Don Ellis - The New Don Ellis Band Goes Underground (1969)

While this album may be one of Don's more commercial efforts, it also shows a willingness to absorb a variety of styles and reinterpret them in the jazz idiom. This album has Ellis covering songs from the counterculture (which some may say Ellis is part of anyhow), the singer-songwriter movement, and R&B, but Ellis also writes his own material in these styles. The album opens with "House in the Country" an Al Kooper (who consequently produced the album) composition from the Blood, Sweat & Tears album Child is Father to the Man (1968), which albeit true to the original has the Ellis eccentricity of using his electronic sounds at the beginning and close of the track and during breaks in the melody. The following track is a cover of Harry Nilsson's "Don't Leave Me" originally on Aerial Ballet (1968). This tune is essentially an expanded transcription of the original with Ellis liberally interpreting the melody and "jazzing" up the rhythmic accompaniment in the ensemble sections. While Ellis does not change much, his solo over the chorus adds a lot to the song and proves that while this may not be "high jazz material," it is worthy of interpretation of a jazz artist. "Higher" is the first of four tracks to feature the vocals of Patti Austin, an addition to the band during this period of Elli's band. This is one of the weaker tracks on the album in my opinion, with Ellis's ring modulator trumpet one of the only notable sections of the track. The following track "Bulgarian Bulge" is based on a transcription of a Bulgarian folk melody (a music known for its odd time signatures) and was recorded later on Tears of Joy. The latter recording is superior to this one in my opinion, due to the fact that the band was probably more familiar with the tune and consequently able to be more rhythmically free in their solos rather than conforming to how the beats were broken up (it's in 33/16 (2+2+2+2+3+2+2; 2+2+2+3+2+3+2+2)). "Eli's Comin'," a Laura Nyro composition, is in the same modus operandi as Nilsson's in that the track is an expanded transcription. This is probably the strongest cover tune, because while it is a transcription Ellis does a lot with the transitions from section to section and explores a variety of rhythmic feels. This tune was in the repertoire of a few bands at the time, with Maynard Ferguson having recorded it on M.F. Horn in 1967. The following track "Acoustical Lass" is one of the more interesting tunes as it seems that Ellis tried to write a pseudo-psychedelic pop tune that featured his trumpet. The tune is very sparse with only the leader on trumpet and electric piano and guitar as accompaniment, which gives the track a spacey, surreal sound. "Goood Feelin'" is Ellis' attempt to write a quasi-R&B tune, which in my opinion succeeds. The ostinato in the low brass sets the foundation in which all the other grooves are layered on top of. There is a sort of baroque pop section after an energetic solo featuring oboes and flutes, which is then developed until it the mood changes to a cheesy 20s "sweet" jazz feel. "Goood Feelin'" is notable if only for the variety of styles Ellis uses and the transitions which don't seem at all unnatural. "Send My Baby Back" is probably the strongest vocal on the album, but it shouldn't be remembered for its lyrics which consist of too many "yeahs" towards the close track. The strength in the song is the contrast in the vocal line for the verse and chorus, as well as the ensemble parts (the trumpet section entrances always give me chills). "Love for Rent," a Fred Selden contribution, is a sort of work-in-progress in my opinion, as the tune is later used as a section to his "Euphoric Acid" track on Tears of Joy. However, the tune has a great section featuring an Ellis solo on trumpet with an echoplex effect. "It's Your Thing" is mostly a straight-ahead cover, however, it's a bit humorous when you listen to the quarter-tones in some of the ensemble backgrounds of the song. "Ferris Wheel" is a great blues solo vehicle for trombonist Glenn Ferris. More than most of Ellis' band, Ferris uses quarter-tones to great effect and the backgrounds incorporate this same tonal effect. This track is also notable for the octavizers used in the sax section that make the section sound an octave lower in addition to the note they are playing. "Black Baby" was a late addition to the album and was an idea of Patti Austin's. While I don't find it one of the more memorable tracks on the album, it is a great track for listening to Ellis' conception of unaccompanied soloing in a blues style (especially the blue notes he hits using his quarter-tonal valve).

Various Artists - The Atlantic Family Live at Montreux (1978)

