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Four BNSF GE C44-9W diesel locomotives hauling a mixed freight train along the Columbia river, between Kennewick and Wishram, Washington State, USA

Rail transport
Operations
Track
Maintenance
High-speed
Gauge
Stations
Trains
Locomotives
Rolling stock
Companies
History
Attractions
Terminology
By country
Accidents
Modelling
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A railway or railroad train is a connected series of vehicles for rail transport that move along a track (permanent way) to transport cargo or passengers from one place to another place. The track usually consists of two, three or four rails, but might also be a monorail or maglev guideway.

Propulsion for the train is provided by a separate locomotive, or from individual motors in self-propelled multiple units. Most modern trains are powered by diesel locomotives or by electricity supplied by overhead wires or additional rails, although historically (from the early 19th century to the mid-20th century) the steam locomotive was the dominant form of locomotive power. Other sources of power (such as horses, rope or wire, gravity, pneumatics, batteries, and gas turbines) are possible.

The word 'train' comes from the Old French trahiner, itself from the Latin trahere 'pull, draw'.^[1]

Types of trains[link]

German ICE high speed passenger train (a form of multiple unit)

A Transperth B-series train

British Rail Class 390 Electric multiple unit train in Virgin Trains livery

Steam locomotive-hauled passenger train

A train in South Sudan

There are various types of trains that are designed for particular purposes. A train can consist of a combination of one or more locomotives and attached railroad cars, or a self-propelled multiple unit (or occasionally a single or articulated powered coach, called a railcar). Trains can also be hauled by horses, pulled by a cable, or run downhill by gravity.

Special kinds of trains running on corresponding special 'railways' are atmospheric railways, monorails, high-speed railways, maglev, rubber-tired underground, funicular and cog railways.

A passenger train may consist of one or several locomotives and coaches. Alternatively, a train may consist entirely of passenger carrying coaches, some or all of which are powered as a "multiple unit". In many parts of the world, particularly the Far East and Europe, high-speed rail is used extensively for passenger travel.

Freight trains are composed of wagons or trucks rather than carriages, though some parcel and mail trains (especially Travelling Post Offices) are outwardly more like passenger trains.

Trains can also be 'mixed', comprising both passenger accommodation and freight vehicles. Such mixed trains are most likely to occur where services are infrequent, and running separate passenger and freight trains is not cost-effective, though the differing needs of passengers and freight usually means this is avoided where possible.

Special trains are also used for track maintenance; in some places, this is called maintenance of way.

In the United Kingdom, a train hauled by two locomotives is said to be "double-headed", and in Canada and the United States it is quite common for a long freight train to be headed by three or more locomotives. A train with a locomotive attached at each end is described as 'top and tailed', this practice typically being used when there are no reversing facilities available. Where a second locomotive is attached temporarily to assist a train up steep banks or grades (or down them by providing braking power) it is referred to as 'banking' in the UK, or 'helper service' in North America. Recently, many loaded trains in the US have been made up with one or more locomotives in the middle or at the rear of the train, operated remotely from the lead cab. This is referred to as "DP" or "Distributed Power."

Terminology[link]

The railway terminology that is used to describe a 'train' varies between countries.

United Kingdom

In the United Kingdom, the interchangeable terms set and unit are used to refer to a group of permanently or semi-permanently coupled vehicles, such as those of a multiple unit. While when referring to a train made up of a variety of vehicles, or of several sets/units, the term formation is used. (Although the UK public and media often forgo 'formation', for simply 'train'.) The word rake is also used for a group of coaches or wagons.

In the United Kingdom Section 83(1) of the Railways Act 1993 defines "train" as follows:

a) two or more items of rolling stock coupled together, at least one of which is a locomotive; or

b) a locomotive not coupled to any other rolling stock.

United States

In the United States, the term consist is used to describe the group of rail vehicles which make up a train. When referring to motive power, consist refers to the group of locomotives powering the train. Similarly, the term trainset refers to a group of rolling stock that is permanently or semi-permanently coupled together to form a unified set of equipment (the term is most often applied to passenger train configurations).

There are three types of trains: Electric, Diesel and Steam.

The Atchison, Topeka and Santa Fe Railway's 1948 operating rules define a train as: "An engine or more than one engine coupled, with or without cars, displaying markers."^[2]

Bogies[link]

US-style railroad truck (bogie) with journal bearings

A bogie ( /ˈboʊɡi/ US dict: bō′·gē) is a wheeled wagon or trolley. In mechanics terms, a bogie is a chassis or framework carrying wheels, attached to a vehicle. It can be fixed in place, as on a cargo truck, mounted on a swivel, as on a railway carriage or locomotive, or sprung as in the suspension of a caterpillar tracked vehicle.

Motive power[link]

The first trains were rope-hauled, gravity powered or pulled by horses. From the early 19th century almost all were powered by steam locomotives. From the 1910s onwards the steam locomotives began to be replaced by less labour intensive and cleaner (but more complex and expensive) diesel locomotives and electric locomotives, while at about the same time self-propelled multiple unit vehicles of either power system became much more common in passenger service. In most countries dieselisation of locomotives in day-to-day use was completed by the 1970s. A few countries, most notably the People's Republic of China, where coal and labour are cheap, still use a few steam locomotives, but most have been phased out. Historic steam trains still run in many other countries, for the leisure and enthusiast market.

Electric traction offers a lower cost per mile of train operation but at a higher initial cost, which can only be justified on high traffic lines. Since the cost per mile of construction is much higher, electric traction is less viable for long-distance lines with the exception of long-distance high speed lines. Electric trains receive their current via overhead lines or through a third rail electric system.

A recent variation of the electric locomotive is the fuel cell locomotive.^[3][4] Fuel cell locomotives combine the advantage of not needing an electrical system in place, with the advantage of emissionless operation. However, the initial cost of such fuel cell vehicles is still substantial at the moment.

Passenger trains[link]

Class 323 at Godley

Interior of a passenger car in a long-distance train in Finland

A passenger train is one which includes passenger-carrying vehicles. It may be a self-powered multiple unit or railcar, or else a combination of one or more locomotives and one or more unpowered trailers known as coaches, cars or carriages. Passenger trains travel between stations or depots, at which passengers may board and disembark. In most cases, passenger trains operate on a fixed schedule and have superior track occupancy rights over freight trains.

