Editing Duke Ellington (section)

===Early 1930s===
Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. By 1932 his orchestra consisted of six brass instruments, four reeds, and a rhythm section of four players.<ref name="Hodeir">{{cite web|url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/08731|title=Ellington, Duke|last=Hodeir|first=André|website=Oxford Music Online|publisher=Oxford University Press|access-date=September 15, 2016}}</ref> As the leader, Ellington was not a strict disciplinarian; he maintained control of his orchestra with a combination of charm, humor, flattery, and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates. He effectively used his public persona to deflect attention away from himself.

Ellington signed exclusively to Brunswick in 1932 and stayed with them through to late 1936 (albeit with a short-lived 1933–34 switch to Victor when Irving Mills temporarily moved his acts from Brunswick).

As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933.<ref>{{Harvnb|Hasse|1993|p=166}}</ref> [[Ivie Anderson]] was hired as the Ellington Orchestra's featured vocalist in 1931. She is the vocalist on "[[It Don't Mean a Thing (If It Ain't Got That Swing)]]" (1932) among other recordings. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Radio exposure helped maintain Ellington's public profile as his orchestra began to tour. The other 78s of this era include: "[[Mood Indigo]]" (1930), "[[Sophisticated Lady]]" (1933), "[[(In My) Solitude|Solitude]]" (1934), and "[[In a Sentimental Mood]]" (1935).

While Ellington's United States audience remained mainly African-American in this period, the orchestra had a significant following overseas. They traveled to England and Scotland in 1933, as well as France (three concerts at the [[Salle Pleyel]] in Paris)<ref>{{Harvnb|Hasse|1993|p=173}}</ref> and the Netherlands before returning to New York.<ref>{{Harvnb|Green|2015|p=221}}</ref><ref name="Gdn20110617">{{cite news|last=Williams|first=Richard|url=https://www.theguardian.com/music/2011/jun/17/duke-ellington-mother-dies|title=Duke Ellington's mother dies|work=The Guardian|date=June 17, 2011|access-date=December 5, 2020}}</ref> On June 12, 1933, the Duke Ellington Orchestra gave its British debut at the [[London Palladium]];<ref>{{Harvnb|Hasse|1993|p=385}}</ref> Ellington received an ovation when he walked on stage.<ref>{{Harvnb|Tucker|1993|p=243}}</ref> They were one of 13 acts on the bill and were restricted to eight short numbers; the booking lasted until June 24.<ref name="Gdn20110617" /><ref>{{Harvnb|Stratemann|1992|p=65}}</ref> The British visit saw Ellington win praise from members of the serious music community, including composer [[Constant Lambert]], which gave a boost to Ellington's interest in composing longer works.

[[File:Symphony in Black (1935).webm|thumb|thumbtime=10|''[[Symphony in Black]]'' (1935)]]
His longer pieces had already begun to appear. Ellington had composed and recorded "Creole Rhapsody" as early as 1931 (issued as both sides of a 12" record for Victor and both sides of a 10" record for Brunswick).{{sfn|page=73|Brothers|2018}} A tribute to his mother, "Reminiscing in Tempo", took four 10" 78rpm record sides to record in 1935 after her death in that year.{{sfn|page=75|Brothers|2018}} ''[[Symphony in Black]]'' (also 1935), a short film, featured his extended piece 'A Rhapsody of Negro Life'. It introduced [[Billie Holiday]], and won the [[Academy Award]] for Best Musical Short Subject.<ref>{{Harvnb|Schuller|1989|p=94}}</ref> Ellington and his Orchestra also appeared in the features ''[[Murder at the Vanities]]'' and ''[[Belle of the Nineties]]'' (both 1934).

For agent Mills, the attention was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South in 1934, they avoided some of the traveling difficulties of African Americans by touring in private railcars. These provided accessible accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.

However, the competition intensified as swing bands like [[Benny Goodman]]'s began to receive widespread attention. Swing dancing became a youth phenomenon, particularly with white college audiences, and danceability drove record sales and bookings. [[Jukebox]]es proliferated nationwide, spreading the gospel of swing. Ellington's band could certainly swing, but their strengths were mood, nuance, and richness of composition, hence his statement "jazz is music, the swing is business".<ref>{{Harvnb|Hasse|1993|p=203}}.</ref>