Lillian Terry - Dizzy, Duke, Brother Ray, and Friends

Uncle Eddie

ACT IJUAN-LES-PINS, FRANCE

The most precious and amazing memory I treasureof the many historical artists I had the privilege of meetingis the unique world of Edward Kennedy Ellington.

From early childhood, during the Second World War years, I had been a constant radio listener, especially to the American Forces Network, enjoying artists called Frank Sinatra, Ella Fitzgerald, Benny Goodman, Bing Crosby, Glenn Miller, Dinah Shore, the Dorsey Brothers, not to forget Dame Vera Lynnand, way above them, was the Duke Ellington Orchestra.

Through the many years that followed I had learned the names of the soloists who gave us that special Ellington sound. Although I admired them all, Johnny Hodges was my favorite. Especially when the famous Ellington repertoire offered the heartbreaking ballad from the Romeo and Juliet suite Such Sweet Thunder called Star-Crossed Lovers, performed by Hodges with that sensuous, almost physically caressing voice of his alto saxophone. From the late 1950s, that ballad had become the showcase of his magic.

As my singing career progressed, I found myself performing at various International Festivals in Europe. One of the most prestigious being the AntibesJuan-les-Pins festival, on the French Riviera, I was thrilled to appear there especially, as their greatest guest star was Duke Ellington, whose orchestra would also accompany Ella Fitzgerald, with Jimmy Jones at the piano.

On Tuesday, July 26, 1966, backstage at the Pinde Gould, I noticed Johnny Hodges standing by the stage steps. On an impulse I approached him: Mr. Hodges, my name is Lilian Terry. I'm a singer. But above all I'm a passionate fan of your rendition of Star-Crossed Lovers. I have attended most of your concerts in Italy these past fifteen years, always looking forward to hearing you play it. Recently, though, it's no longer in your repertoire, to my great disappointment. Is there any chance that you could play it tonight?

Listening in silence, while inspecting me from head to toe, he shook his head: Nope, sorry, we haven't played it in years. We've got a whole new book tonight, but

He hesitated, and then made up his mind. Come on, let's go ask him

He guided me backstage to the beach cabins used as dressing rooms during the festival. He knocked, opened the door and, thrusting me in, he growled: She wants me to play Star-Crossed Lovers. Before you say no, take a look at her. Then he stepped back by the door.

To my amazement I recognized the great Ellington stretched on a beach deckchair, wearing a short blue bathrobe, bare legs resting on a pillow on a chair in front of him. On his head was a hairdresser net to keep his locks in place. His eyes were closed and I just stood there, speechless. He turned his head and gave a close scrutiny to my whole appearance, from my short haircut to the white and gold sandals. His gaze rested on them as he pointed and asked: Italy?

Yes, Positano. I whispered.

Always looking at them, he answered Hodges:

Star-Crossed Lovers, huh? Well, if you want to play it for her, go talk to Norman, and tell him it's OK with me.

And, closing his eyes, he resumed his meditation, dismissing us.

So Hodges went looking for Norman Granz, dragging me along. He explained the subject. Granz looked at me, raising his accented eyebrows: Well, if Edward agrees he shrugged and walked away from us.

For the first time, Hodges gave me a large, satisfied grin and patted my shoulder: Well, we're on, kid. I'll play it just for you tonight. What did you say your name was?

Lilian. And thank you so much!

My pleasure. I'll go tell Ellington, he'll want to tell the guys then a bigger grin as he added but then again he might not. See you later.

When they began preparing the open-air stage for the orchestra's performance, I joined my friends of the French TV crew. As I perched beside them on the railing in the open wings, I informed them that there might be a surprise that night.

The band walked onstage among enthusiastic shouts of welcome and applause from the public: There was Sam Woodyard fiddling with his drum set, joined by bassist John Lamb. Followed the four trumpets of Herbie Jones, Cootie Williams, Cat Anderson, and Mercer Ellington. The middle row featured the trombones of Lawrence Brown, Buster Cooper, and Chuck Connors. Finally, the reeds with Jimmy Hamilton, Harry Carney, Russell Procope, Paul Gonsalves, and lastJohnny Hodges reached his chair nonchalantly. As he turned around to sit down, he noticed me in the wings and gave me a curt nod, then proceeded to ignore me throughout the concert.

It was now practically over. The last performance had been a very long exploit by my favorite soloist, and Ellington kept shouting his name repeatedly, Johnny Hodges! while the audience sent wave after wave of enthusiastic applause. Hodges, standing in front of the orchestra, turned to Ellington and then motioned with his head toward me.