Oversight of a passenger train is the responsibility of the conductor. He or she is usually assisted by other crew members, such as service attendants or porters. During the heyday of North American passenger rail travel, long distance trains carried two conductors: the aforementioned train conductor, and a Pullman conductor, the latter being in charge of sleeping car personnel.

Many prestigious passenger train services have been given a specific name, some of which have become famous in literature and fiction. In past years, railroaders often referred to passenger trains as the "varnish", alluding to the bygone days of wooden-bodied coaches with their lustrous exterior finishes and fancy livery. "Blocking the varnish" meant a slow-moving freight train was obstructing a fast passenger train, causing delays.

Some passenger trains, both long distance and short distanced, may use bi-level (double-decker) cars to carry more passengers per train. Car design and the general safety of passenger trains have dramatically evolved over time, making travel by rail remarkably safe.

High-speed rail[link]

Japanese Shinkansen 500 Series (High-speed rail)

One notable and growing long-distance train category is high-speed rail. Generally, high speed rail runs at speeds above 200 km/h (124 mph) and often operates on dedicated track that is surveyed and prepared to accommodate high speeds. Japan's Shinkansen ("bullet-train") commenced operation in 1964, and was the first successful example of a high speed passenger rail system.

The fastest wheeled train running on rails is France's TGV (Train à Grande Vitesse, literally "high speed train"), which achieved a speed of 574.8 km/h (357.2 mph), twice the takeoff speed of a Boeing 727 jetliner, under test conditions in 2007. The highest speed currently attained in scheduled revenue operation is 350 km/h (217 mph) on the Beijing–Tianjin Intercity Rail and Wuhan–Guangzhou High-Speed Railway systems in China. The TGV runs at a maximum revenue speed of 300–320 km/h (186–199 mph), as does Germany's Inter-City Express.

In most cases, high-speed rail travel is time- and cost-competitive with air travel when distances do not exceed 500 to 600 km (311 to 373 mi), as airport check-in and boarding procedures may add as many as two hours to the actual transit time.^[5] Also, rail operating costs over these distances may be lower when the amount of fuel consumed by an airliner during takeoff and climbout is considered. As travel distance increases, the latter consideration becomes less of the total cost of operating an airliner and air travel becomes more cost-competitive.

Some high speed rail equipment employs tilting technology to improve stability in curves. Examples of such equipment are the Advanced Passenger Train (APT), the Pendolino, the N700 Series Shinkansen, Amtrak's Acela Express and the Talgo. Tilting is a dynamic form of superelevation, allowing both low- and high-speed traffic to use the same trackage (though not simultaneously, of course), as well as producing a more comfortable ride for passengers.

Maglev[link]

In order to achieve much faster operation over 500 km/h (310 mph), innovative Maglev technology has been researched for years. The Shanghai Maglev Train, opened in 2003, is the fastest commercial train service of any kind, operating at speeds of up to 430 km/h (270 mph). So far, however, Maglev has not been used for inter-city mass transit routes.

Inter-city trains[link]

A New Jersey Transit train (U.S.) arriving at a station.

Passenger trains can be divided into three major groups:

• Intercity trains: connecting cities in the fastest time possible, bypassing all intermediate stations
• Fast trains: calling at larger intermediate stations between cities, serving large urban communities
• Regional trains: calling at all intermediate stations between cities, serving all lineside communities

The distinction between the types can be thin or even non-existent. Trains can run as Intercity services between major cities, then revert to a fast or even regional train service to serve communities at the extremity of their journey. This practice allows marginal communities remaining to be served while saving money at the expense of a longer journey time for those wishing to travel to the terminus station.

Regional trains[link]

Regional trains usually connect between towns and cities, rather than purely linking major population hubs like inter-city train, and serve local traffic demand in relatively rural area.

Short-distance trains[link]

Commuter trains[link]

Mumbai's suburban trains handle 6.3 million commuters daily.^[6]

Interior of a 6-door passenger car in Japan, when the bench seats are folded

"Tren de la costa" Train in Argentina

For shorter distances many cities have networks of commuter trains, serving the city and its suburbs. Trains are a very efficient mode of transportation to cope with large traffic demand in a metropolis. Compared with road transport, it carries many people with much smaller land area and little air pollution.

Some carriages may be laid out to have more standing room than seats, or to facilitate the carrying of prams, cycles or wheelchairs. Some countries have double-decked passenger trains for use in conurbations. Double deck high speed and sleeper trains are becoming more common in mainland Europe.

Sometimes extreme congestion of commuter trains becomes a problem. For example, an estimated 3.5 million passengers ride every day on Yamanote Line in Tokyo, Japan, with its 29 stations. For comparison, the New York City Subway carries 4.8 million passengers per day on 24 services serving 468 stations. To cope with large traffic, special cars in which the bench seats fold up to provide standing room only during the morning rush hour (until 10 a.m.) are operated in Tokyo (E231 series train). In the past this train has included 2 cars with six doors on each side to shorten the time for passengers to get on and off at station.

Passenger trains usually have emergency brake handles (or a "communication cord") that the public can operate. Misuse is punished by a heavy fine.

Long-distance trains[link]

Long-distance trains travel between many cities and/or regions of a country, and sometimes cross several countries. They often have a dining car or restaurant car to allow passengers to have a meal during the course of their journey. Trains travelling overnight may also have sleeping cars. Currently much of travel on these distances of over 500 miles is done by air on many countries but on many others long-distance travel by rail is popular or only cheap way to cross vast distances.

Within cities[link]

Rapid transit[link]

Large cities often have a metro system, also called underground, subway or tube. The trains are electrically powered, usually by third rail, and their railroads are separate from other traffic, usually without level crossings. Usually they run in tunnels in the city centre and sometimes on elevated structures in the outer parts of the city. They can accelerate and decelerate faster than heavier, long-distance trains.

The term rapid transit is used for public transport such as commuter trains, metro and light rail. However, in New York City, services on the New York City Subway have been referred to as "trains".

Tram[link]

In most countries, such as the United Kingdom, the distinction between a tramway and a railway is precise and defined in law. In the US and Canada such street railways are mostly referred to as trolleys. The key difference between a railroad and a trolley system is the latter running primarily on public streets, whereas trains have a right of way separated from the public. Often the US style interurban and modern light rail are confused with a trolley system, as it too may run on on the street for short or medium long sections. In some languages the word tram also refers to interurban and light rail -style networks, in particular Dutch.

