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The common root, of course, comes out of africa. that's the pulse.the african pulse. it's all the way back from . . . the old slave chants and up through the blues, the jazz, and up through rock. and it's all got the african pulse.

-Duke Ellington

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The Common Root, Of Course, Comes Out

Duke Ellington

The common root, of course, comes out of africa. that's the pulse.the african pulse. it's all the way back from . . . the old slave chants and up through the blues, the jazz, and up through rock. and it's all got the african pulse.

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    <p style="font-size: 1.2rem; font-style: italic; margin-bottom: 10px;">"the common root, of course, comes out of africa. that&#039;s the pulse.the african pulse. it&#039;s all the way back from . . . the old slave chants and up through the blues, the jazz, and up through rock. and it&#039;s all got the african pulse."</p>
    <footer style="font-size: 1rem; font-weight: bold;">— Duke Ellington</footer>
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Rocks Roots Pulse

More From Duke Ellington

I love jazz. so to me, there are two main types of jazz. there's dancing jazz, and then there's listening jazz. listening jazz is like thelonius monk or john coltrane, where it's a listening experience. so that's what i like; i like to make stuff that you listen to. it's not really meant to get you up; it's meant to get your mind focused. that's why you sit and listen to jazz. you dance to big band or whatever, but for the most part, you sit and listen to jazz. i think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.

The blues? why, the blues are a part of me. they're like a chant. the blues are like spirituals, almost sacred. when we sing blues, we're singing out our hearts, we're singing out our feelings. maybe we're hurt and just can't answer back, then we sing or maybe even hum the blues. when i sing, 'i walk the floor, wring my hands and cry -- yes, i walk the floor, wring my hands and cry,'... what i'm doing is letting my soul out.

I have heartaches, i have blues. no matter what you got, the blues is there. 'cause that's all i know - the blues. and i can sing the blues so deep until you can have this room full of money and i can give you the blues.

I remember when i wrote a piece, "blood on the fields," it was a while ago, it was about slavery and about two characters, and i studied so much of music, i would always go back to the original documents, and as much as i can get original chants and slave chants and different type of beats and rhythms and ring shout.

Everything comes out in blues music: joy, pain, struggle. blues is affirmation with absolute elegance. it's about a man and a woman. so the pain and the struggle in the blues is that universal pain that comes from having your heart broken. most blues songs are not about social statements.

I like "rock, paper, scissors two-thirds." you know. "rock breaks scissors." "these scissors are bent. they're destroyed. i can't cut stuff. so i lose." "scissors cuts paper." "these are strips. this is not even paper. it's gonna take me forever to put this back together." "paper covers rock." "rock is fine. no structural damage to rock. rock can break through paper at any point. just say the word. paper sucks." there should be "rock, dynamite with a cutable wick, scissors."

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