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The core of this chapter is the general acceptance that Ellington's appearance at Newport in 1956 somehow 'relaunched' the Ellington band. With contributions from those who were there, Shipton re-explores both the Newport myth and re-examines the early 1950s output of the band. He looks at its Carnegie Hall concerts, discusses the line up when Willie Smith, Juan Tizol and Louis Bellson joined from Harry James, and gives detailed examples of the music the band produced in its alleged 'shallow' period, prompting a re-examination of the clains made for the Newport appearance by producer George Avakian.
After Gillespie's return fron California, the big band he formed had a rhythm section of John Lewis, Ray Brown, Milt Jackson and Kenny Clarke. This chapter explores how that quartet became the MJQ and developed into one of the most influential jazz groups of the 1950s to the 1980s. Shipton discusses basses with Percy Heath and the difficulties of playing both piano and vibes with Milt Jackson.
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