The length of a tram or trolley may be determined by national regulations. Germany has the so-called Bo-Strab standard, restricting the length of a tram to 75 metres, while in the US, vehicle length is normally restricted by local authorities, often allowing only a single type of vehicle to operate on the network.

Light rail[link]

The term light rail is sometimes used for a modern tram system, but it may also mean an intermediate form between a tram and a train, similar to a subway except that it may have level crossings. These are then usually protected with crossing gates. In US terminology these systems are often referred to as interurban, as they connect larger urban areas in the vicinity of a major city to that city. Modern light rail systems often use abandoned heavy rail rights of way (e.g. former railway lines) to revitalize deprived areas and redevelopment sites in and around large agglomerations.

Monorail[link]

Monorail was developed to meet medium-demand traffic in urban transit, but represents a relatively small part of the overall railway field.

Named trains[link]

Railway companies often give a name to a train service as a marketing exercise, to raise the profile of the service and hence attract more passengers (and also to gain kudos for the company). Usually, naming is reserved for the most prestigious trains: the high-speed express trains between major cities, stopping at few intermediate stations. The names of services such as the Orient Express, the Flying Scotsman, the Flèche d'Or and the Royal Scot have passed into popular culture.

A somewhat less common practice is the naming of freight trains, for the same commercial reasons. The "Condor" was an overnight London-Glasgow express goods train, in the 1960s, hauled by pairs of "Metrovick" diesel locomotives. In the mid-1960s, British Rail introduced the "Freightliner" brand, for the new train services carrying containers between dedicated terminals around the rail network. The Rev. W. Awdry also named freight trains, coining the term The Flying Kipper for the overnight express fish train that appeared in his stories in The Railway Series books.

Other types[link]

Heritage trains

Heritage trains are operated by volunteers, often railfans, as a tourist attraction. Usually trains are formed from historic vehicles retired from national commercial operation.

Airport trains

Airport trains transport people between terminals within an airport complex.

Mine trains

Mine trains are operated in large mines and carry both workers and goods.

Overland trains

Overland trains are used to carry cargo over rough terrain.

Freight trains[link]

Cane train, Australia

British electric container freight train

American freight service

A freight train (also known as goods train) uses freight cars (also known as wagons or trucks) to transport goods or materials (cargo) – essentially any train that is not used for carrying passengers. Much of the world's freight is transported by train, and in the United States the rail system is used more for transporting freight than passengers.

Under the right circumstances, transporting freight by train is highly economic, and also more energy efficient than transporting freight by road. Rail freight is most economic when freight is being carried in bulk and over long distances, but is less suited to short distances and small loads. Bulk aggregate movements of a mere twenty miles (32 km) can be cost effective even allowing for trans-shipment costs. These trans-shipment costs dominate in many cases and many modern practices such as Intermodal container freight are aimed at minimizing these.

The main disadvantage of rail freight is its lack of flexibility. For this reason, rail has lost much of the freight business to road competition. Many governments are now trying to encourage more freight onto trains, because of the benefits that it would bring.

There are many different types of freight trains, which are used to carry many different kinds of freight, with many different types of wagons. One of the most common types on modern railways are container trains, where containers can be lifted on and off the train by cranes and loaded off or onto trucks or ships.

In the U.S. this type of freight train has largely superseded the traditional boxcar (wagon-load) type of freight train, with which the cargo has to be loaded or unloaded manually. In Europe the sliding wall wagon has taken over from the ordinary covered goods wagon.

In some countries "piggy-back" trains or rolling highways are used: In the latter case trucks can drive straight onto the train and drive off again when the end destination is reached. A system like this is used through the Channel Tunnel between England and France, and for the trans-Alpine service between France and Italy (this service uses Modalohr road trailer carriers). "Piggy-back" trains are the fastest growing type of freight trains in the United States, where they are also known as "trailer on flatcar" or TOFC trains. Piggy-back trains require no special modifications to the vehicles being carried. An alternative type of "inter-modal" vehicle, known as a roadrailer, is designed to be physically attached to the train. The original trailers were fitted with two sets of wheels — one set flanged, for the trailer to run connected to other such trailers as a rail vehicle in a train; and one set tyred, for use as the semi-trailer of a road vehicle. More modern trailers have only road wheels and are designed to be carried on specially adapted bogies (trucks) when moving on rails.

There are also many other types of wagons, such as "low loader" wagons for transporting road vehicles. There are refrigerator cars for transporting foods such as ice cream. There are simple types of open-topped wagons for transporting minerals and bulk material such as coal, and tankers for transporting liquids and gases. Today, however, most coal and aggregates are moved in hopper wagons that can be filled and discharged rapidly, to enable efficient handling of the materials.

Freight trains are sometimes illegally boarded by passengers who do not wish to pay money, or do not have the money to travel by ordinary means. This is referred to as "freighthopping" and is considered by some communities^[who?] to be a viable form of transport. A common way of boarding the train illegally is by sneaking into a train yard and stowing away in an unattended boxcar; a more dangerous practice is trying to catch a train "on the fly", that is, as it is moving, leading to occasional fatalities. Railroads treat it as trespassing and may prosecute it as such.

Trains in popular culture[link]

See:

See also[link]

Rail accidents[link]

• Lists of rail accidents

References[link]

Further reading[link]

• Glancey, Jonathan (2005). The Train. Carlton Publishing Group. ISBN 978-1-84442-345-3 , 256 pp.

External links[link]

Look up train in Wiktionary, the free dictionary.

Media related to Trains at Wikimedia Commons

All Angels are a British classical crossover group formed in 2006, consisting of Daisy Chute, Rachel Fabri, Melanie Nakhla and Charlotte Ritchie.^[1] The group's style is classical crossover music and close harmony arrangement, with a repertoire spanning classical, choral, opera and pop including Franz Schubert's Ellens dritter Gesang, Agnus Dei (the choral arrangement of Samuel Barber's Adagio for Strings) and the Sancta Maria intermezzo from Pietro Mascagni's Cavalleria rusticana, along with the Flower Duet from Léo Delibes' Lakmé and the Barcarolle from Jacques Offenbach's The Tales of Hoffmann, plus pop songs such as Robbie Williams' Angels, Fleetwood Mac's Songbird, Coldplay's The Scientist, True Colours, Goodnight my Angel (Billy Joel) Muses' Starlight and Prince's Nothing Compares 2 U. They have also performed the National Anthem at Twickenham and at the England vs. USA football match in Wembley Stadium in the summer of 2008.^[2]

They recorded their first three albums with Universal and have over 1 million sales. Their self-titled debut album, All Angels was released in 2006, and their second album, Into Paradise was released on 26 November 2007. A third album Fly away was released in January 2010. Songs on this album include Norah Jones's Come Away With Me, Send In The Clowns, Bob Dylan's Blowin' In The Wind, Eric Whitacre's Sleep, and a duet with The Harlem Gospel Choir on I'll Fly Away. They have sold over 1,000,000 albums to date. All Angels are managed by TCB Group.^[3]

They undertook a UK tour supporting Katherine Jenkins in Summer 2009 and completed an arena tour later that year with Young Voices. The have been invited to perform in Los Angeles as part of the Inspiration Awards raising money for a Breast Cancer charity they have been affiliated with for the last four years.

