Duke Ellington was one of the great composers and bandleaders of the last century, and his band was one of the great bands. Touring, however, is unforgiving. Long hours sitting in a bus, meals if and when you can grab them, and gigs every night. And when you’ve played the same tunes with the same cats for decades, well, it can be rough to get up for a gig. Fact is there were times when Ellington’s musicians looked like they were asleep on the stage.
That’s how they appeared the one time I saw Ellington live. It was at one of those sessions held by the Left Bank Jazz Society in Baltimore’s Famous Ballroom on Sunday afternoons. This was probably in 1970, 71, or 72, long after Ellington’s prime years in the second quarter of the century. The Famous Ballroom was on North Charles Street, not too far from the train station, and up three flights of fairly wide stairs. It too was past its prime years, but the patrons of the Left Bank, they were always primed for good music. Some were dressed to the nines in their church Sunday best, the men in sharp suits, the women in elaborate hats; and some were dressed casually in jeans and sneakers.
That’s generally how it was, but I only specifically remember three things from that concert. Ellington dressed well and had a line of patter smooth as silk and brittle as glass. He’d been doing this a long time. That’s one. The guys slumped in their chairs like they’d just gotten off an all-night flight from Timbuktu. Perhaps they had. That’s two.
And three: Paul Gonsalves burned the place down with his tenor sax. I forget what the number was. All I remember is that Gonsalves strode out on stage to play a solo, but he didn’t position himself in front of the microphone. He stood to one side. A helpful member of the audience moved the mike directly in front of him as he started to blow. He stopped playing for a second, grabbed the mike angrily and shoved it aside. Not for him the brittle reverberations of amplified sound. Then he started blowing again. The pure juice of the natural human essence flowed from his sax to embrace us in its majesty and urgency.
