a musical relationship that had continued for almost 30 years. During that time, Duke Ellington had never produced a formal contract for Strayhorn's services, yet virtually every performance and every recording session done by the Duke and his orchestra included original compositions and arrangements done by Strayhorn. The band's sig tune, Take the A Train, is one of a number of works which were originally registered as being Duke Ellington's. While not an unheard of practice, this neither reflected Strayhorn's importance within the Ellington enterprise, nor could it be regarded as advantageous to his reputation as a composer. It's possible a significant factor from Strayhorn's perspective wasn't musical. Remaining out of the limelight enabled him to lead an openly homosexual life in an age of strong prejudice. Taking five key environments that shaped Strayhorn's personal and musical trajectory across the week, Donald Macleod builds a picture of the contributory factors supporting Strayhorn's development as a composer and his extraordinary association with Ellington. Born in 1915, Strayhorn's early life was overshadowed by poverty and a violent father. Set on a career in classical music, it took him six years of toil as a 'soda jerk and delivery boy' at a local drugstore to get the money together to study at music college. Then, an Art Tatum record showed him that everything he loved about classical music was there in one form or another in jazz. Strayhorn: Take the A Train Duke Ellington (piano) & his Orchestra Strayhorn: Lush Life Sarah Vaughan, vocals Hal Mooney's orchestra Strayhorn: Valse Bill Charlap, piano Strayhorn: Something to Live For Billy Strayhorn, piano Ozzie Bailey, vocals Strayhorn: Fantastic Rhythm A Penthouse on Shady Avenue Let nature take its course feat. Marjorie Barnes, vocals Rob van Bavel, piano Frans van der Hoeven, bass Eric Ineke, drums Strayhorn: Suite for the Duo (1966) Dwike Mitchell, piano Willie Ruff, French horn and bass Strayhorn: My little Brown Book Michael Hashim, alto saxophone Michael le Donne, piano Dennis Irwin, bass Kenny Washington, drums Strayhorn, arr. Walter van der Leuw The Hues The Dutch Jazz Orchestra Jerry van Rooijen, leader Donald Macleod looks at the life and work of American jazz musician Billy Strayhorn. |
| 2018 | 02 | 315 Convent Avenue | 20181120 | 20220628 (R3) | Donald Macleod follows the American jazz musician's exploits after he cuts free and heads to New York to work for Duke Ellington. The biggest human being who ever lived, a man with the most majestic artistic stature.' So began Duke Ellington's eulogy on Billy Strayhorn. A life cut short at just 51, Strayhorn's funeral on 5 June 1967 drew a line on a musical relationship that had continued for almost 30 years. During that time, Duke Ellington had never produced a formal contract for Strayhorn's services, yet virtually every performance and every recording session done by the Duke and his orchestra included original compositions and arrangements done by Strayhorn. The band's sig tune, Take the A Train, is one of a number of works which were originally registered as being Duke Ellington's. While not an unheard of practice, this neither reflected Strayhorn's importance within the Ellington enterprise, nor could it be regarded as advantageous to his reputation as a composer. It's possible a significant factor from Strayhorn's perspective wasn't musical. Remaining out of the limelight enabled him to lead an openly homosexual life in an age of strong prejudice. Taking five key environments across the week, Donald Macleod builds a picture of the contributory factors supporting Strayhorn's development as a composer and his extraordinary association with Ellington. According to a close friend, it was only a matter of time before Billy Strayhorn's talent was recognised. That moment happened when his path crossed with Duke Ellington. Strayhorn was quick to discover an exciting new world of opportunity in the Big Apple. Strayhorn: Snibor Duke Ellington and his Orchestra Strayhorn: Tonk Billy Strayhorn, piano Duke Ellington, piano Strayhorn: Passion Flower Johnny Hodges, saxophone Strayhorn: Your Love has faded Johnny Hodges, alto saxophone with members of the Duke Ellington Orchestra Billy Strayhorn, conductor Strayhorn: Three and Six Ted Grouya, Edmund Anderson, arr. Strayhorn: Flamingo Duke Ellington and his Famous Orchestra Herb Jeffries, vocals Strayhorn: Chelsea Bridge Joe Lovano, tenor saxophone Hank Jones, piano George Maaz, bass Paul Motian, drums Strayhorn, Ellington: The Perfume Suite Al Hibbler, vocals Strayhorn: Take the A Train Jazz at the Philharmonic All-Stars Donald Macleod assesses the impact New York had on American jazz musician Billy Strayhorn. |
