Customer Reviews

Don Ellis at Fillmore

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As a budding classical and jazz musician in the late 60s and early 70s, I played in jazz festivals with my junior high and high school jazz ensembles. As part of those festivals, I was able to meet, sight-read with, and hear some of the greatest jazz legends. The most memorable, though, was Don Ellis.

I had several of his albums, most notably the live recording at Fillmore, "Autumn," and "Electric Bath." All were lost, however, when my home and possessions were destroyed in the tragic fire that swept through the San Bernardino Mountains in late October, 2003. I eventually found copies on-line at a record store in Vancouver, B.C., but now the Don Ellis at Fillmore recordings have been released on CD!

I was fascinated with the Don Ellis Orchestra's wildly offbeat (literally!) meters, hot arrangements, and incredibly talented musicians. When Don passed away in the late 70s from a congenital heart condition at the age of 42, the music world lost one of its greatest geniuses, regardless of genre. The Fillmore CD represent perhaps the pinnacle of success of the orchestra and is not to be missed by even a casual lover of jazz or music.

The Don Ellis version of "Hey Jude" took me years to appreciate. It's much like the pine-pitch-flavored Greek wine Retsina -- people either love it or hate it. The psychedelic trumpet cadenza at the beginning, powered by a ring modulator and echo effects, almost strains one's patience until the tune finally gets into the swing of things . . . only to be shattered by a fingernails-on-a-chalkboard pseudo-German Oom Pah Pah band segment, replete with wheezing out-of-tune clarinets -- truly a crack-up -- then blasting away in a big-band funk styling. Another Ellis solo, replete with duets and trios performed with the echo effect gives way to a powerful, straight-ahead finish.

"The Blues" is, shockingly enough, written in 4/4 time -- one of the few arrangements they ever did in a "normal" meter (it was once joked that the Don Ellis Orchestra would play the Dave Brubeck Quartet classic "Take Five" in 4/4, just to be different!). "The Blues" is a classic, wonderfully performed blues number.

"Old Man's Tear" is a delightful ballad composed and arranged by band saxophonist John Klemmer, who later went on to a meteoric solo career. The tune pushes Ellis's considerable talents to their limit. "Great Divide" is an example of their use of eccentric meters and is written in 13/4, divided 3-3-2, 3-2. In the Fillmore performance, band members wandered into the audience near the end of the tune, adlibbing on the central theme of the piece. As they did so, though, the audience STOOD AND APPLAUDED, blocking their view of Don for the cues! Ellis ran up onstage, got everyone's attention, and finished the piece with the audience none the wiser.

"Pussy Wiggle Stomp" is a rollicking gospel-bluesy number played in 7/4 time at a breakneck pace. It has more false endings than the Emmy Awards actresses and is a great deal of fun. The audience joined in with rhythmic clapping in 7/4 time -- a tribute to the appreciative and knowledgable crowd.

"Final Analysis" was the band's opening number and, according to Don, "is basically in 4/4 plus 5/4 with an occasional 5/4 and/or 1-1/2 plus 1-1/2 (or 3)." 'Nuf sed! "Antea" is a chart written by Hank Levy and has the intelligent, urbane style and themes that are typical of this fabulous composer/arranger. A truly beautiful tune.

"The Magic Bus Ate My Doughnut," if not directly inspired by or written under the influence of mind-altering psychedelics, certainly is an homage to the off-beat, experimental jazz stylings of the late 50s and 60s. As a snapshot in jazz history, it is distinctive and has value for that alone . . . but don't expect a hummable tune.

"Salvatore Sam" was a musical portrait Ellis wrote of his hot sax man Sam Falzone, who flat-out burns up the track in this number. "Excursion II" is another John Klemmer arrangement and it features the arranger in a showpiece for his considerable abilities.

In "Rock Odyssey" I believe I saved the best for last. Another Hank Levy arrangement, "Rock Odyssey" begins as a soft 7/4, cooks in a fast-paced 12/8 middle section divided up 2-2-3, 2-3 that flows smoothly and blows the roof off the joint with powerful solos by Ellis, trombonist Glenn Ferris, and amazing cross-rhythms by the great drummer Ralph Humphrey in the odd meter, finishing back in 7/4 and repeating the opening theme.

While jazz aficianados have been deprived of the musical genius and sheer energy of Don Ellis for nearly thirty years now, this CD release of perhaps the greatest of the Ellis Orchestra's recordings will enable lovers of terrific music to appreciate Don Ellis for many decades to come.

I remember, vividly, blasting the paint off the walls, listening to this fabulous and experimental album through my oversized Polk Audio speakers. And, just as fondly I recall the quizical look it would produce on my mothers face as she tried to understand the sounds of the odd meter, the quarter tone trumpet, the ring modulator and the speaker in the guitar players mouth.

This is simply the gretest jazz album I ever owned, and maybe the best one ever produced. Ellis and his exquisite band romp through the music with a presence, exuberance and accuarcy that still amazes.

The album altered big bands forever. Even now,the music is edgy, full of life and inspiring.Thank you Don Ellis.

