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This episode of Jazz Profiles,C. and even then he displayed the qualities that would make him a great bandleader He was more than a talented composer and musician ? he was a handsome young man who exuded a quiet confidence and a magnetism that impressed both audiences and contemporaries Ellington's good friend drummer Sonny Greer saw Duke's leadership potential and joined him when Duke moved to New York Greer remained a member of Duke's band for years setting a precedent that dozens of great musicians would follow In New York Ellington took over Elmer Snowden's Novelty Orchestra which he rechristened The Washingtonians As a conductor composer and arranger Ellington was almost entirely a self-made success With little formal training the young bandleader became a keen observer of other professional orchestras studying them in Broadway pits during daytime show rehearsals then emulating their arrangements and techniques with his own ensemble at night Ellington had an aura that extended beyond the bandstand and captivated his audience ? especially the women In 1926 promoter Irving Mills spotted the potential in Ellington's sophisticated form of showmanship Together Mills and Ellington worked to enhance the band's image drawing on Ellington's visual sense to select special touches such as elegant stage attire Mills helped to land the group a gig at Harlem's famous Cotton Club where the band would remain from 1927 through 1931 At the Cotton Club Ellington refined his sense of pacing and showmanship Musically he was constantly exploring new ideas Once the band had won the crowd over with his hits Ellington would experiment with sounds and arrangements using his audience as a sounding board Ellington's primary focus was his music and he usually delegated or ignored business and administrative matters Not a disciplinarian by nature Ellington rarely reprimanded musicians who caused trouble However he instinctively knew how to turn such problems to his advantage If musicians were late for the opening set he would start with smaller ensembles playing pieces tailored for such a setting By gradually expanding the ensemble and building towards a crescendo Ellington could mesmerize audiences By 1940 Ellington's orchestra was in increasingly greater demand throughout the US and overseas His sophisticated stage presentation thoroughly engaged audiences More important to Ellington was the caliber of jazz musicians he had assembled and was continuing to attract His own "instrument" was the band itself a group that included greats like saxophonists Johnny Hodges and Ben Webster trumpeters Cootie Williams and Bubber Miley trombonists Juan Tizol and "Tricky Sam" Nanton clarinetist Barney Bigard drummer Louis Bellson ? the list goes on and on Link to NPR's Basic Jazz Record Library: Duke Ellington: 'Duke Ellington & John Coltrane' She loves Tirinto,ACT 1: Two young women How large is the string? you see? "Diamonds Make Babies. which tend to soar with big choruses bursting with romantic sentiments. And to be able to write something that did not have a chorus ? and that would play for as long as it needed to and naturally disappear and come back whenever it needed to .. that reminds me of the wind.