The audiences on Ellington's first English tour in the early Thirties were outraged when, as well as the popular "Rockin' in Rhythm and "Mood Indigo", Duke featured Lawrence in a lugubrious version of "Trees". His arrival in the Ellington band started a controversy that is still discussed today. Later, too, he became one of the best blues players on his instrument. These three had given the trombone a new eloquence and had dispensed with the very basic role developed for the instrument by the earlier New Orleans players like Kid Ory and Honore Dutrey.īrown brought to the instrument another kind of eloquence, based on a sweetness and purity of tone which he introduced to jazz. Higginbotham, had managed to break free from the circus-type noises which had been accepted as the horns metier. Until his appearance only a few trombonists, like Jimmy Harrison, Jack Teagarden and Jay C. WHEN Lawrence Brown joined the Duke Ellington Orchestra in 1932, he changed not only Ellington's music, but the whole approach to jazz trombone playing. Reproduced with the kind permission of the author, Steve Voce, who asks thatĬredit also be given to the British newspaper The Independent, in which it first appeared.
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