Anytime from the late ‘50s through the ‘70s and even perhaps into the following decades (O.J. and Rodney?) a tangible tension could be felt in the poorer sections of any major city. There wasn’t (and isn’t) a thoughtful enough person in power – or one able to gain notoriety – that can alleviate the socio-economic problems that so many people face in the States. And during that broad time period, music that was recorded more and more reflected the inherent problems in western culture.

At points there were plain cries for help while other’s just wondered aloud and still others preened while showing off what concrete wealth they’d been able to attain. The more open polemics were met with consternation at some points, but there was always a liberal base for the music to lean on. In jazz specifically, the music became so tied to the advancement of black culture that those performers who didn’t seem to be exerting an agenda or message were perceived to be sell outs to a certain extent.

Duke Ellington, pushing towards 72 in 1971, wasn’t a part of the politically motivated crowd - although, surely he could be figured to have struggled his own struggle during the ‘30s and earlier in his life. That being said, by the time that the counter culture realized it had for all intents and purposes failed, there was a violent backlash in the country - one that the composer and pianist couldn’t have condoned.

Never was Ellington a figurehead for change and violent lashings out – whether propped up by ideology or not it didn’t seem to be his cup of tea. The always staid Ellington – throughout his entire career, but specifically later – took his band out on the (international) road during this period. And over the few times he spanned the globe, the pianist arrived at an interesting cultural idea. There were more ‘other’ folks than westerns. It wasn’t even close.

As a result of his revelation, Ellington began composing work that reflected the population of the world and in 1971 he released The Afro-Eurasian Eclipse. The disc isn’t in line with his earlier Indigos and the like, but there are unquestionable stamps of the composer all over the disc.

“Acht O’Clock Rock” isn’t a big band swing so much as an ever slight funky jazz track. Ellington retains his blues influence, but with his horn section punctuating the one and three, the band comes off as the Motown house band briefly. Supporting his various soloists, Ellington vamps for a while prior to taking it out on his own. Even this late in his career (Duke would pass away a scant three years later) it’s pretty clear that he hadn’t lost a step.

Serving as an explanation of where his career wound up, Ellington’s The Afro-Eurasian Eclipse is a good listen for just about anyone. Some of the composer’s older fans might not appreciate the worldly influences he tosses in, but it all works to varying degrees. If the disc isn’t tops, it’s still pretty boss.