Don Ellis

Trackimage Playbut Trackname Playbut Trackname
Whiplash 04:31 Tools
The Devil Made Me Write This Piece 05:56 Tools
Turkish Bath 10:31 Tools
Nicole 05:34 Tools
Indian Lady 08:11 Tools
Introduction By Jimmy Lyons 01:17 Tools
Sladka Pitka 06:44 Tools
Go Back Home 03:19 Tools
Alone 05:35 Tools
Invincible 06:45 Tools
Image of Maria 03:03 Tools
The Mistress 05:05 Tools
A Simplex One 04:16 Tools
Open Beauty 08:30 Tools
Sidonie 06:43 Tools
33 222 1 222 (Live) 05:35 Tools
Dew 01:29 Tools
Sallie 04:36 Tools
Loss 04:21 Tools
New Horizons 12:26 Tools
Pussy Wiggle Stomp 06:44 Tools
Parting 06:19 Tools
Bulgarian Bulge 00:00 Tools
33 222 1 222 - Live;1997 Digital Remaster 08:50 Tools
New Nine 12:05 Tools
Tears of Joy 00:00 Tools
33 222 1 222 08:50 Tools
Natural H. 04:35 Tools
Mirror-Pond Of Stars 03:26 Tools
Introduction By Jimmy Lyons - 1997 Digital Remaster 01:18 Tools
How Time Passes 06:28 Tools
Tragedy 05:12 Tools
Strawberry Soup 00:00 Tools
Uh-Huh 08:17 Tools
Get It Together 00:00 Tools
Blues in Elf 00:00 Tools
Quiet Longing 00:00 Tools
Waste 08:13 Tools
theme from 'The french Connection' 03:48 Tools
Variations For Trumpet 19:19 Tools
Despair to Hope 04:20 Tools
Children 03:19 Tools
Imitation 07:58 Tools
My Funny Valentine 04:27 Tools
Samba Bajada 00:00 Tools
How's This for Openers? 00:00 Tools
Euphoric Acid 00:00 Tools
Child Of Ecstasy 03:13 Tools
Scratt And Fluggs 01:57 Tools
33 222 1 222 - Live;1997 Remastered Version 09:41 Tools
Four and Three 05:06 Tools
Concerto For Trumpet 12:47 Tools
Turkish Bath (Single) 02:55 Tools
Main Title 03:29 Tools
5/4 Getaway 00:00 Tools
Blossoming 03:55 Tools
Introduction By Jimmy Lyons - 1997 Remastered Version 04:03 Tools
Angel Eyes 05:41 Tools
Beat Me Daddy, 7 To The Bar 09:04 Tools
Passacaglia And Fugue 06:37 Tools
Cock and Bull 07:07 Tools
Sweet and Lovely 06:11 Tools
Theme from the French Connection 03:46 Tools
Solo 02:18 Tools
Final Analysis 13:58 Tools
Charnier 00:00 Tools
Forest 03:26 Tools
Cherry Petals 02:50 Tools
Copstail 00:00 Tools
Johnny Come Lately 04:57 Tools
Improvisational Suite #1 22:13 Tools
Hey Jude 00:00 Tools
The Magic Bus Ate My Doughnut 02:30 Tools
Excursion II 05:44 Tools
Out of Nowhere 03:44 Tools
K. C. Blues 08:48 Tools
I'll Remember April 03:33 Tools
You Stepped Out of a Dream 03:46 Tools
The Car 01:08 Tools
Blue Fire 02:34 Tools
Summer Rain 02:25 Tools
Rock Odyssey 09:44 Tools
Two Autumns 05:00 Tools
The Blues 07:26 Tools
Staking Out Old Sal 00:00 Tools
Popeye Blues 00:00 Tools
Crete Idea 06:24 Tools
End Title 01:33 Tools
Salvatore Sam 05:06 Tools
The French Connection 1971 - Main Title / This Is It 02:54 Tools
Hotel Chase 00:00 Tools
The Old Fort 00:00 Tools
The Shot 00:00 Tools
Bugging Sal and Angie 00:00 Tools
Indian Lady (Single) 02:58 Tools
Subway 00:00 Tools
Freedom Jazz Dance 05:20 Tools
All the Things You Are 06:12 Tools
Frog One Is in That Room 00:00 Tools
Ostinato 00:30 Tools
Lincoln Blues 00:00 Tools
Open Wide 09:35 Tools
Antea 05:59 Tools
This Is It 00:00 Tools
Au Revoir 00:00 Tools
The Last Roundup 00:00 Tools
Lover 03:23 Tools
Great Divide 08:46 Tools
Rocker Panels 00:00 Tools
Niner Two (Live At Montreux) 11:57 Tools
Donkey 00:30 Tools
Old Man's Tear 04:53 Tools
Orientation 11:20 Tools
Water Jewel 05:23 Tools
Put It Where You Want It 04:29 Tools
Open Wide - Live At Montreux 09:41 Tools
Freedom Jazz Dance (Live) 05:18 Tools
Form 10:15 Tools
Upstart 09:03 Tools
27/16 06:33 Tools
Moon Zero Two 03:34 Tools
Eros 05:39 Tools
Irony 05:16 Tools
Seven Up 04:03 Tools
5 / 4 Getaway 07:49 Tools
Lyra 08:32 Tools
Thetis 08:27 Tools
Theme from "The French Connection" 03:46 Tools
Boat Ride 00:00 Tools
Rehabilitation 02:04 Tools
Volleyball 00:00 Tools
Hit 00:00 Tools
Barnum's Revenge 04:37 Tools
Water Jewels 00:00 Tools
Big Chase 00:00 Tools
Revenge 01:18 Tools
Popeye's Montage 00:00 Tools
Chain Reaction 00:00 Tools
Mercy Maybe Mercy 03:24 Tools
Exhaustion 02:27 Tools
O.D. 02:16 Tools
A New Kind of Country 04:13 Tools
I Feel The Earth Move 00:00 Tools
Star Wars 03:26 Tools
Heroin 04:26 Tools
I Love You (take 2) 04:38 Tools
Superstar 04:11 Tools
Just One Of Those Things (Take 8) 03:40 Tools
Night City 03:00 Tools
Roundabout 00:00 Tools
Conquistador 03:36 Tools
Star Children 03:25 Tools
Opus 5 09:23 Tools
Pain 01:06 Tools
Sporting Dance 08:42 Tools
I Love You 04:41 Tools
Homecoming 03:06 Tools
Opus Five 09:53 Tools
27/16 - Live;1997 Digital Remaster 06:36 Tools
The French Connection 03:48 Tools
Upstart - 2000 Digital Remaster 00:00 Tools
Crete Idea - Live;1997 Digital Remaster 06:27 Tools
Slow Space 00:00 Tools
Milo's Theme 04:28 Tools
Storyville 07:16 Tools
Just One Of Those Things (Take 5) 03:31 Tools
Alone Again (Naturally) 02:36 Tools
Crypton 03:31 Tools
Train To Get There 03:52 Tools
House in the Country 00:00 Tools
The Tihai 08:48 Tools
Concerto For Trumpet - 1997 Digital Remaster 12:51 Tools
Niner Two 11:58 Tools
Lean On Me 03:07 Tools
Goodbye To Love 03:36 Tools
Johnny One Note 02:25 Tools
I Love You (Take 1) 05:34 Tools
Arcturas 05:46 Tools
Zim 04:03 Tools
Fine Line 13:00 Tools
Loneliness 05:50 Tools
Beat Me Daddy, Seven to the Bar 06:16 Tools
Future Feature 07:17 Tools
Future Feature - Live At Montreux 07:19 Tools
Beat Me Daddy, 7 To The Bar - Live;1997 Digital Remaster 09:08 Tools
