The mainstream press was quick to celebrate the concert and Ellington’s legacy, but danced around the merits of “Black, Brown, and Beige” itself. Praising the piece for being jazz’s longest-running tone painting, Time magazine concluded nonetheless that the composition “often seemed too ambitious. Likewise, the New York Times, while admitting “Black, Brown, and Beige” had “many exciting passages," stated that it was the shorter dance numbers where Ellington, as a bandleader, "seemed most himself."

Eventually, Hodges left for the money and the opportunities in New York.  In the City That Never Sleeps, bars could serve liquor until 4 in the morning, while last call in Boston was a puritanical 11 p.m.  With so many more hours in the day to play, it is no wonder that New York pulled jazz musicians away from Boston like an outgoing riptide. After stints with Bechet, Chick Webb, Willie “The Lion” Smith and others, at the age of 20, Hodges was hired by Duke Ellington, with whom he would be associated for the rest of his life.