Eloquent expression, energetic inspiration, iridescent swing. Welcome to the world of Duke Ellington. Pioneer orchestrator, master composer, musical colossus of the 20th century, and beyond. African American genius of the Big Band and more, he spent a lifetime showcasing the world as his podium. For his song, the stage is still set, players from all walks carrying forth the next act, all vowing to never forget.

Bearing all that in mind, come on in to one of the most intimate, magical sessions ever conceived by the Duke. A rare classic from 1961 (with equally rare bonus tracks from 1957), this is a trio setting which features Ellington at the piano, and what a treat it is! With drummer Sam Woodyard providing subtle nuance, and bassist Aaron Bell (Jimmy Woode on the bonus tracks) threading supple tapestries, the Duke unleashes a bountiful program of standards and originals which cuts loose with a dancing intensity. From the nimble caress of "I Can't Get Started" to a prowling, grimly smiling deconstruction of "Summertime" tipping its hat to Cecil Taylor, you feel the very air around you become charged with spirit, with promise.

Listen on, through the sweep and circumstance of "Body And Soul" and the hip-hugging boogie of

"Cong-Go", through the luscious, beckoning quiet of "Springtime In Africa", to the sheer color & magnificence of "All The Things You Are" (the second take of which begins with a hearty dissonant nod to Thelonious Monk!}.

The finish is not one, but four types of "Piano Improvisation" which run the gamut from salient mood portraits to a honky tonk vignette gleefully brandishing the Duke's roots in the Harlem Stride of James P. Johnson and Fats Waller. In the final hop, jitterbugs and straight suits all waltz together into the jump of Destiny.

At album's end, you are one with the dance, its melodies lingering on, ever on...

You all know the received wisdom: "Ellington plays piano, but his real instrument is the band". True enough in the '20's and '30's. True through most of the '40's. But 1947 (?)'s The Clothed Woman and New York City Blues introduced a new rub into the Ellington world. From then on, many of his most radical, searching ideas would be expressed through the piano, and the piano only. Did he not figure out an approach to scoring these ideas, or did he see these domains as essentially separate? We can't really know...but meanwhile there's this modest masterpiece of a CD, by far the finest piano record he ever made (well, there aren't so many to choose from, but still...). Summertime (track 6) goes quite far into Cecil Taylor territory, and is probably the high point of the session, but it's all pretty fantastic. Searching (track 10) is an idea he would keep fussing with - it's somewhat connected to 1950's Janet and shows up again on one of his last sessions - the duo with Ray Brown. The change in his playing between this session (1961) and that one (1972) is fascinating. His playing is much more incisive there, but his touch isn't nearly so beautiful. So (track 9) is one of those rare pieces where Ellington seems to almost let down the elegant mask - it has something rueful, nostalgic and indominable about it. Understated, funky and beautiful. This one's a no-brainer: get it or have an unfillable gap in your collection!

As one of the most important musicians of the last century Duke Ellington is rightly famous for the Orchestra he led for so many decades. As part of that great ensemble you would hear Ellingtons Piano, sometimes a lot but it was never the primary focus of the Orchestra.

Here we get 70 minutes of The Duke playing Piano with only Arron Bell or Jimmy Woode on Bass and Sam Woodyard on drums. Ellington's Piano style was a surprising mixture of stride Piano some aspects of modern Jazz Piano. He made a surprising amount of use of dissonance for a Jazz musician born in 1899. For a good example of this listen to his version of "Summertime" on this album (which is really quite dramatic) and in general the whole tone scale which was another trademark of Ellingtons. Ellington could mess around in a seemingly avant-agarde style but in general you know its going to resolve into swing.

This album has a few really swinging tracks noteably the superb "It's Bad To be Forgotten" and the bonus "Piano Improvisation No. 2". For an example of Ellingtons great stride Piano technique have a listen to "Piano Improvisation No.4" - magic.

The tracks on this album were recorded in 1957 and 1961 and together with the brilliant "Money Jungle" (with Max Roach and Charles Mingus) its one of the key Ellington Piano albums to get.

Ian so glad that they remaster these old albums. I put this on my CD player and I could here every sound. From breathing to snare brushed. I will deffenetly buy more. Also I received my order the next day.

The Duke's skills as a pianist while great, were exceeded by his nuanced treatment of the music. As a solo player he reflected his "stride" background, but in other ways he was ahead of his time. His playing influenced many of the greatest writer composers for the piano of the later decades.