Orientation (live) 04:14 Tools
Go No Go - Live At Montreux 05:11 Tools
Don't Leave Me 03:38 Tools
Indian Lady - Live at Stanford University 01:17 Tools
Princess Leia's Theme 03:56 Tools
TR'S Theme 06:26 Tools
Open Wide (Live At Montreux) 09:38 Tools
Concerto For Trumpet (Live) 03:52 Tools
Upstart (Live) 09:04 Tools
Desire 10:47 Tools
Freedom Jazz Dance - 2000 Digital Remaster 02:43 Tools
Orientation - 2000 Digital Remaster 05:09 Tools
Niner Two - Live At Montreux 12:00 Tools
Opus Five - 2000 Digital Remaster 00:00 Tools
Orion's Sword 03:52 Tools
Pegasus 02:43 Tools
Go-No-Go 00:00 Tools
Loneliness - Live At Montreux 05:55 Tools
Vulcan 04:37 Tools
Dark Curved Eyebrows 08:40 Tools
Eros - Live At Montreux 05:40 Tools
Higher 00:00 Tools
Send My Baby Back 00:00 Tools
Seven Up (live) 04:15 Tools
Mirror Pond of Stars 00:00 Tools
Beat Me Daddy, 7 To The Bar (Live) 00:00 Tools
Acoustical Lass 00:00 Tools
Thetis - 2000 Digital Remaster 00:00 Tools
Angel Eyes (live) 05:24 Tools
Barnum's Revenge - 2000 Digital Remaster 00:00 Tools
Sporting Dance - Live At Montreux 08:46 Tools
Angel Eyes - 2000 Digital Remaster 06:57 Tools
Johnny One Note - 2000 Digital Remaster 02:25 Tools
Introduction By Jimmy Lyons (1997 Digital Remaster) 01:17 Tools
Main Title/Waterfront 00:00 Tools
K.C. Blues - Live at Stanford University 05:58 Tools
It's Your Thing 02:52 Tools
Bossa Neuva Nova - 2000 Digital Remaster 04:36 Tools
Ursa 02:48 Tools
27/16 (Live) 03:38 Tools
Whiplash [Soaring, 1973, MPS Records, USA / UK / Japan] (Jazz, Post Bob, Big Band, Avant-Garde, Jazz Fusion) 05:53 Tools
Love For Rent 00:00 Tools
33 222 1 222 (Live) (1997 Digital Remaster) 09:29 Tools
With Respect To Coltrane 05:05 Tools
Sporting Dance (Live At Montreux) 08:43 Tools
I Remember Clifford 05:29 Tools
Boat Bottom/Drydock 03:08 Tools
Slippin' 'n' Slidin' 06:57 Tools
New Nine - Live;1997 Digital Remaster 12:09 Tools
Just One Of Those Things - take 8 03:41 Tools
Arcturus 10:49 Tools
Bossa Nueva Nova 00:00 Tools
Pete's 7 06:30 Tools
Loneliness (Live At Montreux) 05:53 Tools
Go No Go (Live At Montreux) 05:09 Tools
Lyra - Live At Montreux 08:33 Tools
Sadness Shouldn't Go So Deep 03:54 Tools
Slow Pace 04:36 Tools
Rasty 02:52 Tools
Opus Five (live) 09:54 Tools
Crete Idea (Live) 05:40 Tools
Barnum's Revenge (live) 01:03 Tools
Blues For Hari 09:08 Tools
Ferris Wheel 00:00 Tools
Black Baby 00:00 Tools
Just One of Those Things 03:34 Tools
Let's Go To Sleep 07:17 Tools
Milestones 03:08 Tools
Main Title / Waterfront 00:00 Tools
Thetis (Live) 08:27 Tools
Johnny Come Lately (feat. Paul Bley & Gary Peacock) 04:36 Tools
Stalking/Here Come The Cops 05:55 Tools
Blues For Hari (live) 04:15 Tools
Future Feature (Live At Montreux) 07:17 Tools
Johnny One Note (Live) 02:25 Tools
Bossa Neuva Nova (Live) 05:31 Tools
It's A Snap 04:36 Tools
Bali Dancer 05:31 Tools
I Love Us 05:47 Tools
Lush Life 07:29 Tools
Seven Up - 2000 Digital Remaster 05:55 Tools
The Squeeze 05:22 Tools
Eli's Comin' 03:49 Tools
Devil Made Me Write This Piece 05:58 Tools
Arcturas - Live At Montreux 10:50 Tools
Turk's Works 03:49 Tools
Good Feelin' 00:00 Tools
Just One Of Those Things - take 5 03:32 Tools
Boat Bottom / Drydock 03:08 Tools
Arcturas (Live At Montreux) 10:47 Tools
Johnny Come Lately - Remastered 07:29 Tools
Slow Space (feat. Paul Bley & Gary Peacock) 02:16 Tools
I Love You - take 1 05:36 Tools
Star Wars (Main Title Theme) 00:00 Tools
The Fine Line 13:01 Tools
Eros (Live At Montreux) 05:38 Tools
Party Doll 02:16 Tools
I Love You - take 2 05:07 Tools
New Nine (Live) 07:29 Tools
The French Connection 1971 04:13 Tools
Freedom Jazz Dance (Live) (2000 Digital Remaster) 05:53 Tools
Lyra (Live At Montreux) 08:30 Tools
Slow Space - Remastered 07:39 Tools
The French Connection II 03:38 Tools
Freedom Jazz Dance (Live) (Alternate Take) 07:39 Tools
Indian Lady [Single Version][*] 03:49 Tools
Theme From The French Connection' 03:46 Tools
Arcturas (Aka Get Closer) 00:00 Tools
Alone (Album Version) 03:46 Tools
Go No Go 06:26 Tools
Theme From `The French Connect 07:39 Tools
Passacaglia And Fugue (Live) 07:39 Tools
T.R (Theme) 06:26 Tools
The Seven-Ups 03:29 Tools
Boss Nueva Nova 05:30 Tools
Freedom Jazz Dance (Alternate Version) 07:39 Tools
Stalking / Here Come the Cops 05:55 Tools
Theme From ''The French Connection'' 03:48 Tools
End Title (FC 2) 03:48 Tools
Improvisational Suite # 1 22:18 Tools
Soaring - Invincible 05:07 Tools
Introduction By Jimmy Lyons - Remastered 05:07 Tools
Soloes 05:07 Tools
Orion´s Sword 00:00 Tools
Ostinato (feat. Paul Bley & Gary Peacock) 04:37 Tools
Barnum's Revenge (Live) (2000 Digital Remaster) 04:37 Tools
Ostinato - Remastered 11:20 Tools
Oain 01:06 Tools
Beat Me, Daddy, Seven To The Bar 01:00 Tools
Orientation (Live) (2000 Digital Remaster) 11:20 Tools
Concerto For Trumpet (Live) (1997 Digital Remaster) 12:50 Tools
Princess Leia´s Theme 00:00 Tools
Donkey (feat. Paul Bley & Gary Peacock) 08:21 Tools
Come In World 02:15 Tools
Donkey - Remastered 04:12 Tools
Some Place Else 05:31 Tools
Pegasus (Aka Off And Running) 00:00 Tools
Angel Eyes (Live) (2000 Digital Remaster) 05:41 Tools
27,16 06:35 Tools
Crete Idea (Live) (1997 Digital Remaster) 06:26 Tools
Theme From "The French Conection" 03:51 Tools
Introduction By Jimmy Lyons (1997 Remastered Version) 05:09 Tools
