ɪn ɹˈaɪɾɪŋ blˈæk, bɹˈaʊn ænd bˈeɪʒ, ˈɛlɪŋtən ɛndˈɛvɚd tə kɹiːˈeɪt ɐ dʒˈæz kˌɑːmpəzˈɪʃən æz swˈiːpɪŋ æz ˌɛni klˈæsɪkəl wˈɜːk, wɪððə fˈɑːloʊɪŋ bˈoʊld stˈeɪtmənt, "...ʌnhˈæmpɚd baɪ ˌɛni mjˈuːzɪkəl fˈɔːɹm, ɪnwˌɪtʃ aɪ ɪntˈɛnd tə pɹˈɑːtɹeɪ ðɪ ɛkspˈiəɹɪənsᵻz ʌvðə kˈʌlɚd ɹˈeɪsᵻz ɪn ɐmˈɛɹɪkə ɪnðə sˈɪŋkəpˌeɪɾᵻd ˈɪdɪəm...
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...