What Are the Top 25 Duke Ellington Songs You Need To Know?

James Melton
August 5, 2024

GOOD FOR

If you are interested in jazz music, you will inevitably encounter Duke Ellington’s songs. Duke Ellington wrote a significant percentage of the jazz standards we know and love. He is up there with Cole Porter and George Gershwin regarding sheer influence and output!

We’ve prepared this list of the 25 best Duke Ellington songs to help you prepare for when you inevitably encounter them!

We’ll review the top 25 Duke Ellington hits and provide some background on this incredible composer, pianist, and band leader of the gold standard of jazz big bands—the Duke Ellington Orchestra.

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Who Was Duke Ellington?

Duke Ellington Songs: Duke Ellington publicity photo

image source: Wikipedia

Duke Ellington was an American jazz composer, pianist, and bandleader. He was born on April 29, 1899, in Washington, D.C., to two pianists: James Edward Kennedy Ellington and Daisy (née Kennedy) Ellington.

Duke Ellington’s long career began right at the start of the Jazz Age, the roaring 20s. His numerous compositions and innovative live performances would influence jazz’s evolution over the decades. Specifically, he would directly influence big band jazz during the Swing Era.

Leading one of the most famous orchestras in American history—the Duke Ellington Orchestra—he gained national recognition through performances at Harlem’s famous Cotton Club and radio broadcasts, which were a new phenomenon that helped jazz spread like wildfire.

He literally composed thousands of pieces, and it’s a shame we have to choose only 25!

Also, he worked closely with many famous jazz musicians, who either got their big break with the Duke Ellington Orchestra or whose careers launched around the same time. Some notable musicians and composers who passed through the Duke’s orchestra throughout Ellington’s career include:

Pianist and Composer Billy Strayhorn was the Duke’s co-composer and arranger from 1939 to 1967.
Alto Saxophonist Johnny Hodges was with the Duke Ellington Orchestra for two stints—one from 1928 to 1951 and the other from 1955 to 1970.
Trumpeter Cootie Williams played with Duke’s Orchestra from 1929 to 1940 and again from 1962 to 1974.
Trumpeter Bubber Miley played on pivotal early recordings during the Cotton Club Orchestra era before Cootie Williams replaced him.
Clarinetist Barney Bigard plated with Duke’s Orchestra from 1927 to 1942.
Baritone saxophonist Harry Carney played with Duke’s Orchestra from 1927 to 1974.
Trombonist Juan Tizol played with the Duke from 1929 to 1944 and again from 1951 to 1953.
Drummer Sonny Greer was the Duke’s first drummer and would later be replaced by Butch Ballard.

To learn more about the most famous jazz musicians of all time, check out this article on famous jazz musicians.

Over the years, Duke and his Orchestra recorded and performed with other famous jazz musicians like Ella Fitzgerald, Louis Armstrong, and Billie Holiday. Duke Ellington’s discography spans over 50 years, with an estimated 1,500 to 2,000 recordings, including studio albums, live recordings, singles, and collaborations.

Duke Ellington's Orchestra

image source: Wikimedia Commons

Duke Ellington received 13 Grammy Awards, a Grammy Lifetime Achievement Award, and a Pulitzer Prize Special Citation after his death.

Top 25 Duke Ellington Songs

Now, let’s get to it! Here are the top 25 Duke Ellington songs. We based our decision on many factors, including the song’s influence on the Jazz scene (and the American music scene) and its general popularity, both at the time of release and today as a jazz standard.

Remember, Duke Ellington’s discography is vast, with over one thousand compositions!

Another thing to consider is Duke Ellington’s partnership with Billy Strayhorn! I’ve included some compositions written solely by Billy Strayhorn because he was essential to Duke Ellington’s career. I’ll be sure to give Billy Strayhorn credit where credit is due!

You might not see your favorite on the list, but we did a pretty good job capturing his most notable works across jazz history. We’ll include links to recordings so you can hear why Duke Ellington might be the greatest composer of the 20th century!

Also, the following Duke Ellington songs are not in order of importance or influence.

1. Take the ‘A’ Train

We’ll start this list with Billy Strayhorn’s composition “Take the ‘A’ Train,” which became the band’s theme song. It really needs no introduction and is one of the more well-known entries in this list. This Duke Ellington song was written in 1939 and first recorded in 1941.

