Duke Ellington - The Best Of Masters - Fantastic Classics Jazz Music

Classic Mood Experience The best masterpieces ever recorded in the music history.
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Tracklist:
00:00 Take the A Train (1941) (Billy Strayhorn, Joya Sherrill)
02:50 In a Sentimental Mood (1935) (Duke Ellington)
06:05 Diga Diga Doo (1928) (Dorothy Fields, Jimmy McHugh)
08:55 It Don't Mean a Thing (If It Ain't Got That Swing) (1932) (Duke Ellington, Irving Mills)
12:02 Mood Indigo (1931) (Duke Ellington, Barney Bigard, Irving Mills)
14:56 Black and Tan Fantasy (1928) (Duke Ellington, Bubber Miley)
18:17 Prelude To a Kiss (1938) (Duke Ellington, Irving Gordon)
21:11 Creole Love Call (1928) (Duke Ellington)
25:17 East St. Louis Toodle-Oo (1927) (Duke Ellington, Bubber Miley)
28:18 Creole Rhapsody Parts 1 & 2 (1931) (Duke Ellington)
34:33 Limehouse Blues (1931) (Douglas Furber, Philip Braham)
37:40 Sophisticated Lady (1933) (Duke Ellington, Irving Mills)
40:51 Rose Room (In Sunny Roseland) (1932) (Art Hickman, Harry Williams)
43:49 Stormy Weather (1933) (Harold Arlen, Ted Koehler)
46:48 Caravan (1937) (Juan Tizol)
49:24 I Let a Song Go Out of My Heart (1938) (Duke Ellington, Irving Mills, Henry Nemo, John Redmond)
52:25 Ko Ko (1940) (Duke Ellington)
55:05 Perdido (1943) (Juan Tizol)
58:13 Don't Get Around Much Anymore (1943) (Duke Ellington, Bob Russell)
01:01:27 I'm Beginning To See the Light (1945) (Duke Ellington, Don George, Johnny Hodges, Harry James)
01:04:39 Satin Doll (1953) (Duke Ellington, Billy Strayhorn, Johnny Mercer)

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Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than six decades.
Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Although widely considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle and referred to his music as part of the more general category of American Music rather than to a musical genre such as jazz.
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