The best moment of Paul Gonsalves’ musical career occurred on the 1956 Newport Jazz Festival when, to bridge the gap between “Diminuendo in Blue” and “Crescendo in Blue,” Duke Ellington urged him to have a longer solo, egging him on through 27 exciting choruses that almost caused a riot. That well-publicized event led to Ellington having a significant “return,” and Gonsalves permanently earning Ellington’s appreciation. Gonsalves had currently earned a solid popularity during his stints with Count number Basie (1946-1949) as well as the Dizzy Gillespie Orchestra (1949-1950). Signing up for Ellington in 1950, Gonsalves’ warm breathy build and harmonically advanced solos had been a continuing fixture for 24 years (aside from a brief amount of time in 1953 when he was with Tommy Dorsey) and he was well-featured until his loss of life, just ten times before Ellington offered. Furthermore to his many recorded shows with Ellington, Gonsalves led schedules of his very own on an intermittent basis, including for Argo, Jazzland, Impulse (highlighted by way of a combative ending up in Sonny Stitt), Storyville, Dark Lion, and Illusion.