History[link]

All Angels signed a five album deal with Universal Classics and Jazz in 2006 to be targeted at the populist classical crossover market. Each of the groups members had to go through an audition process in order to join the group,^[4] and were selected from 120 auditionees. Their first live performance was at Cadogan Hall in Chelsea, London.^[5]

The group released their first album at the end of 2006, entering the United Kingdom (UK) charts at number nine. It was the UK's fastest selling debut for a classical act and won them a platinum disc, and was also nominated in the Classical BRIT Awards album of the year category in 2007.^[6] They sang in front of the Queen at the Festival of Remembrance held at the Royal Albert Hall on 9 November and at Silence in the Square, a concert held in Trafalgar Square on 11 November.^[7] In December 2006 they released the single Angels, the first ever Christmas single to be released in association with the Royal British Legion and their Poppy Appeal.

They sang at the Classical BRIT Award ceremony held on 3 May and broadcast on ITV on 6 May.^[8]

They made a cameo appearance in the British soap opera, Emmerdale during a wedding on 9 October 2007 singing Songbird.^[9] They again sang at the Festival of Remembrance on 10 November. On 26 November they released a second album, Into Paradise, which features Nothing Compares 2 U and Sancte Deus. At the same time the album was released the winner was announced of the national Angel Idol competition, run in conjunction with Classic FM to find a fifth member for the group. The winner was Alexandra Lawrie who then had the opportunity to record a track and perform with the girls at a concert in London on 28 November.^[10]

They appeared on the BBC Radio 4 2007 Christmas Service, held at Wesley's Chapel in London^[11] and on the BBC 2007 New Year's Eve show, singing Nothing Compares 2 U.

On 14 January 2008 All Angels sang The Sound of Silence and Pie Jesu in a one-off concert at the International Eisteddfod’s launch in Cardiff. They appeared at the International Eisteddfod in Llangollen on 11 July 2008.^[12][13] On 27 January they appeared on Songs of Praise on BBC One.^[14] In 2008 they embarked on a Cathedral tour in the Spring and further touring at open air concerts venues including Sandringham and Gawsworth Hall. They performed for the "Make a wish Foundation Summer Ball at Blenheim Palace. They went into the recording studio at the end of 2008 and into early 2009 recording tracks for their third cd.

On 13 October 2009 All Angels performed a concert at Paisley Abbey with the Glasgow-based Les Sirènes Female Chamber Choir as part of the Paisley Choral Festival. The two groups collaborated on the song I'll Fly Away as a joint finale. They also performed their own concert at The Thaxted Festival.

On 10 December 2009, they participated in the Birmingham Young Voices concert. They sang with VV Brown, a singer from Northampton. All Angels are preparing for an EP to come out in november-december time of 2010. They are also returning for a secound year to participate in the yound voices tour 2010 which kicked off in Birmingham where they shared the stage with Island artists such as Dionne Bromfield (Amy Winehouse's goddaughter) and Josh Osho. They have performed several times at charity dinners at The Houses of Parliament and at many private corporate occasions. They were honoured to be performing in the Spring of 2011 for the 90th Anniversary for the Royal British Legion in Alicante, Spain. All Angels were thrilled to be asked to record the theme to the 2011 UEFA Champions League Final and to perform it at the match at Wembley Stadium between Barcelona and Manchester United.

Members[link]

Daisy Chute[link]

Daisy Chute (born 17 August 1989) ^[15] is from Edinburgh. She studied at St Mary's Music School Edinburgh,where she was a chorister at St. Mary's Episcopal Cathedral and Loretto School^[4] and began her performing career at the age of nine as the young Cosette in the touring production of Les Misérables. At the age of thirteen she appeared as a young Judy Garland in Stars In Their Eyes Kids, and made her first appearance on the Edinburgh Fringe. At fifteen she recorded her debut album, Simply Jazz after she performed with a trio at a jazz cabaret show at the Edinburgh Jazz and Blues Festival and Edinburgh Fringe. A track from her Simply Jazz album was played by Humphrey Lyttelton on his BBC Radio 2 Best of Jazz show making Chute the youngest performer to ever be showcased on his show. Chute finished her secondary schooling at the Purcell School of Music in Bushey, Hertfordshireon full scholarship, where she studied voice, piano and composition and gained 3 A's at A level examinations.^[16] In 2005 she was a joint winner, of a Scottish songwriting competition for the music festival Burnsong, with her song, Promises to Keep. All the winning songs were performed professionally and broadcast live on BBC Radio Scotland.^[17]

After meeting composer, Howard Goodall at the Royal Albert Hall's School Proms where she was fronting Loretto School ensemble, she was asked to sing on his television show, How Music Works^[16] where she performed the Shaker song 'Tis A Gift To Be Simple with Anastacia Nosobin on guitar on the first programme of the series.^[18] Howard Goodall recommended Daisy for inclusion in ALL ANGELS.She also recorded the theme tune for the BBC Radio series What is Melody written by Dr Richard Niles.^{[citation needed]}

In June 2006 she was a "Highly Commended" finalist in the joint BBC Proms and The Guardian newspaper Young Composer Competition.^[19]

On 24 September 2006 she performed at Wigmore Hall in London,^[20] giving a solo recital of Alec Wilder songs. She was signed to Universal Classics and Jazz (UCJ) on the day she turned seventeen, as part of All Angels.^[16] Chute has also had a brief stint presenting the CBBC news programme, Newsround at the Pop Poll Awards and interviewed Ronan Keating, Billie Piper and Westlife.^{[citation needed]} In summer 2008, she was featured in Highland Heartbeat, a Scottish music special filmed by American broadcaster PBS and broadcast throughout the USA in the Spring of 2009.^{[citation needed]} She performed last year touring the music societies as guest vocalist with classical guitarist, Simon Thacker and Camerata Ritmata.

