This obscure Ellington masterpiece, which curiously is copyrighted 1929, although the arrangement and recording were clearly from 1932. Perhaps this arrangement embellished or replaced an earlier one that was never recorded. An integral element of this piece and arrangement is that it comes at a juncture in Ellington’s writing and band’s performance. Lightnin’ has one foot in the 1920s and the other foot in the 1930s.

It's an uptempo barnburner that shares the same chord progression as the Count Basie/Benny Moten/Eddie Durham Prince Of Wails, recorded December 13, 1932, nearly three months after Ellington recorded Lightnin’.

The unique chord progression in the first eight bars (four bars each of G7 and A7) with its whole step from the dominant to the V/ii makes these pieces instantly recognizable. The fast tempos challenge both the soloists and the ensemble.

Ellington’s descriptive title certainly describes the ferocity, shock and awe of a meteorological lightning storm. But why the apostrophe? It’s unlikely, but should be noted, that Lightnin’ was a slow-moving character in the very popular radio show Amos ‘n’ Andy. His name was purposely the opposite of his persona. Perhaps Ellington was referencing the expression, “as fast as grease lightning?”—an apt description.

Personnel: Recorded September 21, 1932, NYC. Two takes for Brunswick B12344-A and B12344-B (released on Columbia).

Reeds: Otto Hardwick (alto), Johnny Hodges (alto), Barney Bigard (tenor/clarinet), Harry Carney (alto/baritone saxes)

Trumpets: Arthur Whetsel, Cootie Williams, Freddy Jenkins

Trombones: Lawrence Brown, Tricky Sam Nanton, Juan Tizol

Guitar: Fred Guy

Piano: Duke Ellington

Bass: Wellman Braud

Drums: Sonny Greer

Soloists: Carney (bari sax), Nanton (plunger tbn), Bigard (clarinet), Ellington

Form (key of C):

Intro: 8 bars

Bari Solo: 32 bars (abac)

Trombone Solo: 32 bars

Clarinet Solo: 32 bars

Piano Interlude: 16 bars (dd)

Shout Chorus #1: 32 bars

Shout Chorus #2: 32 bars in key of Eb