Beat Me Daddy, 7 To The Bar (Live) (1997 Digital Remaster) 09:07 Tools
Vulcan (Aka Everything Is Going To Be All Right) 04:37 Tools
Turkish Bath [Single Version][*] 06:35 Tools
The Magic Bus Ate My Doughnut (Live) 00:00 Tools
Lover (feat. Paul Bley & Gary Peacock) 05:31 Tools
Open Beauty (Album Version) 00:00 Tools
Form (feat. Paul Bley & Gary Peacock) 02:48 Tools
Eli's Comin 02:48 Tools
Eros (Aka Let´s Do It This Way For A While) 04:12 Tools
Zim (Alternate Take) 04:04 Tools
Form - Remastered 12:08 Tools
Angel Eyes - Remastered 12:08 Tools
Nihil Novi 05:31 Tools
...How Time Passes... 02:48 Tools
Angel Eyes (feat. Paul Bley & Gary Peacock) 08:27 Tools
Improvisational Suite Number One 05:31 Tools
Lush Life (live) 04:27 Tools
27/16 (Live) (1997 Digital Remaster) 06:35 Tools
07 - Loss 08:21 Tools
Final Analysis (Live) 08:21 Tools
Lover - Remastered 05:07 Tools
Irony - Remastered 08:27 Tools
Goood Feelin' 00:00 Tools
Ursa (Aka Cindy) 02:48 Tools
Soaring 05:09 Tools
Now's The Time 04:40 Tools
Salvatore Sam (Live) 05:07 Tools
Irony (feat. Paul Bley & Gary Peacock) 05:31 Tools
New Nine (Live) (1997 Digital Remaster) 12:08 Tools
Moon Zero Two (From "Quatermass And The Pit") 03:35 Tools
Turkish Bath (Album Version) 12:08 Tools
Opus 09:23 Tools
Indian Lady (Live at Stanford University) 08:27 Tools
Indian Lady (Album Version) 05:07 Tools
Thetis (Live) (2000 Digital Remaster) 08:27 Tools
33 222 1 222 (Live;1997 Remastered Version) 01:46 Tools
Upstart (Live) (2000 Digital Remaster) 09:03 Tools
Concerto For Trumpet - Live;1997 Digital Remaster 12:51 Tools
Soloes (Live) [feat. Wojciech Karolak, Roman Dyląg and Andrzej Dąbrowski] [Bonus Track] 06:10 Tools
Slippin' 'n Slidin' 06:10 Tools
Passacaglia And Fugue (Live) (1998 - Remaster) 06:39 Tools
Stalking 09:04 Tools
Bossa Neuva Nova (Live) (2000 Digital Remaster) 05:31 Tools
Rock Odyssey (Live) 05:31 Tools
Smeseno Horo 08:27 Tools
Coffin 08:27 Tools
The Blues (Live) 06:10 Tools
Opus Five (Live) (2000 Digital Remaster) 09:53 Tools
The Dozens 09:53 Tools
33 222 1 222 - Live / Remastered 00:00 Tools
Cock & Bull 07:11 Tools
Four & Three 05:09 Tools
Freedom Jazz Dance (Live) (Alternate Take) (2000 Digital Remaster) 07:38 Tools
Ball Dancer 04:40 Tools
Turkish Bath (Single) [Album Version] 02:55 Tools
What Is This Thing Called Love? 00:00 Tools
Indian Lady (Single) [Album Version] 02:58 Tools
What Is This Thing Called Love 01:00 Tools
Excursion ll (Live) 03:35 Tools
The old Ford 03:35 Tools
Johnny One Note (Live) (2000 Digital Remaster) 02:25 Tools
Turkish Bath [Single Version] 09:23 Tools
It Don't Mean a Thing 05:09 Tools
Seven Up (Live) (2000 Digital Remaster) 04:40 Tools
Nardis 04:42 Tools
Pussy Wiggle Stomp (Live) 04:42 Tools
Uh - Huh 08:20 Tools
Car Wash 1 06:39 Tools
Bossa Nueva Nova [*] 06:39 Tools
Freedom Jazz Dance - Live 05:20 Tools
In Garage 05:09 Tools
Seven Up [*] 04:40 Tools
theme fron the 'french connection' 04:40 Tools
The Unknown Soldier 01:00 Tools
Hey Jude (Live) 04:40 Tools
Eli's Coming 03:35 Tools
Upstart - Live;2000 Digital Remaster 09:04 Tools
What Is This Thing Called Love (Live) [feat. Wojciech Karolak, Roman Dyląg and Andrzej Dąbrowski] [Bonus Track] 08:20 Tools
The French Connection: The Car 00:00 Tools
Main Title / This Is It (from "The French Connection") [1971] 05:09 Tools
Alone Again 05:20 Tools
Popey´s Montage 05:09 Tools
Freedom Jazz Dance (Alternate Take) 05:09 Tools
Tradegy 05:09 Tools
Old Man´s Tear 00:00 Tools
The Company Store 00:00 Tools
Stalking / Here Comes The Cops 02:55 Tools
02 - Alone 01:00 Tools
FC/01 01:00 Tools
Car Wash 2 08:20 Tools
The French Connection: Main Title 00:00 Tools
Ice House 05:54 Tools
Child of Ecstay 08:20 Tools
The French Connection: Bugging Sal and Angie 02:15 Tools
Rocke Panels 05:20 Tools
Great Divide (Live) 00:00 Tools
Ah, Me 00:00 Tools
The Devil Made Me Write This P 01:08 Tools
Bye Bye Montreal 01:08 Tools
Turkish Bath (Single) (bonus track) 01:27 Tools
Freedom Jazz Dance - Live;2000 Digital Remaster 05:54 Tools
End Credits 05:54 Tools
Pussy Wiggle Stomp (Album Version) 01:00 Tools
Indian Lady (Single) (Bonus Track) 04:04 Tools
The French Connection: Rocker Panels 04:04 Tools
The French Connection: Popeye Blues 04:04 Tools
The French Connection: Au Revoir 04:04 Tools
The French Connection: The Shot 03:46 Tools
Just One of Those Things - Alternate Take 05:54 Tools
The French Connection: Charnier 04:04 Tools
Johnny One Note [*] 02:58 Tools
FC/07 01:20 Tools
Boat Bottom - Drydock 03:08 Tools
The French Connection: Subway 01:17 Tools
Turkish Bath (Single Version) 01:17 Tools
Seven up (Bonus Track) 02:08 Tools
FC/05 01:10 Tools
Theme From "French Connection" 01:10 Tools
Old Man's Tear (Live) 04:50 Tools
Tears Of Joy (Live) 04:50 Tools
Good feeling 04:50 Tools
Scratt & Fluggs 01:55 Tools
Antea (Live) 00:00 Tools
Zim (Alt. take) 00:00 Tools
Crete Idea [#] 01:27 Tools
The French Connection: This Is It 01:46 Tools
Stalking - Here Come The Cops 00:00 Tools
27/16 [#] 01:17 Tools
Half Of Me 01:46 Tools
The French Connection: Main Title / This Is It 04:04 Tools
Now Is the Time (Live) [feat. Wojciech Karolak, Roman Dyląg and Andrzej Dąbrowski] [Bonus Track] 01:46 Tools
Main Title - Waterfront 04:04 Tools
The French Connection: The Old Fort 02:15 Tools