| 2018 | 03 | Hollywood Beckons | 20181121 | 20220629 (R3) | Donald Macleod explores the reasons why the American jazz musician Billy Strayhorn's time in Hollywood turned out to be an opportunity and a source of disillusionment. The biggest human being who ever lived, a man with the most majestic artistic stature', so began Duke Ellington's eulogy on Billy Strayhorn. A life cut short at just 51, Strayhorn's funeral on 5 June 1967 drew a line on a musical relationship that had continued for almost 30 years. During that time, Duke Ellington had never produced a formal contract for Strayhorn's services, yet virtually every performance and every recording session done by the Duke and his orchestra included original compositions and arrangements done by Strayhorn. The band's sig tune, Take the A Train, is one of a number of works which were originally registered as being Duke Ellington's. While not an unheard of practice, this neither reflected Strayhorn's importance within the Ellington enterprise, nor could it be regarded as advantageous to his reputation as a composer. It's possible a significant factor from Strayhorn's perspective wasn't musical. Remaining out of the limelight enabled him to lead an openly homosexual life in an age of strong prejudice. Taking five key environments that shaped Strayhorn's personal and musical trajectory across the week, Donald Macleod builds a picture of the contributory factors supporting Strayhorn's development as a composer and his extraordinary association with Ellington. Stuck in Hollywood for months, working on various projects for Duke Ellington enabled the Duke to tour with his orchestra secure in the knowledge that Strayhorn would make sure everything ran to plan in his absence. There were artistic downsides to this arrangement, but on the plus side, Strayhorn met one of his closest friends, Lena Horne. Strayhorn: Clementine Duke Ellington and his Orchestra Ellington, Strayhorn, Lee Gaines: Just A-Sittin' and A-Rockin Ella Fitzgerald, vocals Ben Webster, tenor saxophone Stuff Smith, violin Paul Smith, piano Barney Kessel, guitar Joe Mondragon, bass Alvin Stoller, drums Strayhorn: Rain Check Art Farmer, flugelhorn Clifford Jordan, tenor saxophone James Williams, piano Rufus Reid, bass Marvin 'Smitty' Smith, drums Strayhorn: Pentonsilic The Dutch Jazz Orchestra Jerry van Rooijen, leader Strayhorn: You're the One Lena Horne, vocals Lennie Hayton and his Orchestra Tchaikovsky, arr Strayhorn: The Nutcracker Suite Donald Macleod explores American jazz musician Billy Strayhorn's time in Hollywood. |
| 2018 | 04 | The Mars Club | 20181122 | 20220630 (R3) | Donald Macleod looks into American jazz musician Billy Strayhorn's deep connection with Paris, the city where he found the night life and the artistic independence he craved. The biggest human being who ever lived, a man with the most majestic artistic stature', so began Duke Ellington's eulogy on Billy Strayhorn. A life cut short at just 51, Strayhorn's funeral on 5 June 1967 drew a line on a musical relationship that had continued for almost 30 years. During that time, Duke Ellington had never produced a formal contract for Strayhorn's services, yet virtually every performance and every recording session done by the Duke and his orchestra included original compositions and arrangements done by Strayhorn. The band's sig tune, Take the A Train, is one of a number of works which were originally registered as being Duke Ellington's. While not an unheard of practice, this neither reflected Strayhorn's importance within the Ellington enterprise, nor could it be regarded as advantageous to his reputation as a composer. It's possible a significant factor from Strayhorn's