Album Gallery

The Album Gallery

This page lists all the cover art used to illustrate 'I Live With Music' and the 'Duke on Disc' pages. Each thumbnail image links to the page with the larger version of the image, and each title links to the page with the description of the album.

The Brunswick Era, vol. 1 (1926-29) (Decca MCAD-42325) Ellington looks painfully young and a bit gawky on the cover of this album. The photo probably predates by a year or two the recordings, which include some of his earliest.

The Okeh Ellington (Columbia C2K 46177) By the time of this 1925 photo on this cover, Ellington has assumed the familiar public persona of Duke: suave, debonair, and very much in command. Recordings on this release span the years 1927 - 1930.

The Duke's Men: Small Groups, vol. 2 (Columbia/Legacy C2K 48835) Ellington was at the beginning of the greatest peak of his career when these recordings were made in 1938 and 1939.

In A Mellotone (RCA 07863 51364-2) Recorded between 1940 and 1942, these tracks represent Ellington at his very best.

Piano Reflections (Capitol Jazz CDP 7 92863 2) During the early 1950s, with the band in a slump, Ellington focused on his solo piano skills more than he ever had before.

Ellington Uptown (Columbia CK 40836) Recorded during the lowest point of Ellington's career, this 1952 album nonetheless shows the band in fine form, experimenting with the possibilities of the still-new LP record.

Ellington at Newport (Columbia CK 40587) Why is this man smiling? The 1956 Newport Jazz Festival had already helped restore Ellington to national prominence, and this would be his best-selling album.

Ellington Indigos (Columbia CK 44444) Aimed at a wider audience than the cognoscenti who appreciated Ellington as a serious composer, this album showcases his skill as an interpreter of popular tunes.

Blues in Orbit (Columbia CK 44051) Looking rather mischievous, Duke invites the listener into this sometimes-playful collection of varied explorations of the blues.

The Great Paris Concert (Atlantic Jazz 304-2) Ellington looks every bit The Maestro in this cover shot, and the 1963 concert tracks in this double album reflect that status.

The Far East Suite (Bluebird 07863 66551-2) This 1966 suite, inspired by the band's Asian tour in 1963, is a seamless collaboration between Ellington (right) and Billy Strayhorn (left).

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	The Brunswick Era, vol. 1 (1926-29) (Decca MCAD-42325) Ellington looks painfully young and a bit gawky on the cover of this album. The photo probably predates by a year or two the recordings, which include some of his earliest.
	The Okeh Ellington (Columbia C2K 46177) By the time of this 1925 photo on this cover, Ellington has assumed the familiar public persona of Duke: suave, debonair, and very much in command. Recordings on this release span the years 1927 - 1930.
	The Duke's Men: Small Groups, vol. 2 (Columbia/Legacy C2K 48835) Ellington was at the beginning of the greatest peak of his career when these recordings were made in 1938 and 1939.
	In A Mellotone (RCA 07863 51364-2) Recorded between 1940 and 1942, these tracks represent Ellington at his very best.
	Piano Reflections (Capitol Jazz CDP 7 92863 2) During the early 1950s, with the band in a slump, Ellington focused on his solo piano skills more than he ever had before.
	Ellington Uptown (Columbia CK 40836) Recorded during the lowest point of Ellington's career, this 1952 album nonetheless shows the band in fine form, experimenting with the possibilities of the still-new LP record.
	Ellington at Newport (Columbia CK 40587) Why is this man smiling? The 1956 Newport Jazz Festival had already helped restore Ellington to national prominence, and this would be his best-selling album.
	Ellington Indigos (Columbia CK 44444) Aimed at a wider audience than the cognoscenti who appreciated Ellington as a serious composer, this album showcases his skill as an interpreter of popular tunes.
	Blues in Orbit (Columbia CK 44051) Looking rather mischievous, Duke invites the listener into this sometimes-playful collection of varied explorations of the blues.
	The Great Paris Concert (Atlantic Jazz 304-2) Ellington looks every bit The Maestro in this cover shot, and the 1963 concert tracks in this double album reflect that status.
	The Far East Suite (Bluebird 07863 66551-2) This 1966 suite, inspired by the band's Asian tour in 1963, is a seamless collaboration between Ellington (right) and Billy Strayhorn (left).