The French Connection: Hotel Chase 04:04 Tools
33 222 1 222 (Live;1997 Digital Remaster) 04:04 Tools
Opus Five [*] 00:00 Tools
The French Connection: Lincoln Blues 01:17 Tools
FC/14 03:26 Tools
Zig-Zag 04:02 Tools
Blues 03:08 Tools
FC/24 02:08 Tools
Bossa Nueva Nova (Bonus Track) 02:08 Tools
The Great Devine 02:08 Tools
Indian Lady (Single Version) 02:08 Tools
Main Title / This Is It (The French Connection) 02:08 Tools
07 - Indian Lady (single) 02:08 Tools
FC/09 01:46 Tools
Freedom Jazz Dance (Alternate Version) (live) 07:38 Tools
End Titles 07:38 Tools
Theme from French Connection 07:38 Tools
Mad World, Outlive Me 07:38 Tools
Jazz 5/4 (3+2) 07:38 Tools
Indian Lady [Single Version] 01:46 Tools
The French Connection: Frog One Is in That Room 01:46 Tools
Sadness Shouldn`t Go So Deep 01:46 Tools
The French Connection: Copstail 04:04 Tools
Tears of Joy - How's This for Openers? 08:39 Tools
FC/02 01:08 Tools
The French Connection: Staking Out Old Sal 01:08 Tools
The French Connection II: Boat Ride 03:52 Tools
FC/06 04:04 Tools
FC/12 01:02 Tools
The French Connection: The Last Roundup 01:02 Tools
FC/08 01:27 Tools
FC/16 01:13 Tools
FC/21 01:17 Tools
The French Connection: End Title 01:17 Tools
FC/13 05:28 Tools
Old Man’s Tear 03:08 Tools
Mauin Title/Waterfront 03:08 Tools
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Donald Johnson Ellis (July 25, 1934 – December 17, 1978) was an American jazz trumpeter, drummer, composer, and bandleader. He is best known for his extensive musical experimentation, particularly in the area of time signatures. Later in his life he worked as a film composer, contributing a score to 1971's The French Connection and 1973's The Seven-Ups. Ellis was born in Los Angeles, California, on July 25, 1934. His father was a Methodist minister and his mother a church organist. He attended West High School in Minneapolis, MN. After attending a Tommy Dorsey Big Band concert, he first became interested in jazz. Other early inspirations were Louis Armstrong and Dizzy Gillespie. He graduated from Boston University in 1956 with a music composition degree. Ellis' first job was with the late Glenn Miller's band, then directed by Ray McKinley. He stayed with the band until September 1956, when he joined the U.S. Army's Seventh Army Symphony Orchestra and the Soldiers' Show Company. Ellis was transferred to Frankfurt, Germany for duty. In the Army band, Ellis met pianist Cedar Walton, and saxophonists Eddie Harris and Don Menza. While in that band Ellis had his first opportunity to compose and arrange for a big band. After two years, Don Ellis left the Army band and moved to Greenwich Village in New York City. He was able to get some work, but mainly with dance bands and other local work. He toured briefly with bandleader Charlie Barnet and joined the Maynard Ferguson band in spring of 1959. He remained with Ferguson for nine months. Shortly thereafter, Ellis became involved in the New York City avant-garde jazz scene. He appeared on albums by Charles Mingus, Eric Dolphy, and George Russell, working in that sextet for two years. Russell has said that many of the soloists in his combos could not adhere to his Lydian chromatic concept", impairing the interpretation of many of the jazz licks used within Russell's writing that formed a part the standard jazz lexicon; Russell said that he had to write out some solo sections, rather than risk allowing non-idiomatic improvisations to occur,[citation needed] but that Ellis understood both the jazz idiom and Russell's theory and could improvise well within it. Under his own name, Ellis led several sessions with small groups between 1960 and 1962, which featured, among others, Jaki Byard, Paul Bley, Gary Peacock, Ron Carter, Charlie Persip, and Steve Swallow. The last one, Essence, was recorded in mid-July 1962, after which Ellis would not release another record in America for several years. But he was far from inactive during this period. In October 1962, Ellis traveled to Poland to take part in the 1962 Jazz Jamboree in Warsaw; his quartet performance was partially documented on a Polish-only 10-inch EP. Ellis chronicled his experience in an article called Warsaw Diary, which was printed in the January 3rd, 1963 issue of Down Beat magazine. In December, Ellis participated in the NDR's Jazz Workshop in Hamburg, Germany, and in early 1963, traveled to Stockholm, Sweden. While there, he became somewhat well known for his experimentation with happenings, similar to those used by members of the Fluxus art movement. Back in New York, Ellis formed the Improvisational Workshop Orchestra, which gave its debut performance on February 10, 1963 at the Five Spot. (Another tape of the same group is listed in the Don Ellis Collection as being recorded on Feb. 9th, but it may be a rehearsal tape.) The performance had a quality similar to those Ellis gave in Sweden: unusual artistic devices were employed, such as performers using cards to determine event orders, and musicians using their instruments to interpret a painter's work. Some uncommon musical elements were employed, such as the use of Arabian rhythms and scales, and foot shuffling. In 1964, Ellis began graduate studies in ethnomusicology at UCLA