January
THE FREE SPIRITS Live at the Scene February 22, 1967
Released in 2011, these tapes came from what was in truth an unpublished, unauthorized, bootleg recording of a live stage performance from the title date.
February 15 & March 7 - the two recording dates for what would be JOHN COLTRANE's album, Expression, the last studio album on which he would still be in control. The album would see its release in September, two months after the musical giant's death.
Line-up / Musicians:
Don Ellis / trumpet, quarter-tone trumpet
- Saxes & Woodwinds:
Ruben Leon - alto sax, soprano sax, flute
Joe Roccisano - alto sax, soprano sax, flute, clarinet
Tom Scott - alto sax, saxello, flute, clarinet
Ira Schulman - tenor sax, flute, clarinet
Ron Starr - tenor sax, flute, clarinet
John Magruder - baritone sax, flute, clarinet, bass clarinet
- Trumpets:
Glenn Stuart
Alan Weight
Ed Warren
Bob Harmon
- Trombones:
Ron Myers
Dave Wells
Dave Sanchez
Terry Woodson - bass trombone
- Rhythm Section:
Dave Mackay - piano
Ray Neapolitan - bass
Frank De La Rosa - bass
Dave Parlato - bass
Chuck Domanico - bass
Steve Bohannon - drums
Alan Estes - drums, timbales
Chino Valdes - congas, bongos
Mark Stevens - percussion
Original Liberty/Pacific Records vinyl release in 1967:
A1. "Orientation" (11:20) more fun in 7/8 + 9/8 starting out, of course, with the rhythmatists: congas and percussion, bass, drums, and piano. When the horns start joining in it is with what seems to be an unusually reckless/wild abandon, but they all come together at about 1:45 for an Ira Schulman sax solo with accents coming from multiple banks of horns, high and low. Awesome! And SO danceable! A little lull at 3:50 as the sax finishes up before solo time is given to conga player Chino Valdes for about a minute. Horn swell leads into a cool polymetric multi-sax solo section before another horn swell at 6:05 opens the door for the band leader to take his solo. Oddly enough Don's trumpet may be the worst recorded instrument in the orchestra. Despite this fact, his solo keeps climbing the mountain, being assisted by some seriously swelling horns and rhythm section play (which is greeted with some appropriately appreciative audience response at 8:15). The next big swell occurs in the middle of the tenth minute and it is drum-led, which is pretty cool. The big finish features multiple banks of horns going their own way, though not quite as or independently as that wild opening. Awesome! (19/20)
2. Angel Eyes (Denni s, Brent / arr. Don Ellis)
3. Freedom Jazz Dance (Eddie Harris / arr. Don Ellis)
4. Barnum's Revenge (Ruben Leon / arr. Ruben Leon)
5. Upstart
6. Thetis (Hank Levy / arr. Hank Levy)
7. Bossa Nueva Nova (Hank Levy / arr. Hank Levy)
8. Opus Five (Howlett Smith / arr. Howlett Smith)
9. Seven Up (Howlett Smith / arr. Joe Roccisano)
10. Johnny One-Note (Jaki Byard / arr. Jaki Byard)
11. Freedom Jazz Dance (alternate) (Eddie Harris / arr. Don Ellis)
This live concert at UCLA was performed and recorded on April 8, 1967 with two unusual circumstances: a "shrunken lineup" (down from the band's usual 21) and the band performing covers of three jazz standards and two Tom Scott compositions. Only released and sold at Don Ellis concerts as a cassette or 8-track with only part of this concert's material, Wounded Bird Records acquired the original master tapes and issued a CD with a full complement of the music performed at this one-time-only concert.
