The American symphony orchestra casts its eye jealously on Duke Ellington. He made the orchestra his instrument and played it with an unprecedented virtuosity. And to add to Ellington's inspirational value now, he was at his greatest as an orchestra builder, leader and composer during the Great Depression and World War II.
So there was evidently something to be gained from the Los Angeles Philharmonic's season opening gala at the Dorothy Chandler Pavilion, beyond the fact that Ellington wrote some of America's most popular and most respected music. It was titled "Audra Swings Ellington," since Audra McDonald was on hand to sing five Ellington songs. But that was only one part of a program devoted almost exclusively to Ellington. The Sultans of Swing, a New York swing band, joined the Philharmonic on stage throughout the evening, except in the one non-Ellington work, Ravel's "La Valse." Along with music director Esa-Pekka Salonen, Quincy Jones also conducted.
For all the sincere admiration expressed for Ellington, there is also a reason his music doesn't show up very often, at least in its original guise, on symphony programs. Ellington's bands were not classical orchestras but a collection of individual musicians for whom every piece and every arrangement was specifically made. To transfer Ellington to a formal orchestra requires translation, and just about everything is lost in the process unless an interesting composer brings his own voice in as well. We hear Ellington all the time in concert hall, but it is the Ellington who influenced John Adams, John Harbison, Gunther Schuller and numerous other American composers.
On Wednesday the Philharmonic was often superfluous. That may have been part of the point, since gala programs are intended to raise money, not spend it on expensive rehearsal time. And the program must fit the tone of an occasion meant to attract big spenders who come to bid at auctions, dine and dance as well as hear a concert.
Thus the great Ellington moments came from the Sultans of Swing and the set of six Ellington numbers arranged by the leader of the 16-member big band, trumpeter David Berger, and conducted by Jones. Just how close these players came to the Ellington style, especially in "Mood Indigo" and "Concerto for Cootie," was indicated by Jones' own surprised reactions. Clearly, from his clumsy acknowledgments of the players, he hadn't worked much with the band, but they responded easily to him. On the few occasions in the set that the Philharmonic entered in, it was for bloated, pointless backup.