where he studied with Indian musician Harihar Rao. Greatly inspired by Rao, Ellis sought to implement odd meters in a Western improvised context. Along with Rao, he co-authored an article in 1965 called "An Introduction to Indian Music for the Jazz Musician". He briefly formed the first version of his big band at this time, but this was disbanded when Ellis received a Rockefeller Grant to work at SUNY Buffalo for a year. While in New York, Ellis was involved with several Third Stream projects. A live performance from February 8, 1964, at the Lincoln Center was filmed for Leonard Bernstein's Young People's Concerts series. He performed with other jazz musicians alongside the New York Philharmonic on Larry Austin's "Improvisations for Orchestra and Jazz Soloists" (1961) and Gunther Schuller's "Journey Into Jazz" (1962). A later recording of Austin's piece, featuring Ellis, bassist Barre Phillips, drummer Joe Cocuzzo, and the New York Philharmonic (directed by Bernstein) was released on an album entitled Leonard Bernstein Conducts Music Of Our Time (1965). In November 1967, Ellis's first symphony, "Contrasts for Two Orchestras and Trumpet", was debuted by the Los Angeles Philharmonic Orchestra under Zubin Mehta. Returning to the West Coast, Ellis formed The Hindustani Jazz Sextet, which explored some of the concepts he had learned at UCLA. The Sextet is generally considered to be the first band of its kind in America. The Sextet centered on Ellis and his mentor Harihar Rao, who played sitar and tabla, but also featured vibraphonist Emil Richards, drummer Steve Bohannon, bassists Chuck Domanico and Ray Neapolitan, and pianist Dave Mackay. At least one performance also featured saxophonist Gabe Baltazar. The band performed mainly original compositions which had titles like "Sweet Nineteen", "Turks Works", and "Bombay Bossa Nova". The Sextet became somewhat well-known around Los Angeles, despite having no recordings commercially available. Perhaps the greatest exposure the group had was "Synthesis", a composition by Ellis in which the Sextet performed alongside Stan Kenton's Neophonic Orchestra. The concert took place in February 1966 at the Los Angeles Music Center. On July 14 of that year, the Sextet performed at Bill Graham's Fillmore Auditorium, opening for the Grateful Dead and Big Brother and the Holding Company. This is the last known activity of the Sextet, until 1971, when the group (with Milcho Leviev, Ralph Humphrey and Dennis Parker forming the rhythm section) played several gigs at Donte's in North Hollywood.[citation needed] But Ellis's side project, a workshop orchestra, had been working on different material for two years by this time. In addition to working with the Hindustani Jazz Sextet, Ellis continued writing arrangements for and rehearsing what would grow into the Don Ellis Orchestra. This rehearsal/workshop band played every Monday night for almost a year, first at a venue called Club Havana and later relocating to a club called Bonesville in Hollywood, where they began to gain a significant following. The group started making money by charging a small admission fee to the rehearsals, and began a letter-writing campaign to get the band a spot at the 1966 Monterey Jazz Festival. The campaign eventually succeeded, and the band was scheduled to perform that September. The Don Ellis Orchestra was different from most other big bands in several ways; most obviously in its instrumentation (discussed below), but also in Ellis's incorporation of Indian musical elements into modern big-band writing. Drawing from his compositional and arranging experience, as well as from his studies of Indian music, Ellis began to write jazz-based music with the time signatures he had studied with Rao. These included not only 5/4, 7/8, and 9/4, but also more complex rhythmic cycles like 19/8 and 27/16. In the future, Ellis would use many more complex meters, as well as complex subdivisions of more standard meters. Many of these more complex cycles were inspired by Ellis's later interest in Eastern European folk music, such as that of Greece and Bulgaria. Ellis also had a customized trumpet made for him by the Holton company, which he received in September 1965. This trumpet had an additional valve which enabled his trumpet to produce quarter tones. Some claim that the inspiration for this may have been due to his studies of Indian music, which includes bent pitches that some ethnomusicologists refer to as "microtones". However, it was probably more the result of Ellis's previous involvement with avant-garde classical music, in which many composers were experimenting with Western tonality and intervals, especially Harry Partch, with whom Ellis is known to have met and discussed ideas. All of these unusual elements combined to create a musical experience unlike anything the Monterey audience had ever seen. The Orchestra received thunderous applause and a standing ovation at the conclusion of their first tune, titled "33 222 1 222" in accordance with its subdivision of 19. The band went on to play tunes in 7, 9, and 27, as well as a couple in more standard meters. Portions of the concert were released on Pacific Jazz the following year. The 1998 CD reissue includes