DON ELLIS

1. "Variations for Trumpet" (19:23) A wonderfully-recorded exploration of spacious arrangements and shifting time. Don's trumpet in the lead is as strong as ever, as are the clarity of the recordings of all of the other instruments of the Orchestra--which in and of itself is quite a feat for the follow-up of the massively corrupted and misproduced predecessor, Shock Treatment. (38.5/40)

2. "Scratt and Fluggs" (1:57) sounds like a real hoot at a country barn dance! (4.375/5)

3. "Pussy Wiggle Stomp" (6:47) a couple steps out of the deep woods of the Ozarks or Western Appalachia starts this rollicky dance tune. Eventually, the music conforms to more normal WW II-like Big Band jazz dance hit styles--only waiting for the professional dancers or the Andrews Sisters to step up front for the stage entertainment. Pretty amazing drum solo in the fifth minute! And then there is a downshift into yet another face of the Pussy Wiggle Stomp (a return to the opening motif). Such an infectious song with such tightly performed and well-recorded musicianship! (14/15)

4. "K.C. Blues" (8:44) opening with Frank Strozier's lone alto saxophone tearing up the skies yet playing with such distinct clarity that I'm sure original composer and performer Charlie "Bird" Parker would be proud. The band finally joins in during the third minute, playing pretty straightforward 1950s big band jazz, at first supporting and accenting Frank but then finally taking over for him around the five-minute mark. The rich, full arrangements that follow are notable for how numerous the banks' memberships feel. More sax soloing int he sixth minute but this time on a tenor, eventually finding the full band backing him in every way possible before everybody recedes for an electric piano solo. Nice performances, arrangements, and sound recording; just not my favorite kind of jazz. (17.5/20)

5. "Child of Ecstasy" (3:14) such solid musical performances of what feels like a simple (but we know is not) composition. The realization of the ideas of a true master of musical composition. And let's not forget how infectious is this man's energy and passion that he inspires such incredible performances like this! (9.510)

6. "Indian Lady" (17:42) those familiar horns at the start are the same but some of the instrumental performances have changed or the emphases within the soundscape mix. It feels as if the bass and drums and trumpet play have all been speeded up and clarified. The fact that this is from a live performance is nice for having the reactions of the live audience captured in the recording. But, man can these instrumentalists boogie! Because of the familiar earworm of the main melody one forgets how long this song is: so many twists and turns, so many ways to keep the main melody going on different levels while the other elements go off on crazy solo or group tangents--every expression displaying amazing skills instrumentally as well as compositionally. The all-percussion frenzy in the fourteenth and fifteenth minute is another amazing highpoint as is the frenetic bass playing behind and throughout. Simply astonishing! And that's not even mentioning the four or five times Don and the band "trick" us into thinking they're winding down to the finish only to start right back up again! I have to say that the amazing precision, recording, and energy of this long version of a song that was only eight minutes long in its first studio presentation on Electric Bath is more impressive and winning than even the great original. (33.75/35)

Total Time: 53:49

While continuing to hold the bar exceedingly high for demanding skills and performance cohesion, the music on Autumn, on the whole, feels far more diverse, dynamic, and rollicking than Don's previous recordings have captured. I may be wrong--it may be the wonderful clarity and separation of all of the individual instruments captured by the recording engineers, but it's just a great music listening experience, start to finish.

A/five stars; an excellent collection of diverse jazz-rock fusion songs coming from one of the greatest compositional and motivational masters of the movement.

"Regarding the review of my record Shock Treatment by Harvey Pekar (DB, Sept. 19), I would like to set the record straight on some little known facts in connection with this album. The copy that was reviewed was one about which I am embarrassed and not proud. The story behind this is as follows:

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. I'm surprised that this wasn't mentioned in the review! 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. Unfortunately, they were not able to call back all the thousands of albums which had already been released. However, they did send a note to the reviewers telling them that the copy which they had received was defective, and to please not review it until they received the corrected copy. It looks as if Down Beat didn't get that letter. In conclusion, let me state that I have no quarrel with Harvey's review, but I do wish that he or someone else would review the correct album."

Great story: One that illustrates, once again, how obtuse record companies can be to the desires, preferences, and wishes of their artists as well as to how little say/control an artist has over the finished product of their work. What they think will sell is not always in line with the artist's creative vision for their finished product--in this case, not nearly in line.