In 2008 Chute won the Scottish Music Centre's Young Composer's competition.^{[citation needed]}

She has now received a Bachelor of Music degree at King's College, University of London.^{[citation needed]}

Melanie Nakhla[link]

Melanie Nakhla (born 29 December 1988 in Malta) She moved with her family to Shrewsbury, Shropshire when she was three years old, where she attended Prestfelde School. She also attended Shrewsbury High School, until the age of 15. She began singing at a young age, joining the Shrewsbury Children's Choir when she was eight years old.^[5] She competed in the Oswestry Eisteddfod when she was ten years old coming first in a singing competition.^[21] She was a student at Wycombe Abbey in High Wycombe where she was head of choir.^[4][5] She has also appeared at the opening of the Severn Theatre in Shrewsbury. She is studying French and Spanish at University College London.^{[citation needed]}

Charlotte Ritchie[link]

See main article for Charlotte Ritchie.

Rachel Fabri[link]

Rachel Fabri (born 12 September 1985 in Malta) - Raised in Malta, she trained at the Masquerade Theatre Arts School. She also trained privately under the tuiton of soprano Gillian Zammit. She later received a masters degree in musical theatre at the Guildford School of Acting.^[22] She is an actor as well as a singer singing all kinds of different styles. Rachel is the newest member of the group, having joined the All Angels in July 2010. Rachel is a Psychology graduate from the University of Malta. Rachel's roles have included performances at the Edinburgh Fringe Festival ^[23] as the lead role in 'Persephone', the London Palladium in 'Me and My Girl' and Abdel Akle in the Lee Tamahori film 'The Devil's Double'^[24]

Laura Wright[link]

Laura Wright, (born 17 June 1990)^[25] was a member of All Angels and left the group in 2010.

Discography[link]

Albums[link]

• 2006: All Angels
• 2007: All Angels (Revised) - Digital release
• 2007: Into Paradise
• 2009: Fly Away
• 2010: "Starlight" (EP Digital Release 22 November)

Singles[link]

• 2006: Songbird
• 2006: Angels
• 2007: Nothing Compares 2 U

Featured[link]

• 2007: The Number One Classical Album 2008 - "Sancte Deus (Nimrod)
• 2008: Tenor at the Movies - "Vois Sur Ton Chemin" from Les Choristes with Jonathan Ansell
• 2008: A New World - "Anytime Anywhere" with Will Martin

References[link]

External links[link]

• All Angels official on Myspace
• Daisy Chute on Myspace
• Rachel Fabri on Myspace
• All Angels at the Internet Movie Database
• Interview 2007 on ilikemusic.com
• All Angels on classicalx.com
• All Angels interview on classicalx.com

Duke Ellington
Frankfurt am Main, February 6, 1965
Background information
Birth name	Edward Kennedy Ellington
Born	(1899-04-29)April 29, 1899 Washington D.C., United States
Died	May 24, 1974(1974-05-24) (aged 75) New York City, United States
Genres	Orchestral jazz, swing, big band
Occupations	Bandleader, pianist, composer
Instruments	Piano
Years active	1914–1974
Website	www.dukeellington.com

Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974)^[1] was an American composer, pianist, and big-band leader. Ellington wrote over 1,000 compositions. In the opinion of Bob Blumenthal of The Boston Globe "In the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington."^[2] A major figure in the history of jazz, Ellington's music stretched into various other genres, including blues, gospel, film scores, popular, and classical. His career spanned more than 50 years and included leading his orchestra, composing an inexhaustible songbook, scoring for movies, composing stage musicals, and world tours. Several of his instrumental works were adapted into songs that became standards. Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and extraordinary charisma, he is generally considered to have elevated the perception of jazz to an art form on a par with other traditional genres of music. His reputation increased after his death and the Pulitzer Prize Board bestowed on him a special posthumous honor in 1999.^[3]

Ellington called his music "American Music" rather than jazz, and liked to describe those who impressed him as "beyond category."^[4] These included many of the musicians who were members of his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most well-known jazz orchestral units in the history of jazz. He often composed specifically for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams, which later became "Do Nothing Till You Hear from Me" with Bob Russell's lyrics, and "The Mooche" for Tricky Sam Nanton and Bubber Miley. He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan" and "Perdido" which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained there for several decades. After 1941, he frequently collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his "writing and arranging companion."^[5] Ellington recorded for many American record companies, and appeared in several films.

Ellington led his band from 1923 until his death in 1974. His son Mercer Ellington, who had already been handling all administrative aspects of his father's business for several decades, led the band until his own death in 1996. At that point, the original band dissolved. Paul Ellington, Mercer's youngest son and executor of the Duke Ellington estate,^[6] kept the Duke Ellington Orchestra going from Mercer's death onwards.^[7]

Early life[link]

Edward Kennedy Ellington was born on April 29, 1899 to James Edward Ellington and Daisy Kennedy Ellington. Daisy and J.E. were both pianists. Daisy primarily played parlor songs and J.E. prefered operatic airs. They lived with his maternal grandparents at 2129 Ida Place (now Ward Place), NW in the West End neighborhood of Washington, D.C.^[8] His father, James Edward Ellington, was born in Lincolnton, North Carolina on April 15, 1879 and moved to Washington, D.C. in 1886 with his parents.^[9] Daisy Kennedy was born in Washington, D.C. on January 4, 1879, and was the daughter of a former American slave.^[8][10] James Ellington made blueprints for the United States Navy.

At the age of seven Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington’s childhood friends noticed that "his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman",^[11] and began calling him Duke. Ellington credited his "chum" Edgar McEntree for the nickname. "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke."^[12]

Though Ellington took piano lessons, he was more interested in baseball. "President Roosevelt (Teddy) would come by on his horse sometimes, and stop and watch us play," he recalled.^[13] Ellington went to Armstrong Technical High School in Washington, D.C. He got his first job selling peanuts at Washington Senators baseball games.