several other tunes from the concert; the CD's notes also reveal that one number, "Concerto for Trumpet", was actually recorded a month later at a "Pacific Jazz Festival" in Costa Mesa. (The Monterey performance of that tune was apparently not up to the standards of Ellis and the album's producer, Richard Bock.) Following this successful breakthrough performance, the band performed at the Pacific Jazz Festival in October 1966, and at Shelly's Manne Hole in March 1967, releasing segments of each on 1967's Live in 3 2/3 4 Time (Pacific Jazz). Around this time, Columbia Records producer and A&R man John Hammond sought to recruit the band for the label. The band was signed, and was in the studio in September 1967 to record Electric Bath, which was released the following year to wide acclaim, was nominated for a Grammy award, won the 1968 Down Beat "Album of the Year" award, reaching No. 8 on the Billboard jazz charts. The song "Indian Lady" became one of the band's most popular tunes. "Open Beauty" featured Ellis in an echoplex trumpet solo, an innovative combination of acoustic instruments and electronic technology. Ellis would continue to develop the "electrophonic trumpet" over the next five years. (see below) In February 1968 the Don Ellis Orchestra was back in the studio to record a second album, which would become Shock Treatment. However, miscommunications arose, and the album was released with poor edits and inferior alternate takes that Ellis did not approve of. In Ellis's own words: "Upon completion of the album, I did the mixing and editing here in California and then sent the finished product to New York. It wasn't until the album was already released that I heard a pressing. Much to my horror, I found that, without consulting me, the whole album had been changed around--rejected masters and unapproved takes were used (not the ones which I had selected and edited), the wrong tunes were on the album, unauthorized splices were made which disturbed the musical flow of some of the compositions (beats were even missing from bars), whole sections were cut out, some of these being the high points of the album. Therefore the liner notes, which were done to the original album, do not agree with what is actually on the album, calling attention to solos and high spots which are not there. [...] Also, the wrong personnel is listed on the jacket. When I discovered what had happened, I was, naturally, disturbed and asked Columbia to redo the album. They graciously consented and I was able to change the album back to its original form except that I left Mercy Maybe Mercy, which my producer particularly liked, in place of Zim, which I hope will appear in a future album." Throughout late 1968, the Orchestra returned to the studio several times to record songs for what would become "Autumn". The album contained the 20-minute opus "Variations for Trumpet" that showcased Ellis's virtuosic trumpet playing. Also on the record was "Pussy Wiggle Stomp", the song that would succeed "Indian Lady" as the Orchestra's signature tune. Side two of the record contained two lengthy tunes from a concert at Stanford University from August 1968. The tracks are notable for their revelations of the Ellis band's contemporary live sound, which was far more raucous than either of their previous live recordings. In early 1969, the Orchestra was back in Columbia Studios to record "The New Don Ellis Band Goes Underground", a collection of several pop songs (arranged by Ellis) and some Ellis originals. The album features vocalist Patti Allen on songs by Laura Nyro, The Isley Brothers, and Sly Stone; it also includes "Bulgarian Bulge", a composition based on a Bulgarian folk tune in 33/16 time. The band's energetic live performances such as the one at Stanford caused its popularity among college crowds to increase. In June 1970, the Orchestra performed for three nights at Bill Graham's Fillmore West auditorium, opening for the Quicksilver Messenger Service and Leon Russell. The resulting recording was made into a double LP and released by Columbia in late 1970. "Live at Fillmore" was a happy return to original material, and even included one Beatles cover, a highly experimental rendition of "Hey Jude", as well as another version of "Pussy Wiggle Stomp". Around this time, Ellis's popularity among educators was also climbing; copies of his band's charts were being published and played by many high school and college big bands. Accordingly, Ellis taught many clinics and played with many school bands. In May 1971, Ellis added a string quartet to the Orchestra. He also hired Bulgarian piano virtuoso Milcho Leviev who was able to improvise fluently in time signatures that would initially be intimidating to most American improvisers. He was an important asset to Ellis's band, and stayed with Ellis for five years. The Orchestra was recorded in late May at Basin Street West in San Francisco. The resulting album, "Tears of Joy", was another live double-LP and was released in late 1971. The album featured a composition called "Strawberry Soup" that has been the subject of several doctoral dissertations due to its metric intricacy, its simple theme and complex variations, and the sheer timbral