Too bad the seventies ended with disco; which crushed pioneering music types...and rising from the ashes comes Spyrogyra and Mannheim Steamroller (what are they on, their 57th Christmas album?). I apologize for the bleek beginnings of this review. But what else can I add? It is an absolutely unique moment in musical history that has been gifted onto CD. So ya wanna big band that knows Timothy Leary...here ya go! It has its avant-garde moments but retains musicality throughout. This should appeal to fans of Terry Kath stylings of guitar. Does anyone remember The Flock? Okay, anywho...just buy it before it goes out of print again; you shall not regret this purchase. (Why the thin-sounding mastering job? Does the mastering engineer use Behringer and Alesis products? The LP is much, much fuller.)

I can remember exactly where I was standing on this earth when I heard this record for the first time! Ellis was the "Stan Kenton of the 70's". The energy this recording packs is off the scale. Experimentation in odd meters, electronic trumpet sounds (Jimi Hendrix move over!), and intense multiple drum routines. Listening to this recording again brings back the memories of seeing this band live and how special it was. Buy this CD - you will not be disappointed. A special note to drummers: I used this album to learn to play in odd meters. Playing along with this recording was a kick. I recommend all drummers do this. Pick up "Tears of Joy" while you are at it and play along with that one too! A one more note to Wounded Bird Records: My hats off to you for finally bringing Don's music back for the public to hear it. All I ask is that you finish his catalog of recordings...don't stop here. Next one to release?...."Soaring" of course!

This album and Live at Montreux are my two favorite Don Ellis albums, and two of my favorite big band albums. Actually, I guess they're two of my favorite albums, period. The band is terrific, the charts are great, the recording is great.
When I first heard this album, I was floored by the band's ability to play in odd meters, and yet still swing hard. I also loved how the band expanded the styles and sounds of a big band. Don integrates rock, funk, and electronic sounds seamlessly into the traditional big band setup.
Favorite tunes include Final Analysis, Extreme Divide (nothin' like swingin' in 13/4!), and Pussy Wiggle Stomp (swing in 7/4, and it really does swing!).
The soloists are all tremendous; the rhythm section swings and cooks furiously; the horns blow full (kudos to lead trumpet Glenn Stuart, who sounds terrific on all of Ellis' albums).
If you want to hear a big band on the cutting edge of big band music (an edge which no one else has yet approached), then get this album, and get Don Ellis Live at Montreux. Two landmark recordings.

This album (back when that's all we had) was my first real exposure to the music of Don Ellis, and I'm fairly sure I've never been the same since...
A gorgeously unique souvenier of jazz at a crucial moment in its history (as post-bop and free jazz were challenged by the emergence of rock/pop oriented sounds) "Fillmore" runs hot and heavy: big band charts turned up to eleven (thanks Nigel!) overlaid with Ellis's signature quarter-tone trumpet work further modified with WAY pre-digital effects. Guitar fans might want to take notice of later super-producer Jay Graydon's solo on "Final Analysis": 6 years before Peter Frampton stuck a tube in his mouth on "Do You Feel Like We Do" Graydon was there first...
Along the way the band engages in some flat-out stompers ("Final Analysis" "Rock Odyssey" "Great Divide"--a real burner in 13/8 that the band treats like a mere 4/4 walk in the park and features a thrilling solo from saxist Lonnie Shetter--) but if there's one track that truly exemplfies the spirit of this CD, it's Ellis's around-the-bend-down-the-road-and-into-the-next- county version of "Hey Jude." There's no middle-ground about this one. You either flee after the first 30 seconds of Ellis's ring-modulated, echoplexed trumpet solo or you sty and relish the frequently near-pomo deconstructionist take on the tune. (Hint: listen for the little flute/tuba duet in the middle section and prepare yourself for the answering statement of several clarinets tuned a quarter-tone apart: it's like Oktober Fest on mescaline!)
Wounded Bird has done us all a favor by restoring this album to general circulation. Along with "Tears of Joy" and "Soaring" this represents a heady sampling of Ellis at his most exuberant (if not always tasteful) best.

Not having heard the Fillmore set for many years, I had forgotten about the spectacular tracks to be heard. As soon as I started playing the CD, the smile broke out along with some great memories of seeing the Don Ellis Orchestra in the early 70's at Bowling Green University. This CD set and Tears of Joy are among the best big band recordings out there and Wounded Bird Records is to be congratulated for bringing them back out.

I was in the audience the night this album was recorded at the Fillmore in San Francisco. I was 19 years old and a rock and roller to the bone. Then this anmazing group of people took the stage and even had some members walk through the crowd while playing and then played from the rear of the hall back at the rest of the orchestra on stage. It was a very energetic night and the night an appreciation for jazz was instilled in me. Thank you Mr. Ellis for a wonderful evening and for this very fun album!

I originally owned this live album set on vinyl and now have two copies of the CD set as well. Some of the best performances of the band (outside of "Tears of Joy") are on these CDs. If you are a fan of Ellis' work, you need it. If you are into contemporary big bands and haven't heard the Don Ellis Band, this is a good place to start. Some typically crazy Sixties stuff melded with Don's odd meter tunes makes for an interesting, yet accessible mix.

VERY!!! I've owned the album since 1971 and it's always been one of my favorites, so when I saw it finally come out on CD I just had to get it. I definitely have my favorites: Final Analysis, Rock Odyssey and Great Divide, but all the tunes are solid and great to listen to.

All my other thoughts have already been said by others, so, if you're a Don Ellis fan, BUY THIS CD!