Duke’s son Mercer Ellington found Strayhorn’s “Take the ‘A’ Train” draft in a trashcan! It’s a good thing Mercer convinced Strayhorn to keep writing.

Here is Duke Ellington performing “Take the ‘A’ Train” with his orchestra in NYC in 1962:

2. Mood Indigo

One of Ellington’s most famous compositions, “Mood Indigo,” was initially titled Dreamy Blues and recorded for a radio broadcast in 1930. However, when Irving Mills wrote the lyrics, the name was changed to “Mood Indigo.” It was also co-written with long-time band member clarinetist Barney Bigard.

This tune became a Duke Ellington hit and was covered by many jazz vocalists over the years.

Here is Duke Ellington and the Orchestra playing “Mood Indigo” in 1952:

3. It Don’t Mean A Thing (If It Ain’t Got That Swing)

Another legendary jazz standard, “It Don’t Mean A Thing,” was written by Duke Ellington in 1931 and also features lyrics by Irving Mills. The song’s title was allegedly a catchphrase of the trumpeter Bubber Miley, who was terminally ill when the song was composed.

Also, this song is one of the earliest recorded uses of the word swing in a jazz context.

The most notable recording of this song is most likely the version featuring Louis Armstrong from the 1961 album The Great Summit, where Louis Armstrong recorded with Duke Ellington and his band.

Here is the Duke performing “It Don’t Mean A Thing” in 1943:

4. Sophisticated Lady

Sophisticated Lady was originally an instrumental piece written by the Duke in 1932. Mitchell Parish and publisher Irving Mills added the lyrics later. This song has remained a popular jazz standard throughout jazz history and has been covered by many famous jazz musicians, including:

Chick Corea
Billie Holiday
Stan Kenton
Marcus Miller
Mulgrew Miller and Niels-Henning Ørsted Pedersen
Charles Mingus
Thelonious Monk
Art Tatum
Toots Thielemans with Fred Hersch
Sarah Vaughan

Here is Duke Ellington playing “Sophisticated Lady” with his Orchestra in Copenhagen between 1965 and 1971.

5. In a Sentimental Mood

Another favorite of jazz musicians, this Duke Ellington composition was written in 1935, with Manny Kurtz adding the lyrics.

Duke Elling and John Coltrane recorded a version for the 1963 album Duke Ellington and John Coltrane.

Here is the original recording of “In A Sentiment Mood” from 1935:

6. Caravan

“Caravan” was co-written by Ellington and his trombonist Juan Tizol. The first recording of this classic jazz standard had Duke Ellington in the session but was recorded with clarinetist Barney Bigard as the leader in 1936.

Despite this, “Caravan” became a classic Duke Ellington song and a beloved jazz standard. Irving Mills (no surprise) penned the lyrics for this tune.

Here is a recording of the Duke and his Orchestra playing “Caravan” live in 1952 (featuring co-composer Juan Tizol on trombone):

7. Prelude to a Kiss

Though considered a “standard” standard today, this Duke Ellington ballad was ambitious and harmonically groundbreaking when it was written in 1938. Irving Gordon and Irving Mills contributed the lyrics.

This tune uses secondary dominants, deceptive cadences, and chromaticism in its chord progression. Here’s why that’s a big lead in 1938.

To learn more about secondary dominants and other chord substitutions, check out this article on chord substitutions.

During the Swing Era, dance bands and swing dancing were all the rage, but many jazz musicians were getting bored playing the popular music of the day. Duke Ellington took a bit of an artistic leap with “Prelude To A Kiss.”

Its harmonies seem tame today, but they were soon as forward-thinking and revolutionary at the time.

Here is the groundbreaking “Prelude To A Kiss” from 1938:

8. Cotton Tail

You know Ellington’s repertoire had to include a Rhythm Changes tune! “Cotton Tail” was Ellington’s take on the classic Gershwin “I Got Rhythm” chord progression. It was written and recorded in 1940 and features a saxophone solo by tenor saxophonist Ben Webster.

For more on Rhythm Changes and how to master this classic chord progression, check out How To Rhythm Changes in All 12 Keys.