perspective wasn't musical. Remaining out of the limelight enabled him to lead an openly homosexual life in an age of strong prejudice. Taking five key environments that shaped Strayhorn's personal and musical trajectory across the week, Donald Macleod builds a picture of the contributory factors supporting Strayhorn's development as a composer and his extraordinary association with Ellington. The cracks were beginning to show in his dealings with Duke Ellington. A life-long Francophile, whenever he felt oppressed, Billy Strayhorn headed to Paris, a city he adored. He loved shopping, he loved the night clubs, and he had a big circle of friends. It's also where he was given the chance to record his first album under his own name. Strayhorn: Boo-dah Duke Ellington and his Orchestra Strayhorn: Ballad for Very Tired and Very Sad Lotus Eaters Ken Peplowski, clarinet John Horler, piano Strayhorn: Johnny Come Lately Art Farmer, flugelhorn Clifford Jordan, tenor saxophone James Williams, piano Rufus Reid, bass Marvin 'Smitty' Smith, drums Ellington, Strayhorn: Satin Doll Oscar Petersen Trio Oscar Petersen, piano Sam Jones, bass Bobby Durham, drums Strayhorn, reconstructed by Rob van Bavel: Music for The Love of Don Perlimplin for Belisa in their Garden The Dutch Jazz Orchestra Rob van Bavel, piano Marjorie Barnes, vocals Jerry van Rooijen, leader Strayhorn: Festival Junction (The Newport Jazz Festival Suite) Strayhorn: Multicoloured Blue Billy Strayhorn, piano Strayhorn: Day Dream Paris Blue Notes Donald Macleod looks into American jazz musician Billy Strayhorn's love affair with Paris. |
| 2018 | 05 LAST | Riverside Drive | 20181123 | 20220701 (R3) | Donald Macleod charts American jazz musician Billy Strayhorn's difficult final years in Riverside Drive, New York. The biggest human being who ever lived, a man with the most majestic artistic stature', so began Duke Ellington's eulogy on Billy Strayhorn. A life cut short at just 51, Strayhorn's funeral on 5 June 1967 drew a line on a musical relationship that had continued for almost 30 years. During that time, Duke Ellington had never produced a formal contract for Strayhorn's services, yet virtually every performance and every recording session done by the Duke and his orchestra included original compositions and arrangements done by Strayhorn. The band's sig tune, Take the A Train, is one of a number of works which were originally registered as being Duke Ellington's. While not an unheard of practice, this neither reflected Strayhorn's importance within the Ellington enterprise, nor could it be regarded as advantageous to his reputation as a composer. It's possible a significant factor from Strayhorn's perspective wasn't musical. Remaining out of the limelight enabled him to lead an openly homosexual life in an age of strong prejudice. Taking five key environments that shaped Strayhorn's personal and musical trajectory across the week, Donald Macleod builds a picture of the contributory factors supporting Strayhorn's development as a composer and his extraordinary association with Ellington. Having lived in the shadow of Duke Ellington for a quarter of a century, when Billy Strayhorn received an invitation to give the first solo concert of his life, he suffered serious anxiety over whether or not anyone would come to hear him play. His decision was to be a significant crossroads in both his professional and personal life. Strayhorn: Lush Life Billy Strayhorn, vocals, piano Strayhorn: UMMG Riverside Drive Five Billy Strayhorn, piano Clark Terry, trumpet and flugelhorn Bob Wilbur, soprano saxophone Wendell Marshall, bass Dave Bailey, drums Ellington, Strayhorn: Smada Duke Ellington, piano Hodges, Strayhorn: Cue's Blue Now Harold 'Shorty' Baker, trumpet Quentin Jackson, trombone Johnny Hodges, alto saxophone Russel Procope, clarinet Al Hall, bass Oliver Jackson, drums Strayhorn: Three movements from Far East Suite Bluebird of Delhi Agra Isfahan Duke Ellington and his Orchestra Strayhorn: Blood Count Strayhorn: Cashmere Cutie The Dutch Jazz Orchestra Jerry van Rooijen, leader Strayhorn: Le Sacre Supreme Strayhorn: Lotus Blossom Donald Macleod charts American jazz musician Billy Strayhorn's years in Riverside Drive. |