DON ELLIS - The New Don Ellis Band Goes Underground / Don Ellis At Fillmore
BGO CD 1143 (2CDs)
In jazz, dying at the age of forty four ensures immortality or obscurity. .Unfortunately for Ellis it proved to be obscurity. ‘Forgotten man of jazz’, writes Charles Waring the author of the excellent sleeve notes for the BGO album. He is right. Ellis is not well remembered, so it is good that BGO has chosen to resurrect these two albums. They are not the best of Ellis, but, even so, they contain numerous moments that illustrate the gifts that Ellis brought to writing for a big band.
Unlike Buddy Rich or Maynard Ferguson, Ellis was an innovator who had a deep appreciation of and love for jazz history. During his early years he played with George Russell, Charles Mingus and Maynard Ferguson. One of Ellis’ frequently quoted remarks was about trumpeter Henry ‘Red’ Allen. Ellis called him ‘the most avant-garde player in New York.’
Ellis’ writing for his various bands illustrates his impatience with the codes and convention of big band writing.. When he formed his bands he sought out musicians of the stature of John Klemmer, Frank Strozier, Sal Falzone and student musicians who had enough technical ability to cope with the complex compositions and the rhythmic complexity.
The results we can see in the two albums: ‘The New Don Ellis Band Goes Underground’ was released in 1969, the second ‘Don Ellis At Fillmore’ was released in 1970 and at times verges on the riotous and outrageous. Both albums have a looseness, a sense of fun, superb musicianship and original compositions.
Ellis' own playing is well featured on ‘The Blues’, it shows his understanding of the brass mute in jazz by investigating the styles of Rex Stewart and Clark Terry. Ellis would have fitted well in the Ellington brass section.
‘Bulgarian Bulge’ is based on music brought to Ellis by Milcho Leviev. Unusual time signatures were a feature, this one was 33/16. The complexity of the polyrhythmic dance rhythms does not intimidate the orchestra who invest the whole piece with rhythmic drive and vitality.
Vitality is also a feature of the work of trombonist Glen Ferris: ‘Ferris Wheel’. Ferris is a remarkable player who inspires the whole ensemble. Not everything on the first album is memorable: there are some weak and sentimental vocals by Patti Allen which have not worn well.
‘Hey Jude’ is one of the most divisive tracks on the Fillmore disc.. Lovers of The Beatles hate it. The orchestra and the playing stretches the anthem to breaking point. There are electronics in abundance, ring modulators, echoplexes ring out, there is even a polka introduced. There is great jazz: listen to altoist Lonnie Shetter on ‘The Great Divide’. ‘Pussy Wiggle Stomp’ is played in an exhilarating way and is a glorious end to the concert.
Ellis does not deserve to be forgotten. it would not be surprising to discover that some enterprising musician discovers this music and realises that there are many elements that could be developed further. Ellis' music challenged and many of his innovations remain to be exploited. There is music on these two discs that will leave you feeling energised in many cases and appalled in others. Ellis did not believe in playing it safe and he didn’t.
Reviewed by Jack Kenny
BGO CD 1143 (2CDs)
In jazz, dying at the age of forty four ensures immortality or obscurity. .Unfortunately for Ellis it proved to be obscurity. ‘Forgotten man of jazz’, writes Charles Waring the author of the excellent sleeve notes for the BGO album. He is right. Ellis is not well remembered, so it is good that BGO has chosen to resurrect these two albums. They are not the best of Ellis, but, even so, they contain numerous moments that illustrate the gifts that Ellis brought to writing for a big band.
Unlike Buddy Rich or Maynard Ferguson, Ellis was an innovator who had a deep appreciation of and love for jazz history. During his early years he played with George Russell, Charles Mingus and Maynard Ferguson. One of Ellis’ frequently quoted remarks was about trumpeter Henry ‘Red’ Allen. Ellis called him ‘the most avant-garde player in New York.’
Ellis’ writing for his various bands illustrates his impatience with the codes and convention of big band writing.. When he formed his bands he sought out musicians of the stature of John Klemmer, Frank Strozier, Sal Falzone and student musicians who had enough technical ability to cope with the complex compositions and the rhythmic complexity.
The results we can see in the two albums: ‘The New Don Ellis Band Goes Underground’ was released in 1969, the second ‘Don Ellis At Fillmore’ was released in 1970 and at times verges on the riotous and outrageous. Both albums have a looseness, a sense of fun, superb musicianship and original compositions.
Ellis' own playing is well featured on ‘The Blues’, it shows his understanding of the brass mute in jazz by investigating the styles of Rex Stewart and Clark Terry. Ellis would have fitted well in the Ellington brass section.
‘Bulgarian Bulge’ is based on music brought to Ellis by Milcho Leviev. Unusual time signatures were a feature, this one was 33/16. The complexity of the polyrhythmic dance rhythms does not intimidate the orchestra who invest the whole piece with rhythmic drive and vitality.
Vitality is also a feature of the work of trombonist Glen Ferris: ‘Ferris Wheel’. Ferris is a remarkable player who inspires the whole ensemble. Not everything on the first album is memorable: there are some weak and sentimental vocals by Patti Allen which have not worn well.
‘Hey Jude’ is one of the most divisive tracks on the Fillmore disc.. Lovers of The Beatles hate it. The orchestra and the playing stretches the anthem to breaking point. There are electronics in abundance, ring modulators, echoplexes ring out, there is even a polka introduced. There is great jazz: listen to altoist Lonnie Shetter on ‘The Great Divide’. ‘Pussy Wiggle Stomp’ is played in an exhilarating way and is a glorious end to the concert.
Ellis does not deserve to be forgotten. it would not be surprising to discover that some enterprising musician discovers this music and realises that there are many elements that could be developed further. Ellis' music challenged and many of his innovations remain to be exploited. There is music on these two discs that will leave you feeling energised in many cases and appalled in others. Ellis did not believe in playing it safe and he didn’t.
Reviewed by Jack Kenny