Here is Duke and his Orchestra playing Cotton Tail in 1940:

9. Concerto For Cootie (Do Nothing till You Hear from Me)

Originally written as “Concerto For Cootie” in 1940, this Duke Ellington song’s title was changed to “Do Nothing till You Hear from Me” when Bob Russel added lyrics in 1944.

The tune was originally written as a feature for Duke Ellington’s trumpet player Cootie Williams.

Here is a recording of “Concerto For Cootie” in 1940:

10. Chelsea Bridge

“Chelsea Bridge” is an impressionistic jazz standard written by Billy Strayhorn in 1941. The original recording featured Billy Strayhorn on the piano with Duke Ellington’s orchestra, not Ellington himself. Despite this, “Chelsea Bridge” became a standard piece performed by Ellington regularly.

Here is Duke Ellington and his Orchestra playing “Chelsea Bridge” live in 1966:

11. East St. Louis Toodle-Oo

“East St. Louis Toodle-Oo” is a prime example of Ellington’s jungle music. It was co-written in 1926 by Ellington and trumpet player Bubber Miley. Ellington recorded it numerous times over the next few years.

This song is also notable because it’s one of the first examples of a plunger-muted trumpet, played by Miley. Jazz-adjacent rock group Steely Dan covered this song in 1974, using guitars for the trumpet and trombone parts.

Here is Duke Ellington and his big band performing “East St. Louis Toodle-Oo” in 1927. It features trumpeter Bubber Miley!

BEFORE YOU CONTINUE...

If you struggle to learn jazz standards by ear, memorize them, and not get lost in the song form, then our free guide will completely change the way you learn tunes forever.

12. Don’t Get Around Much Anymore

Originally known as “Never No Lament,” this Duke Ellington song was written and recorded as an instrumental in 1940. However, in 1942, Bob Russel added lyrics, and Ellington rerecorded this tune. “Don’t Get Around Much Anymore” would become a Duke Ellington Hit.

Here is Duke Ellington performing “Don’t Get Around Around Much Anymore” in 1943, after the title change:

13. I’m Beginning To See the Light

“I’m Beginning To See The Light” was a Duke Ellington hit co-written by Ellington, Alto-Saxophonist Johnny Hodges, and trumpet player Harry James in 1944. It features lyrics by Don George.

Duke Ellington and Harry James, who led his own band, recorded the tune. Duke Ellington released it first in 1944, and Harry James released it the following year.

Here is the Duke leading his big band alongside Ella Fitgerald doing an early mash-up of “Im Beginning To See The Light,” “Don’t Get Around Much Anymore, “Mood Indigo,” and “Cotton Tail:”

14. I Got It Bad (And That Ain’t Good)

“I Got It Bad (And That Ain’t Good)” was a show tune written by Duke Ellington in 1941. Though Ellington released a single of the tune, it first appeared in the musical revue Jump for Joy, which featured Ivie Anderson.

Here is the Duke performing “I Got It Bad (And That Ain’t Good)” with Ivie Anderson:

**15. Black, Brown, And Beige (Three Songs For One!)**

Despite being a verified king of jazz, Duke Ellington also had extensive classical influences. Some of his best compositions reflect his desire to elevate jazz and African American art to be seen by mainstream culture as on par with European Classical Music.

As a result, he wrote many long-form pieces, and one of his best is the three-part “Black, Brown and Beige,” which premiered at Carnegie Hall in 1943. The three movements are:

Black
1. “Work Song”
2. “Come Sunday” (based on sacred music)
3. “Light”
Brown
1. “West Indian Influence” (or West Indian Dance)
2. “Emancipation Celebration” (later, “Lighter Attitude”)
3. “The Blues”
Beige (one whole movement)

The movements tell the story of African American history through the perspective of Black people. This work challenged America to uphold its founding principles of Liberty, Equality, and Justice.

After 1943, he never performed the work in its entirety again. The three parts would be reworked and repurposed, with “Come Sunday” becoming jazz standard!

Here is the full “Black, Brown and Beige Suite” (“Work Song, “Come Sunday, and “Light”) performed at Carnegie Hall in 1989:

16. Satin Doll

There is a solid argument that “Satin Doll” might be the most famous Duke Ellington song. It was co-written by Ellington and Strayhorn in 1953, with lyrics by Johnny Mercer. At this point, this standard has been covered by just about every jazz musician over the years!

