| “...I wrote the score of ’Solitude’ in 20 minutes.” |
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- Duke Ellington
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Composer Duke Ellington introduced his composition on a Victor recording date in January, 1934. Duke’s second recording of the tune from September, 1934, this time for Brunswick Records, hit the chart the following year:
- Duke Ellington and His Orchestra (1935, #2)
- Mills Blue Rhythm Band (1935, #8)
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The music to “Solitude” bears the names of Eddie DeLange and Irving Mills as lyricists. Mills was Ellington’s agent and naturally he cut himself in on anything “Ellingtonian” while he managed the Duke. DeLange was employed by Mills as a staff arranger and lyricist for Mills Music Publishing and by 1936 would be co-leader, along with Will Hudson, of the Hudson-DeLange Orchestra, managed by, of course, Irving Mills.
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Another of Mills’ properties was the Blue Rhythm Band whose recording of “Solitude” hit the charts in 1935. The Blue Rhythm Band was a fine jazz ensemble that formed in 1931, and, although never quite as highly regarded as Ellington’s band, they did have some formidable jazz talent (trumpeters Henry “Red” Allen and Harry “Sweets” Edison and trombonist J.C. Higginbotham). But their recording of “Solitude” is pretty standard, mid-1930s dance music.
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Duke Ellington’s autobiography, Music is My Mistress, relates the tale of how “Solitude” was created. “We had arrived in a Chicago recording studio [Victor Records]...with three numbers ready and a fourth needed. The band ahead of us went into overtime...so, standing up, leaning against the studio’s glass enclosure, I wrote the score of ’Solitude’ in 20 minutes.”
It’s interesting to note that the session which produced the first recording of “Solitude” was done over two days, December 9 and 10th, 1934. Duke’s band cut two masters on each day, highly unusual for that time when the norm was to cut three to four masters at a session. “Solitude” was recorded on the second day. In listening to the recording, it’s evident that it was a quickly yet cleverly assembled arrangement and could easily have been a basic “head” arrangement.
According to Ellington’s reminiscences, it was trumpeter Artie Whetsol who gave the tune its title. One of the soloists on the 1934 recording, trumpeter Cootie Williams, attested to the fact that it was totally an Ellington composition and not something “contributed” by another band member.
The number went on to be Duke’s most successful song at the time, both in record and sheet music sales.
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Chris Tyle - Jazz Musician and Historian
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DeLange’s lyrics poignantly describe the anguish brought on by a broken love affair, “You haunt me, with reveries of days gone by,” and the loneliness of this solitude, “I sit in my chair, filled with despair.” Chris Tyle
Musical analysis of “Solitude” | | Original Key | Db major | | Form | A - A - B - A | | Tonality | Primarily major | | Movement | “A” - Upward by steps, leaps (down a sixth and up a fifth) followed by stepwise descent. “B” -intervallic downward motifs repeated in rhythmic variation | Comments (assumed background) | | This ballad is reminiscent of a spiritual. A lyrical, almost folk-like melodic line is combined with a simple, straightforward harmonic progression. There are, however, two unusual elements about this song; it neither starts nor ends on the tonic, and there is a slight alteration in the chord progression the second time through “A”; the IV chord in measure 3 is replaced by a II7 the second time. A small change, this adds some interest to what can be a sluggish tune in the hands of an inexperienced performer. | K. J. McElrath - Musicologist for JazzStandards.com
Check out K. J. McElrath’s book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com). |
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Duke Ellington, Charles Mingus, Max Roach
Money Jungle
2002 Blue Note Records
Original recording 1962
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Ellington plays an introspective solo on “Solitude” before the bassist and drummer join him for an improvisational turn on the song.
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Helen Humes
Swingin’ with Humes
1991 Original Jazz Classics 608
Original recording 1961
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While vocalist Humes leads the group with the grace and charm that the song demands, it is the light, bluesy playing of pianist Wynton Kelly that makes this a winner.
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Johnny Lytle Quintet
The Village Caller
1998 Original Jazz Classics 110
Original recording 1965
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A heavy soul version of the song is courtesy of vibraphonist Lytle and the two Milts, Harris on organ and Hinton on bass. The heaviness of the organ is balanced with the airy ring of the vibes.
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Sonny Rollins
Way Out West
2000 Original Jazz Classics 337
Original recording 1957
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One of only a couple of non-Western tunes on the album, Rollins still manages to make it fit within the theme. The rhythm section sets a plodding swing over which the tenor saxophonist reverently improvises.
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Although Duke Ellington first recorded his composition in 1934, it wasn’t until 1940 that he recorded a vocal version, featuring his marvelous singer Ivie Anderson. In the meantime a number of vocal versions had appeared, but Ivie’s was clearly the best. A Billie Holiday session in 1940 found her in the company of trumpeter Roy Eldridge, whose superb obligati mesh seamlessly with her bluesy vocal approach to Ellington’s tune. Alto saxophonist Johnny Hodges, on leave from the Ellington ranks and commanding his own group in 1951, dipped into his former boss’ repertoire and laid down a sensitive rendition of “Solitude” for Verve. Pianist Thelonious Monk, an avowed Ellington fan, recorded an all-Duke album for his Riverside Records date in 1955. “Solitude” is considered by many to be the best track on the album, an evocative exposition of the tune.
Chris Tyle - Jazz Musician and Historian
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| This section shows the jazz standards written by the same writing team. Click on a name to see all of a writer's jazz standards.
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Additional information on “Solitude” may be found in:
1 paragraph including the following types of information: anecdotal.
3 paragraphs including the following types of information: music analysis.
Includes the following types of information: song lyrics.
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