... the masterpieces of Armstrong or Duke Ellington. Thus, while celebrating Armstrong, they ignore his musical opinion—and that of the public, which made Lombardo's orchestra the most popular dance band not only of white America, but also at Harlem's Savoy Ballroom. How have such prejudices affected our views...

...In this chapter, Clark Terry talks about Billy Strayhorn, who was an extremely important member of Duke Ellington's orchestra band and Duke Ellington's alter ego. Clark describes Stray as a breath of fresh air. He was really friendly, suave, debonair, and confident of himself and his music. He made...

... light on how Clark came to create music, in the form of jazz. His inspiration was Duke Ellington's band, which he had heard on a graphophone. Twenty years later, after a lot of struggles and tests, he was hired by Duke. This was the kick-start that made way for his dreams and eventually, changed his...

... to it on Didley's crystal radio. He was immensely inspired by Duke Ellington, and ever since he was a child he longed to be a part of his band. He started with forming a street band together with his friends and used to practice while his father was away. The street band became popular among the little population...

... heading back to St. Louis, Clark awaited Basie's call, and meanwhile took up some local work. At the same time, Clark got even closer to realizing his dream of jazz education, when he got a call from Duke Ellington to join his band. The few gigs Clark did with Duke Ellington was no less than moments...

...Clark's decision to leave Count Basie's band to join Duke Ellington was not an easy one. This news came to Basie with Clark lying about his illness as the reason for being away from the band. Basie was easy with Clark leaving and assured him that his place in the band was always open. Clark waited...

...It was on November 11, 1951 that Clark Terry got an offer for a first hand experience with Duke Ellington's band. Clark rushed to join Duke's band at the Keil Auditorium in St. Louis. The Keil was a brand-new facility with all the latest equipment, from sound to lighting. Without any rehearsal...

...This chapter describes Clark Terry's association with Duke Ellington's band and his experience of working with Duke. Duke made Clark understand the importance of listening to the totality of music. Clark also came to understand the importance of each section to the total piece, especially one's own...

...It was in 1974 that Clark Terry got the news of Duke Ellington's death. It was very sad news for him and he knew he would miss Duke and his music. In 1976, Clark bought a new house for his family. Clark describes his strained relationship with his son, Hiawatha. And it was in 1978 that he got...

...In this chapter, Clark describes the point of his life where he got offered a job by Duke Ellington and at the same time, he had to make the difficult decision to leave Basie and his band. The money offered by Duke Ellington was good, and it was something that could bring Clark closer to fulfilling...

...As Clark describes, Duke Ellington had an outstanding roster of professionals in his orchestra team. While recruiting musicians, Duke kept a certain criteria in his mind, the signature sound of each individual; how they blended; and how they interpreted his arrangements. It was like a choir...

...In this chapter, Clark Terry describes the ways in which Duke Ellington managed his orchestra band and its music. He could persuade anyone jazzwise, like he persuaded Clark to play Buddy Bolden. Duke had full command of the English language, and his diction was flawless. Duke demanded the best from...