One of the best versions of “Satin Doll” is Ella Fitzgerald’s 1957 version, which features a scat solo!

Here is the Duke and his Orchestra playing “Satin Doll” live in 1962:

17. (In My) Solitude

“Solitude” is one of Duke Ellington’s earlier songs, written and recorded in 1934. It was written and recorded in a recording studio the same day because Duke Ellington needed a fourth song for the session. Twenty minutes later, he had this incredible ballad!

Here is “Solitude” performed by Duke Ellington and his Orchestra in 1934:

18. The Mooche

Composed and recorded first in 1928, “The Mooche” is another early Duke Ellington classic. However, this song was common in Ellington’s concert repertoire throughout his career! The original recording featured Bubber Miley and his growling plunger-muted trumpet.

This is another example of Ellington’s jungle-style music. Here is a live performance of “The Mooche:”

19. Rockin’ In Rhythm

“Rockin’ In Rhythm” is a 1931 composition by Ellington, Irving Mills, and Harry Carney. It was first recorded at Harlem’s famous Cotton Club, a New York City nightclub where Duke Ellington’s famous orchestra took off.

Here is the Duke in 1964 playing “Rockin’ In Rhythm:”

20. Day Dream

Day Dream is a Billy Strayhorn composition originally credited to both Ellington and Strayhorn. However, subsequent recordings credit only Strayhorn. It was written in 1939 and first published in 1941. Duke Ellington’s alto sax player, Johnny Hodges, recorded the first recording of this tune in 1940.

This song would become a classic jazz standard, being recorded by Johnny Hodges and Duke Ellington numerous times. There are also many versions by other famous jazz musicians:

Ella Fitzgerald
Jo Stafford
Thad Jones
Sarah Vaughan
Betty Carter
Chet Baker
Tony Bennett

Here is a recording of the Duke Ellington Orchestra playing “Day Dream:”

21. Black And Tan Fantasy

“Black and Tan Fantasy” is an Ellington and Miley composition written and recorded for a short film titled Black and Tan in 1929. Ellington would record and rearrange this composition several times throughout his career.

Here is a very early version of “Black and Tan Fantasy” Ellington recorded in 1928:

22. C Jam Blues

We couldn’t leave the simplest (yet most infectious) blues ever written off this list! C Jam Blues is notorious for its melody, which contains only Cs and Gs. It is genius for its simplicity and infectiousness! Written in 1942, this song would be covered by countless other jazz musicians over the years.

Here is “C Jam Blues,” recorded by Ellington’s band in 1942:

23. Harlem (Suite)

“Harlem” is a symphonic piece written by Ellington in 1950. It was originally commissioned by conductor Arturo Toscanini to be part of a larger piece focusing on New York City, but Toscanini never conducted it.

Ellington would use this composition in his 1951 album Ellington Uptown, and the piece went on to Carnegie Hall in 1955.

Here is a recording of the orchestral suite Harlem:

24. Creole Love Call

“Creole Love Call” is another early Ellington/Miley composition. It again features one of Ellington’s key band members, Bubber Miley! Miley plays the melody on his plunger-muted trumpet. This song became Duke Ellington’s first worldwide hit.

Here is Duke Ellington’s Creole Love Call:

**25. Isfahan (From the Far East Suite)**

It’s time for my personal favorite Duke Ellington song! This tune hits me just right. Johnny Hodges’s treatment of the melody is so classy. Check out the recording below to hear what I mean.

“Isfahan” is named after a city in Iran and was co-written by Ellington and Strayhorn in 1967 as part of Duke Ellington’s Far East Suite. It was originally called “Elf.”

Here is a live recording of Duke Ellington’s Orchestra performing “Isfahan:”

Duke Ellington Songs—Honorable Mentions

“Creole Rhapsody” – Another classical and jazz fusion in two parts.
“Jeep’s Blues” – This Ellington tune featured Johnny Hodges.
“Harlem Air Shaft” – Considered a programmatic piece in that it attempted to capture the sounds of New York life.
“Yearning For Love” – Written to feature Trombonist Lawrence Brown.

Duke Ellington in performance

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Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]