spectrum that it covers. Around this time, Ellis was approached by film director William Friedkin to compose the music to his film The French Connection. Ellis accepted the project and wrote the music to be performed by his own Orchestra. Ellis later won a Grammy for this project ("Best Instrumental Arrangement"), and was asked to write the music to the film's sequel, French Connection II in 1975. Ellis's final album for Columbia, Connection, was recorded in August 1972. The album featured "The Theme from 'The French Connection'", an abbreviated version of Ellis's movie score, and "Chain Reaction", a tour de force by longtime contributor Hank Levy. Alongside these highlights are arrangements of several pop songs by artists such as Carole King, Yes, Andrew Lloyd Webber and The Carpenters. The arrangements were generally tongue-in-cheek; often Ellis arranged them in different meters than the original, or arranged for the melody to be played in a humorous way. There is no singer on this album. Regardless of what inspired Ellis's liberal interpretations of the popular material, Connection was the Orchestra's last album for Columbia. In 1973, the Orchestra recorded Soaring, a collection of originals. Milcho Leviev contributed "Sladka Pitka", based on a Bulgarian folk song. A Hank Levy tune off the album, "Whiplash", was later featured in a film of the same name. The record was released by MPS Records, which would also release Ellis's next album, Haiku. The record, featuring Milcho Leviev, bassist Ray Brown, drummer John Guerin, and a large string orchestra, is made up of ten songs, each based on a Japanese haiku poem. The album is relaxed and introspective. Haiku was presumably recorded in late 1973 and released in 1974. In 1974, Ellis became interested in the music of Brazil, even studying Portuguese so as to better communicate with indigenous musicians. He led a live band around this time called the Organic Band, which was a stripped-down version of the Orchestra that had no electronic instrumentation or modification (save for amplification). The band also featured a vocal quartet. These pursuits were postponed when Ellis started having health problems, feeling "out of breath after walking up a single flight of stairs". He checked himself into a hospital in New York City where a doctor diagnosed him with mitral stenosis, a condition which caused his heart to beat in odd rhythms. He was prescribed medication and went home to Los Angeles. Shortly thereafter, he started feeling strange again, and went to a local hospital where he was re-diagnosed with an atrial septal defect. More tests were run and finally a third diagnosis was made: cardiomyopathy. Ellis was prescribed more drugs, but his condition worsened and he went into ventricular fibrillation early one morning in May 1975. Ellis later described being on the verge of death, as doctors struggled to save his life: "It sounds weird, I know, but it was a remarkably beautiful experience, maybe the ultimate high." By 1976, Ellis was back in action, although these activities are little documented. On December 3, 1976, the Don Ellis Orchestra performed on a Shirley MacLaine television special entitled Where Do We Go From Here? The Orchestra played Ellis's arrangement of "Sweet Georgia Brown" retitled "Sweet Shirley MacLaine". The arrangement featured a solo by Art Pepper, a chorus of tap dancers, and the return of the electrophonic trumpet. In 1977, Ellis was signed to Atlantic Records, which promised to fund the Orchestra's upcoming trip for the band's performance at the Montreux Jazz Festival in Montreux, Switzerland in exchange for a live recording of said performance. However, the record company asked Don first to record arrangements of two songs from Star Wars. The songs, "Star Wars (Main Title)" and "Princess Leia's Theme", were to be released as a 45 rpm single. In June, the record company scrambled and asked Don to record an entire album of material, for the purpose of having an album to sell in case the single became a hit. Don had to do this before his band left to perform in Montreux in about a week. In addition, the songs that were to be on this album could not be duplicates of what would later appear on the live album. Ellis got some help from fellow composers/arrangers Tommy Vig and Curt Berg but largely wrote everything on his own. The album was thrown together and released as Music from Other Galaxies and Planets; all the songs were retitled with novelty space-related names such as "Orion's Sword" and "Crypton". The band's performance at Montreux was well received, and the subsequent album reached No. 48 on Billboard's jazz charts. This was to be Ellis's last album as a leader, although he would appear on albums by Nick Gilder (You Know Who You Are) and Tommy Vig (1978). Ellis's last known public performance took place on April 21, 1978, at the Westside Room in Century City. After this, his doctor ordered him to refrain from touring and playing trumpet because it was too stressful on his heart. On December 17, 1978, after seeing a Jon Hendricks concert, Ellis suffered a fatal heart attack at his North Hollywood home where his parents were staying with him. His heart condition is believed to have