Duke Ellington in the context of "Swing music"

Swing music is a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Fletcher Henderson and Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era, when people were dancing the Lindy Hop. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Big band leaders of the swing era include Benny Goodman, Duke Ellington, Count Basie, Jimmie Lunceford, Cab Calloway, Benny Carter, Jimmy Dorsey, Tommy Dorsey, Earl Hines, Bunny Berigan, Harry James, Lionel Hampton, Glenn Miller, and Artie Shaw.

An electric piano is a musical instrument that has a piano-style musical keyboard, where sound is produced by means of mechanical hammers striking metal strings or reeds or wire tines, which leads to vibrations which are then converted into electrical signals by pickups (either magnetic, electrostatic, or piezoelectric). The pickups are connected to an instrument amplifier and loudspeaker to reinforce the sound sufficiently for the performer and audience to hear. Unlike a synthesizer, the electric piano is not an electronic instrument. Instead, it is an electro-mechanical instrument. Some early electric pianos used lengths of wire to produce the tone, like a traditional piano. Smaller electric pianos used short slivers of steel to produce the tone (a lamellophone with a keyboard & pickups). The earliest electric pianos were invented in the late 1920s; the 1929 Neo-Bechstein electric grand piano was among the first. Probably the earliest stringless model was Lloyd Loar's Vivi-Tone Clavier. A few other noteworthy producers of electric pianos include Baldwin Piano and Organ Company, and the Wurlitzer Company.

Early electric piano recordings include Duke Ellington's in 1955 and Sun Ra's India as well as other tracks from the 1956 sessions included on his second album Super Sonic Jazz (a.k.a. Super Sonic Sounds). The popularity of the electric piano began to grow in the late 1950s after Ray Charles's 1959 hit record "What'd I Say", reaching its height during the 1970s, after which they were progressively displaced by more lightweight electronic pianos capable of piano-like sounds without the disadvantages of electric pianos' heavy weight and moving mechanical parts. Another factor driving their development and acceptance was the progressive electrification of popular music and the need for a portable keyboard instrument capable of high-volume amplification. Musicians adopted a number of types of domestic electric pianos for rock and pop use. This encouraged their manufacturers to modify them for stage use and then develop models primarily intended for stage use.

The American Jazz Museum is located in the 18th and Vine historic district of Kansas City, Missouri. The museum preserves the history of American jazz music, especially Kansas City jazz music, with exhibits including Charlie Parker, Duke Ellington, Louis Armstrong, Ella Fitzgerald, Big Joe Turner, Thelonious Monk, and Etta James. The Blue Room is a jazz club which holds live performances multiple nights each week. The museum also runs youth cultural programs, including youth jazz ensembles, lessons, camps, and visual storytelling sessions.

John Cornelius Hodges (July 25, 1907 – May 11, 1970) was an American alto saxophonist, best known for solo work with Duke Ellington's big band. He played lead alto in the saxophone section for many years. Hodges was also featured on soprano saxophone, but refused to play soprano after 1940. Along with Benny Carter, Hodges is considered to be one of the definitive alto saxophone players of the big band era.

After beginning his career as a teenager in Boston, Hodges began to travel to New York and played with Lloyd Scott, Sidney Bechet, Luckey Roberts and Chick Webb. When Ellington wanted to expand his band in 1928, Ellington's clarinet player Barney Bigard recommended Hodges. His playing became one of the identifying voices of the Ellington orchestra. From 1951 to 1955, Hodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence – the orchestra's performance at the 1956 Newport Jazz Festival.

When describing popular music artists, honorific nicknames are used, most often in the media or by fans, to indicate the significance of an artist, and are often religious, familial, or most frequently royal and aristocratic titles, used metaphorically. Honorific nicknames were used in classical music in Europe even in the early 19th century, with figures such as Mozart being called "The father of modern piano music" and Bach "The father of modern music". They were also particularly prominent in African-American culture in the post-Civil War era, perhaps as a means of conferring status that had been negated by slavery, and as a result entered early jazz and blues music, including figures such as Duke Ellington and Count Basie.

In U.S. culture, despite its republican constitution and ideology, royalist honorific nicknames have been used to describe leading figures in various areas of activity, such as industry, commerce, sports, and the media; father or mother have been used for innovators, and royal titles such as king and queen for dominant figures in a field. In the 1930s and 1940s, as jazz and swing music were gaining popularity, it was the more commercially successful white artists Paul Whiteman and Benny Goodman who became known as "the King of Jazz" and "the King of Swing" respectively, despite there being more highly regarded contemporary African-American artists.