Ellington loved the blues. He found a way to use the blues feeling and/or structure in virtually everything he wrote. Naturally, this had a profound effect on his disciple, Billy Strayhorn, who uses many of the devices Ellington created in the late 1930s to help create this movement of The Newport Jazz Festival Suite. Although it was the wild performance of Diminuendo and Crescendo in Blue that caused an uproar that evening and placed Ellington on the cover of Time magazine, this evocative and creative blues also deserves to be called a classic. From the Essentially Ellington 2019: Jazz at Lincoln Center Library.