Black, Brown and Beige is an extended jazz work written by Duke Ellington for his first concert at Carnegie Hall, on January 23, 1943. It tells the history of African Americans and was the composer's daring attempt to transform attitudes about race, elevate American music (Jazz) on par with classical European music and challenge America to live up to her founding principles of freedom and equality for all. Form and characteristics Black, the first movement, is divided into three parts: the Work Song; the spiritual Come Sunday; and Light. Brown also has three parts: West Indian Influence (or West Indian Dance); Emancipation Celebration (reworked as Lighter Attitude); and The Blues. Beige depicts "the Afro-American of the 1920s, 30s and World War II" according to Leonard Feather's notes for the 1977 release of the original 1943 performance. History Ellington introduced the piece at Carnegie Hall on January 23, 1943 as "a parallel to the history of the Negro in America." In writing Black, Brown and Beige, Ellington endeavored to create a Jazz composition as sweeping as any classical work, with the following bold statement, "...unhampered by any musical form, in which I intend to protray the experiences of the colored races in America in the syncopated idiom...I am putting all I have learned into it in the hope that I shall have achieved something really worthwhile in the literature of music, and that an authentic record of my race written by a member of it shall be placed on record." At the December 11, 1943 concert at Carnegie Hall, Ellington said, "We thought we wouldn't play it (Black, Brown and Beige) in its entirety tonight because it represents an awfully long and important story and that I don't think too many people are familiar with the story. This is the one we dedicate to the 700 Negroes who came from Haiti to save Savannah during the Revolutionary War", a reference to the Chasseurs-Volontaires de Saint-Domingue who fought at the siege of Savannah. Music critics, mistakenly judging it by classical music standards, gave the 1943 concert mixed reviews. Ellington responded to critics, saying "Well, I guess they just didn't dig it." He never performed the entire work again, breaking it into shorter excerpts. Ellington reworked a partial version ("Black" only) of the suite for his 1958 album Black, Brown, and Beige, after which "Come Sunday" (featuring Gospel artist Mahalia Jackson on the