1. "Slippin' 'n' Slidin'" (6:58)
2. "Sadness Shouldn't Go So Deep" (3:54)
3. "Bali Dancer" (5:32)
4. *"With Respect To Coltrane" (Tom Scott) (5:02)
5. "Pete's 7" (6:31)
6. *"Let's Go To Sleep" (7:18)
7. *"Blues For Hari" (Tom Scott) (9:09)
8. "Milestones" (Miles Davis / arr. Don Ellis) (9:57)
9. "It's a Snap" (2:19)
10. "I Love Us" (5:48)
11. "The Squeeze" (5:23)
12. *"Lush Life" (Billy Strayhorn / arr. Don Ellis) (7:30)
13. *"Turk's Works" (Arif Mardin) (18:26)
Line-up / Musicians:
- Don Ellis / trumpet;
- Tom Scott / alto sax, tenor sax, clarinet;
- Dave Wells / trombone;
- Dave Mackay / piano;
- Ray Neapolitan / bass;
- Steve Bohannon / drums;
- Chino Valdez / conga, bongos;
- Alan Estes / timbales, percussion
This album (originally titled Don Ellis - LIVE) was previously available on cassette and 8-track, but it was only sold at Don's concerts. Even then, only half of the music was released (the tracks marked with an asterisk are bonus tracks on the CD release). This reissue marks the first widespread commercial release of this music, and, oddly, documents the only known performance of the Don Ellis Octet.
Late in 1967, Columbia Records releases their first collaboration with The DON ELLIS ORCHESTRA in the form of a studio album entitled, Electric Bath. Fresh out of the euphoric haze of two very successful live albums and a year of almost continuous touring to festival and rock 'n' roll audiences, Don welcomed the new partnership with Columbia producer John Hammond and with it the chance to work out some of his ideas in studio settings. Over the course of two days in September (the 16th & 17th--or 19th & 20th, depending on your source) the band put down on tape several songs, five of which would end up on the Grammy Award nominated and Down Beat magazine "1968 Album of the Year" which was released
1. "Indian Lady" (8:07) When I first heard the opening bars to this piece, I was immediately drawn to a comparison to the music of ROBERT WYATT's "Little Red Riding Hood Hit the Road" from his 1974 comeback album, Rock Bottom. The song, played in 5/4 time throughout (and released as a single in a shortened three-minute version), is actually rather famous for its almost-comical multiple "attempts" to end throughout the song. Despite the large ensemble of musicians, the music somehow comes across smoothly, far more easy for the brain to accommodate than one might expect. Heck! There are even some melodic HERB ALPERT-like riffs and motifs. (13.5/15)
2. "Alone" (5:32) soothing and filled with gorgeous melodies, this one reminds me of some of the mellower pieces on my beloved 1970s albums by Eumir Deodato and Bob James as well as many of the jazzy television music providing background and mood for popular television shows that I would watch as a small child in the late 1966s--like I Dream of Jeannie, Bewitched, and The Newlywed Show. Lots of big banks of horns. (9.5/10)
3. "Turkish Bath" (10:29) dynamic music with an Indian base coming from the sitar, tabla and other Indian percussion, as well as flutes and slurring horns. Once set in motion the Latin rhythms and melody structure give it a feel quite similar to Billy Page's song "The 'In' Crowd" as made popular by Dobie Gray and Ramsey Lewis. Who knew that Indian instruments, big band horns, and electric clavinet could be melded together so easily into a bassa nova song?!! (18/20)
4. "Open Beauty" (8:27) beautiful and yet haunting in a psychedelic way thanks to the electric effects applied to the keyboard and vibraphone. Unusual for the minimal presence of drums or other percussives. The extended quarter-tone trumpet solo with echo effect from 5:30 to 8:05 is also remarkable for its particular singularity. (17.5/20)
5. "New Horizons" (12:21) this is a song that sounds to my untrained ear like a pretty standard big band jazz piece. If there are extraordinary things happening I'm not able to pick them up; it's just another long piece with minimal melodic hooks played within a base of a Latin-rock rhythms. (21.75/25)
Total Time 44:56
The musicianship is incredible all-around; how 20 musicians can play such complex music so seamlessly and cohesively is nothing short of amazing. Don's mission to open the West up to the odd meter times "naturally" used in the rest of the world's folk traditions had begun in earnest and would not quit through the rest of the Sixties, only take a slight Bulgarian left turn in the Seventies thanks to his meeting and pairing up with Bulgarian jazz and piano sensation Milcho Leviev.
89.1666667 on the Fishscaels = B+/4.5 stars; a near-masterpiece of boundary-pushing jazz-rock fusion.