been cardiac arrhythmia. He was 44. Ellis was buried in the Sheltering Hills section, of Forest Lawn Memorial Park, in Hollywood Hills, California. Ellis had a strong influence on those with whom he worked. Former sideman Stu Blumberg credited Ellis for preparing him for the idiosyncrasies of unconventional music in film soundtracks. Tenor saxophonist Jim Snodgrass remarked, "I think in many ways Don was a teacher. One thing his music taught me was that I could play anything I absolutely had to." Sidemen like Tom Scott, John Klemmer, Glenn Ferris, Milcho Leviev and a few others have gone on to prolific solo careers. Others like Ralph Humphrey and Fred Selden have had successful careers as sidemen, session musicians or educators. Ellis was an ardent libertarian. This arose from his open-mindedness towards the music of other cultures, according to some of his students. Most of Ellis' albums have been reissued on CD. Columbia Records, responsible for originally releasing seven of Ellis's albums, only reissued Electric Bath (Ellis's biggest seller) in 1997; the rest have been leased to other companies for reissue. Today, thanks to labels like Koch Jazz, Wounded Bird and Mighty Quinn Productions, almost all of his albums have been reissued on CD and are readily available. Ellis also wrote numerous articles and several books. The new rhythm book (1972) presents methods of practice and performance in unusual meters and features a companion play-along LP/cassette entitled New Rhythms. His second book, Quarter Tones, published in 1975, is a theoretical guide to using quarter tones. Both books are thorough, providing a great deal of historical and cultural background to their subjects. Quarter Tones also provides readers with etudes and exercises. Both books are hard to find, as they have presumably not been printed since their first editions. The Don Ellis Library and Collection resides in the Ethnomusicology Archives at UCLA. Prior to that, (from 1981 to 2000) it was housed at Eastfield College, part of Dallas County Community College District, DCCCD in Mesquite, Texas. Along with writings, instruments and other items, is his Grammy for best score for the movie The French Connection in 1971. Ellis's interest in expanding the possibilities within big band instrumentation is obvious on even his first Orchestra release, 1966's Live at Monterey. Inspired by his experiences with Latin bands, Ellis expanded his rhythm section to two drum sets, three double-basses, at least two auxiliary percussionists, piano, and organ. On the song "Turkish Bath" from Electric Bath (1967), bassist Ray Neapolitan doubles on sitar. His horn sections were often fairly typical, although he later added a tuba and French horn to augment the brass section, and sometimes had the saxophonists double on instruments like flute, oboe, clarinet and saxello. In 1967, Ellis began experimentation with electronics. His pianist started using the Fender-Rhodes electric piano, clavinet, and electric harpsichord. Ellis himself started using what he called the "electrophonic trumpet"; that is, a trumpet whose sound was amplified and often routed through various effects processors. The first appearance of this innovation is on "Open Beauty" from 1967's Electric Bath, in which Ellis takes an extended solo with his trumpet being processed through an echoplex. Ellis also used the ring modulator on several occasions, which was built for him by Tom Oberheim. In 1968, Ellis replaced his double bassists with a single electric bassist, at first Joe Julian, then Dennis Parker, and finally Dave McDaniel. He also hired guitarist Jay Graydon who remained with the band for several years. In 1971, for the Tears of Joy tour, Ellis added a string quartet to his band. The instruments were amplified using newly developed pick-ups made by Barcus-Berry so that they could be heard over the brass and saxophones. These new timbres offered Ellis a wellspring of creative possibilities. As he explained, "People spend whole evenings listening to a brass quintet, a woodwind or string quartet, so I reasoned that having ALL of these in the context of a big band should give us a fantastic variety of colors from which to draw." Sometime in 1973 or 1974, Haiku was released, which was recorded using a jazz quartet with full string orchestra backing. Due to the size of the group, this was probably never intended to be a replacement for the Don Ellis Orchestra as a touring group. Ellis's "Organic Band", which toured throughout spring and summer 1974, reduced the band's numbers from 21 or 22 to 15. The horn section was more than halved, the string quartet was removed, a vocal quartet was added, and no electronics (save for amplification) were used to alter the band's sound. After his heart attack, Ellis returned briefly to the electrophonic trumpet, and continued using synthesizers and electronic keyboards. The string quartet, a mainstay since 1971, remained alongside the brass. He also began playing two new instruments, the superbone and the firebird, which were a combination valve-slide trombone and trumpet, respectively. Both were also played by Maynard Ferguson. Read more on User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.