‘A’ Train Legacy Chugs Ahead

Here’s a pop quiz: Who wrote “Take the ‘A’ Train” ?

Duke Ellington, you might reply. And why not? The song became the Ellington Orchestra’s signature number--as well as a theme song for the era--from the moment it was released as a 78 rpm recording in 1941. But it’s only been in recent years that the real composer of the piece, Billy Strayhorn, has begun to emerge into public awareness. Sadly, most of this awareness has taken place long after his death of cancer in 1967 at the age of 51.

Strayhorn, who lived his creative life--not without occasional unhappiness over his relative anonymity--in the shadow of Ellington as a primary musical partner, would probably have been surprised at a recent development that may well bring considerable posthumous attention. Billy Strayhorn Songs, the company that owns most of his unexpectedly expansive catalog of songs, has struck a publishing deal with DreamWorks Publishing. And one can only speculate what Strayhorn’s reaction might have been to a creative association with the company owned by Steven Spielberg, David Geffen and Jeffrey Katzenberg.

“The last thing people think about when they see a catalog like Strayhorn’s,” says Herb Jordan, general manager of Billy Strayhorn Songs, “is DreamWorks. You know, Hollywood, show biz. You wouldn’t ordinarily think of jazz and Spielberg in the same sentence. But when you look at it from another perspective, from the sense of the whole approach of being committed to great works of art that make money, then the combination begins to make sense.”

Jordan, who has worked closely with the Strayhorn family heirs to administer the catalog of songs, has been determined to help the music get a continuing and wider hearing. The resolve to do so has become even more important as numerous Strayhorn efforts are reaching the initial 56-year copyright period, with the rights reverting back to the family-owned Billy Strayhorn Songs publishing company.

By striking a deal with DreamWorks, Jordan firmly believes that the music will now move out of its relatively limited milieu of the jazz market.

“I started out as a songwriter,” he says, “and I’m well aware of the fact that, in this business, things of tremendous value can be overlooked. Quality is often secondary to that whole extravaganza of promotion that drives the commercial entertainment business. Here’s a guy who was, in a way, in the shadows--a guy who more people should know about, with a catalog that I feel can generate income over the decades.”

Searching for a company that would echo his thoughts, Jordan wound up at DreamWorks.

“It made sense,” Jordan continues. “DreamWorks holds itself out as being a somewhat different company. They see themselves, I think, as raising the artistic bar and finding that elusive point between art and commerce. Which is exactly what Billy did throughout his entire career.”

Most of that career was spent in tandem with Ellington, often working so closely that it was impossible to tell--in many pieces--who was responsible for individual passages. Even so, the list of Strayhorn works is filled with remarkable items: “Lush Life,” “Passion Flower,” “Something to Live for,” “Chelsea Bridge,” “Johnny Come Lately,” “My Little Brown Book” and, of course, “Take the ‘A’ Train.”

Most, but not all, will be included in the DreamWorks-Billy Strayhorn Songs co-publishing venture. The publishing copyrights to some numbers, explains Jordan, are still controlled by the original publisher, Music Sales.

DreamWorks, moving quickly, has already published a sheet music collection of Strayhorn pieces in a songbook titled “Billy Strayhorn: An American Master,” which is expected to be in music stores next week. Other plans include a two-CD Strayhorn collection scheduled for release on Blue Note early next year. In addition to selected existing performances, it will include newly recorded versions of two pieces never before available on a major label.

“One of them is a very early, quasi-classical piece for solo piano,” says Jordan, “and both are as good as anything he ever did.”

DreamWorks president Chuck Kaye is optimistic about the Strayhorn connection.

“We want to represent what tomorrow’s all about,” says Kaye, “and tomorrow’s about yesterday. Especially when you’re looking at the quality that Billy Strayhorn represents. We’re going to expose these songs to every important artist, every important television and film producer, director and music supervisor--including those at DreamWorks.”

Kaye is not at all bothered by the fact that Strayhorn has been primarily identified as a jazz artist--a genre not exactly in the DreamWorks’ view screen in the past.

“I don’t look at Billy as a jazz artist,” he says. “I look at him as a great songwriter. Take films and television series, take any sort of communication, and it can relate to Billy’s music in projects taking place during the time period when he was most potent. What does ‘Take the “A” Train’ mean? It means everything in the ‘40s. It’s one of the stalwart, important works of the era, and when you’re in the publishing business, that’s the sort of thing that matters.

“Billy Strayhorn’s a great artist. And great art recycles, it doesn’t go away.”