In the summer of 1914, while working as a soda jerk at the Poodle Dog Cafe, he wrote his first composition, "Soda Fountain Rag" (also known as the "Poodle Dog Rag"). Ellington created "Soda Fountain Rag" by ear, because he had not yet learned to read and write music. "I would play the 'Soda Fountain Rag' as a one-step, two-step, waltz, tango, and fox trot," Ellington recalled. "Listeners never knew it was the same piece. I was established as having my own repertoire."^[14] In his autobiography, Music is my Mistress (1973), Ellington said he missed more lessons than he attended, feeling at the time that playing the piano was not his talent. Ellington started sneaking into Frank Holiday's Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington's love for the instrument and he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, and Harvey Brooks.^[15]

Ellington began listening to, watching, and imitating ragtime pianists, not only in Washington, D.C., but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months.^[14] Dunbar High School music teacher Henry Lee Grant gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, and improve his technique. Ellington was also inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. Later in New York he took advice from Will Marion Cook, Fats Waller, and Sidney Bechet. Ellington started to play gigs in cafés and clubs in and around Washington, D.C. and his attachment grew to be so strong that he turned down an art scholarship to the Pratt Institute in Brooklyn in 1916. Three months before graduating he dropped out of Armstrong Manual Training School, where he was studying commercial art.^[16]

From 1917 through 1919, Ellington launched his musical career, painting commercial signs by day and playing piano by night. Through his day job, Duke's entrepreneurial side came out: when a customer would ask him to make a sign for a dance or party, he would ask them if they had musical entertainment; if not, Ellington would ask if he could play for them. He also had a messenger job with the U.S. Navy and State Departments. Ellington moved out of his parents' home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, "The Duke’s Serenaders" ("Colored Syncopators", his telephone directory advertising proclaimed).^[16] He was not only a member, but also the booking agent. His first play date was at the True Reformer's Hall, where he took home 75 cents.^[17]

Ellington played throughout the Washington, D.C. area and into Virginia for private society balls and embassy parties. The band included Otto Hardwick, who switched from bass to saxophone; Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, a rarity during the racially divided times.^[18]

Music career[link]

Early career[link]

When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, becoming one of the figures of the Harlem Renaissance. New dance crazes like the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake's Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met Willie "The Lion" Smith who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months the young musicians returned to Washington, D.C., feeling discouraged.

In June 1923 a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club – 49th and Broadway – and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was called Elmer Snowden and his Black Sox Orchestra and had seven members, including James "Bubber" Miley. They renamed themselves "The Washingtonians". Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire the club was re-opened as the Club Kentucky (often referred to as the "Kentucky Club"), an engagement which set the stage for the biggest opportunities in Ellington's life.

Ellington made eight records in 1924, receiving composing credit on three including Choo Choo.^[19] In 1925 Ellington contributed four songs to Chocolate Kiddies, an all-African-American revue which introduced European audiences to African-American styles and performers. "Duke Ellington and his Kentucky Club Orchestra" grew to a ten-piece organization; they developed their own sound by displaying the non-traditional expression of Ellington’s arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with the group, imparting his propulsive swing and superior musicianship to the young band members. In 1927 King Oliver turned down a regular booking for his group as the house band at Harlem's Cotton Club; the offer passed to Ellington. With a weekly radio broadcast and famous white clientele nightly pouring in to see them.

Ellington was joined in New York City by his wife, Edna Thompson, and son Mercer in the late twenties, but the couple soon permanently separated.^[20] According to her obituary in Jet magazine, she was "[h]omesick for Washington" and returned (she died in 1967).^[21]

Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington's sound.^[22] An early exponent of growl trumpet, his style changed the "sweet" dance band sound of the group to one that was hotter, which contemporaries termed "jungle" style. He also composed most of "Black and Tan Fantasy" and "Creole Love Call". An alcoholic, Miley had to leave the band before they gained wider fame. He died in 1932 at the age of 29. He was an important influence on Cootie Williams, who replaced him.

In 1927 Ellington made a career-advancing agreement with agent-publisher Irving Mills, giving Mills a 45% interest in Ellington's future.^[23] Mills had an eye for new talent and early on published compositions by Hoagy Carmichael, Dorothy Fields, and Harold Arlen. During the 1930s Ellington's popularity continued to increase – largely as a result of the promotional skills of Mills – who got more than his fair share of co-composer credits. From the beginning of their relationship, Mills arranged recording sessions on nearly every label including Brunswick, Victor, Columbia, OKeh, Perfect, Pathe, the ARC/Plaza group of labels (Cameo, Romeo, Lincoln, Oriole, Domino, Jewel, Banner), Hit of the Week, and Columbia's cheaper labels (Harmony, Diva, Velvet Tone, Clarion) labels which gave Ellington popular recognition, as well giving Ellington's fans the opportunity of hearing multiple versions of the same song. Ellington ended his association with Mills in 1937, although he continued to record under Mills' banner through to 1940.

At the Cotton Club, Ellington's group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illegal alcohol. The musical numbers were composed by Jimmy McHugh and the lyrics by Dorothy Fields (later Harold Arlen and Ted Koehler), with some Ellington originals mixed in. Weekly radio broadcasts from the club gave Ellington national exposure. In 1929 Ellington appeared in his first movie, a nineteen-minute all-African-American RKO short, Black and Tan, in which he played the hero "Duke". In the same year, the Cotton Club Orchestra appeared on stage for several months in Florenz Ziegfeld's Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Al Jolson, Ruby Keeler, and with music and lyrics by George Gershwin and Gus Kahn. That feverish period also included numerous recordings, under the pseudonyms "Whoopee Makers", "The Jungle Band", "Harlem Footwarmers", and the "Ten Black Berries". In 1930 Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, "America's foremost ballroom". Noted composer Percy Grainger was also an early admirer and supporter. He wrote "The three greatest composers who ever lived are Bach, Delius and Duke Ellington. Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke".^[24]

In 1929, when Ellington conducted the orchestra for Show Girl, he met Will Vodery, Ziegfeld’s musical supervisor. In his 1946 biography, Duke Ellington, Barry Ulanov wrote:

From Vodery, as he (Ellington) says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources. It has become customary to ascribe the classical influences upon Duke – Delius, Debussy and Ravel – to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery.^[25]

As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933.^[26] Ellington and his orchestra survived the hard times by taking to the road in a series of tours. Radio exposure also helped maintain popularity. Ivie Anderson was hired as their featured vocalist. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Ellington, however, later had many different vocalists, including Herb Jeffries (until 1943) and Al Hibbler (who replaced Jeffries in 1943 and continued until 1951).

Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. As a bandleader Ellington was not a strict disciplinarian; he maintained control of his orchestra with a crafty combination of charm, humor, flattery, and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself.

While the band's United States audience remained mainly African-American in this period, the Cotton Club had a near-exclusive white clientele and the Ellington orchestra had a huge following overseas, exemplified by the success of their trip to England in 1933 and their 1934 visit to the European mainland. The English visit saw Ellington win praise from members of the "serious" music community, including composer Constant Lambert, which gave a boost to Ellington's aspiration to compose longer works. For agent Mills it was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South in 1934, they avoided some of the traveling difficulties of African-Americans by touring in private railcars. These provided easy accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.

The death of Ellington's mother in 1935 led to a temporary hiatus in his career. Competition was also intensifying, as African-American and white swing bands began to receive popular attention, including those of Benny Goodman, Tommy Dorsey, Jimmy Dorsey, Jimmie Lunceford, Benny Carter, Earl Hines, Chick Webb, and Count Basie. Swing dancing became a youth phenomenon, particularly with white college audiences, and "danceability" drove record sales and bookings. Jukeboxes proliferated nationwide, spreading the gospel of "swing". Ellington's band could certainly swing, but their strengths were mood and nuance, and richness of composition; hence his statement "jazz is music; swing is business".^[27] Ellington countered with two developments. He made recordings of smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard.

In 1937 Ellington returned to the Cotton Club which had relocated to the mid-town theater district. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight. Things improved in 1938 and he met and moved in with Cotton Club employee Beatrice "Evie" Ellis. After splitting with agent Irving Mills, he signed on with the William Morris Agency. The 1930s ended with a very successful European tour just as World War II loomed.

Ellington delivered some huge hits during the 1930s, which greatly helped to build his overall reputation. Some of them include: "Mood Indigo" (1930), "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932), "Sophisticated Lady" (1933), "Solitude" (1934), "In a Sentimental Mood" (1935), "Caravan" (1937), "I Let a Song Go Out of My Heart" (1938). "Take the "A" Train" which hit big in 1941, was written by Billy Strayhorn.

Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939.^[28] Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington Organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine".^[29] Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio.^[30]

Duke in the 1940s[link]

Duke Ellington at the Hurricane Club in New York, May 1943

The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.^[31]

Some of the musicians created a sensation in their own right. The short-lived Jimmy Blanton transformed the use of double bass in jazz, allowing it to function as a solo rather than a rhythm instrument alone. Ben Webster, the Orchestra's first regular tenor saxophonist, started a rivalry with Johnny Hodges as the Orchestra's foremost voice in the sax section. Ray Nance joined, replacing Cootie Williams (who had "defected", contemporary wags claimed, to Benny Goodman). Nance, however, added violin to the instrumental colors Ellington had at his disposal.

Three-minute masterpieces flowed from the minds of Ellington, Billy Strayhorn, Ellington's son Mercer Ellington, Mary Lou Williams and members of the Orchestra. "Cotton Tail", "Main Stem", "Harlem Airshaft", "Sidewalks of New York (East Side, West Side)", "Jack the bear", and dozens of others date from this period.

Privately made recordings of Nance's first concert date, at Fargo, North Dakota, on November 7, 1940 by Jack Towers and Dick Burris, are probably the most effective display of the band during this period. These recordings, later released as Duke Ellington at Fargo, 1940 Live, are among the first of innumerable live performances which survive, made by enthusiasts or broadcasters, significantly expanding the Ellington discography.

Ellington's long-term aim became to extend the jazz form from the three-minute limit of the 78 rpm record side, of which he was an acknowledged master.^[32] He had composed and recorded Creole Rhapsody as early as 1931 (issued as both sides of a 12" record for Victor and both sides of a 10" record for Brunswick), and his tribute to his mother, "Reminiscing in Tempo," had filled four 10" record sides in 1935; however, it was not until the 1940s that this became a regular feature of Ellington's work.

In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington. The first of these, "Black, Brown, and Beige" (1943), was dedicated to telling the story of African-Americans, and the place of slavery and the church in their history. Ellington debuted Black, Brown and Beige in Carnegie Hall on January 23, 1943, beginning a series of concerts there suited to displaying Ellington's longer works. While some jazz musicians had played at Carnegie Hall before, few had performed anything as elaborate as Ellington’s work.

Unfortunately, starting a regular pattern, Ellington's longer works were generally not well-received. Jump for Joy, a full-length musical based on themes of African-American identity, debuted on July 10, 1941 at the Mayan Theater in Los Angeles. Although it had the support of the Hollywood establishment, and received mostly positive reviews, its socio-political outlook provoked a negative reaction among some members of the public. It ran for 122 performances until September 29, 1941, with a brief revival in November of that year. Its subject matter did not make it appealing to Broadway, despite Ellington's plans to take it there.^[33]

The settlement of the first recording ban of 1942–43 had a serious effect on all the big bands because of the increase in royalty payments to musicians which resulted from it. The financial viability of Ellington's Orchestra came under threat, though Ellington's income as a songwriter ultimately subsidized it. Ellington always spent lavishly and although he drew a respectable income from the Orchestra's operations, the band's income often just covered expenses.^[34]

The music industry's focus shifted away from the big bands to the work of solo vocalists such as the young Frank Sinatra, Ella Fitzgerald, and mainstream groups like The Andrews Sisters as World War II drew to a close. The Kay Davis wordless vocal feature "Transblucency" (1946) was not going to have a similar reach. By the mid 1940s, jazz artists were changing their approach. The new form of jazz, Bebop was an early hit with club owners of smaller venues who could draw the jazz form's growing audiences in New York City at a fraction of the cost of hiring a big band. Newer, smaller bands and splinter forms of music increasingly put pressure on the larger clubs who now had to pay higher wages to maintain their big bands. Bebop was the preferred form for younger talent based in New York, such as Charlie Parker or Thelonious Monk who both rarely embraced the Big Band idiom. By 1950, another emerging musical trend, the African-American popular music style known as Rhythm and Blues driven by musicians like Fats Domino was drawing young audiences away.

Ellington poses with his piano at the KFG Radio Studio November 3, 1954.

