Trumpets and clarinets return for four bars of riffing, then trombones &
saxes make transition to repeat of the 4-bar passage, which spirals down to
nadir (with horns) at 1:42.
Piano (Ellington) glissandos up and down, plays four-note segue, then
begins stride piano tune in G minor. Starts slow, gradually increases tempo after 8 bars to full “boogie” speed (sounds like Ellington’s mentor, Willie “The Lion” Smith). Another eight bars of fast playing, then sudden brake to deathly slow, heavy pace.
Reeds play slow, four-note requiem phrase, then repeat twice. 2:37 - Reeds switch to accompaniment for piano, which plays slow, sad meditations until glissando transitions to
ii. Creamy Brown (aka “Cy Runs Rock Waltz”)
8-bar waltz intro by reeds (last two bars sotto voce), with trumpet (Harold
Baker) entering at 3:12 for main melody (32-bar AABA song form).
Modulation: reeds in background, with plunger-muted trumpets on top. At 3:55 a plunger trumpet (Stewart?) plays a transitional variation on main melody, followed at 4:04 by a piano variation, then four-bar turnaround by horns (4:09).
Trombone (Lawrence Brown) restates main melody in new key.
Baker plays slow four-bar intro, full orchestra punctuating with odd
Baker restates opening of “Creamy Brown” melody in 4/4, then launches into ostinato variation with full orchestra responding (horns on top).
Tenor saxophone (Ben Webster) enters, plays transitory passage to modulate into new key.
Webster leads orchestra into new theme, another waltz; by bar 5 (5:44) Webster is subsumed into full reed section.
Reeds jump into swing syncopation; horns enter at 6:00.
Orchestra goes stop-time behind alto saxophone (Otto Hardwicke) for coda, winding upwards to a close from 7:19-7:22, when piano takes over without pause.
iv. Sugar Hill Penthouse
Ellington plays quick piano flourish, then four walking bars of intro.