This album is a real oddity, but that's part of what makes the session really interesting and worthwhile. Originally released as a double LP, this album was never rereleased, so consequently this is an album rip. Recorded at the 1977 Montreux Jazz Festival, this album is a session of all the artists at the festival that were signed to Atlantic Records at the time. It's essentially a funk jam session with the horn players playing backgrounds and contributing extended solos over classic and original charts. The album notes refer to this idea as "the universal rhythm section," an idea that ascribes the rhythm section as the foundation of the band in jazz and blues. The album opens with "Bahia (Na Baixa Do Sapateiro)" (credited on other albums as Baía), a tune penned by Brazilian composer Ary Barroso in the 1930s famous for other tunes like "Brazil." "Bahia" is a great showcase for the horns, which present a very rhythmic interpretation of the melody, and for the guitars, which interject soloistic lines at the ends of phrases. Randy and Michael Brecker currently signed to Atlantic with their funk outfit The Brecker Brother play extended solos over the heavily funky interpretation of a Brazilian classic. "Jadoo" is an original penned by German saxophonist Klaus Doldinger, who at the time was leader of Passport, a German fusion group. "Jadoo" relies on heavily accented unison lines in the woodwinds with the Doldinger showing off his command of the altissimo range of his horn. Herbie Mann delivers a memorable solo on flute as does guitarist Jim Mullen. My personal favorite on the album is "Everything Must Change," the only vocal track on the album. The track is a slow ballad with lead vocals being traded between Average White Band vocalist Hamish Stuart and Ben E. King. "Everything Must Change" is a great example of how suspensions and extended harmony can create the perfect balance of tension and release in a song. This track captures the conception of the album most of any track, as the rhythm section is really the driving rhythmic, harmonic force upon which everything is based exemplified by the rock solid bass line and the sweeping lines on the Fender Rhodes. "McEwan's Export" is a track written by Average White Band guitarist Alan Gorrie and recalls the aesthetic quality of their album Soul Searching released the previous year in 1976. This track is the kind of jam tune that made Average White Band famous. "One to One" is a very slimmed-down track with Average White Band only accompanied with a few soloists. The tune is a solo vehicle for tune author David Newman and fellow saxophonist Klaus Doldinger. "Pick Up the Pieces" closes the album and is probably the biggest highlight of the album showcasing not only the conception of the album, but also giving the horn players a great vehicle for some incredible solos. While the tune is well-known by most people, the arranged horn sections that are inserted between solos give the tune a new vitality and a sense of identity. "Pick Up the Pieces" has the most strictly "jazz" solos presented by Don Ellis, Herbie Mann, and the Breckers. This album is a testament to the stark contrast of records released in the late 70s to the current times. The environment of that time period ripe for jazz-funk crossovers and artists willing to take the leap create an interesting albeit odd product that should be rereleased in a digital format.

Don Ellis - Tears of Joy (1971)

In many regards, Tears of Joy may be Don Ellis' magnum opus of his entire career. The incorporation of string instruments adds a lot to his vast exploration of styles, tones, and colors that make this album a real treat to listen to.  John Hammond at Columbia wondered why Ellis would forsake a successful lineup that began with 1967's Electric Bath. Simply, it seems that Ellis just wanted to experiment and continue to innovate as he had in his early years. Tears of Joy backs off a little on the use of unusual time signatures and some of the heavy use of electronics that was present in previous albums, but continue to amaze the listener of how he can write for an ensemble as well as delving further into quarter tonal improvisation. However, "Tears of Joy" still has Ellis using a ring modulator to layer frequencies and "Bulgarian Bulge" in 33/16 and 35/16, shows that he never intended on abandoning what made his music. There are great "tongue-in-cheek" laughs to be had listening to the track "Blues in Elf" an 11/8 (3 3 3 2) blues that opens with a transposed Moonlight Sonata by Milcho Leviev. A personal favorite on the album is the track "Quiet Longing" due to its exploration into light orchestration as it opens and the tone colors that present an intensely emotional piece. "Quiet Longing" is a perfect example of how the string quartet really opened possibilities for Ellis as a writer. Another personal favorite, "Loss" seems to have a similar sound quality to some Asian music in the string parts. The sound quality remind me a lot of the sound of the kokyu, a Japanese bowed instrument. The real masterpiece of the album and Ellis' career is undoubtedly the track "Strawberry Soup." The track opens with the strings and winds improvising. It's important to note that they are improvising, because to the listener it will sound like it is what is written. The rhythmic superimposition of 9 is quite remarkable; 9/2, 9/4, and 9/8 are overlapping rhythmic ideas that often interlock so well, one might not realize this feat. The sheer amount of moods and voicings used in this track in unbelievable. There is the interplay of strings and woodwinds in the beginnings, the transition to the full ensemble aided by a French Horn, and the numerous solos in the seventeen and a half minute piece that show how mature of a writer Don Ellis was for his time. I often think this is the furthest that "big band" jazz has come in its entire history. Sure, there are many writers of today that are experimenting and writing good original material, but they don't have the worldly view and the vast concept of music that Don Ellis had.

Don Ellis - Electric Bath (1967)

I am going to try to share a few albums frequently as this blog starts out so there is a decent amount of material. As I stated with my previous post, I'm trying to share some music that shows what kind of material will be on this blog as well as having a personal connection. In my personal opinion, Don Ellis is probably one of the most avant garde figures in big band jazz. Don Ellis played with Maynard Ferguson,  jazz pianist George Russell, and was prominently featured in Gunther Schuller's Third Stream piece "Journey into Jazz" (1962). After attending the ethnomusicology program at UCLA in the mid-1960s, Ellis began to form influential groups the first which was the Hindustani Jazz Sextet. This group was never recorded but it combined aspects of Indian classical music and jazz music.  One can hear how elements of Ellis' original sextet and past history made it on to this album. Most notably this interest in Indian music can be heard on the track "Turkish Bath," which starts out with Ellis' teacher, Harihar Rao, on sitar, and "Indian Lady" which is essentially built on a drone pitch. One can also see George Russell's influence on this album in the form of his Lydian Chromatic Concept. If you listen to the electric piano on "Open Beauty,"you will hear open fifths ending on the raised fourth degree (in this case an F#). For first time listeners there will be a lot of surprises on this album. From the first thirty seconds of the album you may have your first introduction to quarter tones which may be weird to some, even unpleasant to others. Another surprise will be the presence of a lot of odd musical meters such as 7/4, 5/4, and 33/16. Colloquially speaking, it would be very hard to dance to most of the tracks on this album. The most accessible tracks will probably be "Indian Lady" and "Alone," whereas "Turkish Bath" might be unpleasant to some. From my own experience it took me a few listenings to really appreciate this album for its aforementioned differences, but it has grown to be an album I turn to when I want to listen to great music that is intellectually engaging.