Ellington continued on his own course through these tectonic shifts in the music business. He did not wholly resist trends while trying to turn out major works. He still performed major extended compositions such as Harlem (1950), whose score he presented to music-loving President Harry Truman. In 1951, Ellington suffered a major loss of personnel, with Sonny Greer, Lawrence Brown, and most significantly Johnny Hodges, leaving to pursue other ventures. Lacking overseas opportunities and motion picture appearances, Ellington's Orchestra survived on "one-nighters" and whatever else came their way.

Ellington's hope that television would provide a significant new outlet for his type of jazz was not fulfilled. Tastes and trends had moved on without him. The introduction of the 33 1/3 rpm LP record and hi-fi phonograph, though, did give new life to many of his older compositions. However by 1955, after three years of recording for Capitol, Ellington no longer had a regular recording affiliation.

Career revival[link]

Ellington's appearance at the Newport Jazz Festival on July 7, 1956 returned him to wider prominence and exposed him to new audiences. The feature "Diminuendo and Crescendo in Blue", with saxophonist Paul Gonsalves's six-minute saxophone solo, had been in the band's book since 1937, but on this occasion nearly created a riot. The revived attention should not have surprised anyone – Hodges had returned to the fold the previous year, and Ellington's collaboration with Strayhorn had been renewed around the same time, under terms more amenable to the younger man. Such Sweet Thunder (1957), based on Shakespeare's plays and characters, and The Queen's Suite, dedicated to Queen Elizabeth II, were products of the renewed impetus which the Newport appearance helped to create.

A new record contract with Columbia produced Ellington's best-selling LP Ellington at Newport and yielded six years of recording stability under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.^[35] In 1957, CBS (Columbia's parent corporation) aired a live television production of A Drum Is a Woman, an allegorical suite which received mixed reviews. Festival appearances at the new Monterey Jazz Festival and elsewhere provided venues for live exposure, and a European tour in 1958 was well received.

Ellington in 1973

While his music had been featured on screen for years, and sometimes the whole orchestra in film shorts, Ellington (with Strayhorn) now began to work directly on music for movies, contributing scores for Anatomy of a Murder (1959) and Paris Blues (1961). Ellington and Strayhorn, always looking for new musical territory, produced suites for John Steinbeck's novel Sweet Thursday, Tchaikovsky's Nutcracker Suite and Edvard Grieg's Peer Gynt. The late 1950s also saw Ella Fitzgerald record her Duke Ellington Songbook with Ellington and his orchestra—a recognition that Ellington's songs had now become part of the cultural canon known as the 'Great American Songbook'.

Detroit Free Press music critic Mark Stryker concludes that the work of Billy Strayhorn and Ellington in Anatomy of a Murder, the trial court drama film directed by Otto Preminger in 1959, is "indispensable, [although] . . . too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal."^[36] Film historians have recognized the soundtrack "as a landmark – the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band." The score avoided the cultural stereotypes which previously characterized jazz scores and rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the ’60s".^[37]

In the early 1960s, Ellington embraced recording with artists who had been rivals of the past, or who had been young artists from a later generation. The Ellington and Count Basie orchestras recorded together. During a period when he was between recording contracts he made records with Louis Armstrong (Roulette), Coleman Hawkins, John Coltrane (both for Impulse) and participated in a session with Charles Mingus and Max Roach which produced the Money Jungle (United Artists) album. He signed to Frank Sinatra's new Reprise label, but the association with the label was short-lived.

Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Brown in 1960 and Cootie Williams in 1962.

"The writing and playing of music is a matter of intent.... You can't just throw a paint brush against the wall and call whatever happens art. My music fits the tonal personality of the player. I think too strongly in terms of altering my music to fit the performer to be impressed by accidental music. You can't take doodling seriously."^[14]

He formed new working relationships with artists from around the world, including the Swedish vocalist Alice Babs, and South African musicians Dollar Brand and Sathima Bea Benjamin (A Morning in Paris, 1963/1997). He was now performing all over the world; a significant part of each year was spent on overseas tours.

Ellington receiving the Presidential Medal of Freedom from President Nixon, 1969.

Last years[link]

Ellington was nominated for a Pulitzer Prize in 1965, but was turned down.^[38] His reaction at 67 years old: "Fate is being kind to me. Fate doesn't want me to be famous too young."^[39] In September of the same year, the first of his Sacred Concerts was given its premiere. It was an attempt to fuse Christian liturgy with jazz, and even though it received mixed reviews, Ellington was proud of the composition and performed it dozens of times. This concert was followed by two others of the same type in 1968 and 1973, known as the Second and Third Sacred Concerts. This caused controversy in what was already a tumultuous time in the United States. Many saw the Sacred Music suites as an attempt to reinforce commercial support for organized religion, though Ellington simply said it was, "the most important thing I've done."^[40] The Steinway piano upon which the Sacred Concerts were composed is part of the collection of the Smithsonian's National Museum of American History. Like Haydn and Mozart, Ellington conducted his orchestra from the piano – he always played the keyboard parts when the Sacred Concerts were performed.^[41]

Ellington continued to make vital and innovative recordings, including The Far East Suite (1966), the New Orleans Suite (1970), and The Afro-Eurasian Eclipse (1971), much of it inspired by his world tours. It was during this time that Ellington recorded his only album with Frank Sinatra, entitled Francis A. & Edward K. (1967).

Ellington was awarded the Grammy Lifetime Achievement Award in 1966. He was later awarded several other prizes, the Presidential Medal of Freedom in 1969, an Honorary PhD from the Berklee College of Music in 1971, and the Legion of Honor by France in 1973, the highest civilian honors in each country.^[3]

Work in films and the theater[link]

Jimmy Stewart and Ellington in Anatomy of a Murder.

Ellington's film work began in 1929 with the short film Black and Tan.^[42] Symphony in Black (1935) featured his extended piece 'A Rhapsody of Negro Life'. It introduced Billie Holiday, and won an Academy Award as the best musical short subject. He also appeared in the Amos 'n' Andy film Check and Double Check (1930). Ellington and his Orchestra continued to appear in films through the 1930s and 1940s, both in short films and in features such as Murder at the Vanities and Belle of the Nineties (1934), and Cabin in the Sky (1943). In the late 1950s, his work in films took the shape of scoring for soundtracks, notably Anatomy of a Murder (1959), with James Stewart, in which he appeared fronting a roadhouse combo, and Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians.

He wrote an original score for director Michael Langham's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, 1963. Langham has used it for several subsequent productions, most recently in an adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works.