I've decided to post my rating and ranking according to the version of music published in CD from in 2003 because this release offers the listener a fine cross-section of the two original releases.

2003 Koch Jazz (Sony Music)) CD RELEASE: 1. "A New Kind of Country" (Hank Levy) (4:10) sounds like a modernized big band standard (with some electrified instruments and recording techniques) waiting for a young crooner to sing over the top--like Don is here definitely taking advantage of all of the Latin-infused musics infiltrating the American music scene in the 1960s--especially and probably Stan Getz (and, to a lesser degree) Paul Desmond more than any others. Could have been a theme song to one of the game shows of the day--like The Dating Game or The Newlywed Game. (8.875/10)

2. "Night City" (Ellis, McFadden / arr. Don Ellis) (2:56) the co-composers must have been trying to reach the wider record-buying audiences of the day (1967) with this very LAWRENCE WELK-like song. Elaborately arranged MITCH MILLER-like choral vocals (male and female) are accompanied by a Latin rhythm to create this rather heavy-hearted song. I like it though it is not very progressive or particularly fusionary. Also could be a tribute to the great music being written for Broadway musicals by new artists like Burt Bacharach and Stephen Schwartz. (8.875/10)

3. "Homecoming" (3:02) sounds so familiar--like the more emotional old-time music that was so popular with moms and pops on the old porch settings. (Could've fit in Gershwin's Porgy and Bess.) (8.75/10)

4. "Mercy Maybe Mercy" (Hank Levy) (3:20) sounds like a watered-down version of Billy Page's "The 'In' Crowd" (8.75/10)

5. "Zim" (John Magruder) (3:59) a fan favorite from the first release that Don grew to like specifically because of the enthusiastic feedback he received. Composer and, here, bandmate John Magruder came up with several memorable songs for Don and the Orchestra over the years. (9.25/10)

6. "Opus 5" (Howlett Smith) (9:19) nice polyrhythmic foundation over which muted horns play makes for a cool start. In the second minute a bridge serves as a kind of rewind so that everything starts over, only this time the full horn section--in two different lines--can recapitulate the superceding melody--and then piano and very odd upper-end bass make themselves known to be the soloists for the second half of the third and first half of the fourth minutes. Lead trumpet takes over at 3:30. Rest of horns slowly creep back in in the middle of the fifth minute before backing off to a softer bank, but, man! I keep getting lost in the rhythm lines! Congas and drums actually get some spotlight before horn banks bridge into more "team-sharing" section of rather complex multiple team-interplay. By the time we get to the eighth minute there are so many layers working together at the same time (like 9 or 10!) that it shocks me that they all can stay on their own path--and it all works incredibly well blended together! Amazing! What a design (composed by pianist/composer Howlett Smith)! (19.25/20)

7. "Star Children" (3:21) weird song with weird combination of sedate jazz with choral vocals. (8.666667/10)

8. "Beat Me, Daddy, Seven to the Bar" (6:12) this spirited blues-rock vamp makes me feel as if I'm at a party in a Peter Sellers movie from the day--maybe even a pool party--which gets kind of "serious" when the percussionist (conga player) is given sole occupancy of the recording tape. Supremely tight performances of yet-dated music. (8.75/10)

9. "Milo's Theme" (4:23) experimentation with echo effects on Don's trumpet and then all the instruments to follow. Weird but pretty cool! (And using very pretty and melodic cinematic music to do it). I love hearing artists take chances like this. The ensuing horn and then full band harmonized buildups are wonderful (if "Big Band Era" dated), but then we return to the modulation effects experimentation for the finish. Cool! (9/10)

10. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:59) like a blast from the past with this one sounding like the soundtrack music for either "I Dream of Jeannie" or "Bewitched" (maybe that's why I love it: I grew up on those shows). Awesome jazz bass walking beneath Don's trumpet and his complex, multi-horn accompaniment. Again, to think that we're at an episode of some dance routine on the Lawrence Welk Show is not a far-off stretch of the imagination, but those big explosions of horns and alternating cutesie flute and muted-horn passages are so fun! (8.875/10)

11. "The Tihai" (8:44) Don's preferred edit and mix of this one sounds. There are moments where the melodic rhythm track feels and sounds like something from The Flinstones cartoon soundtracks of the day and others that feel like soundtrack music to an Elvis Presley (or Our Man Flint or Pink Panther) beach movie scene. And then, surprise of all surprises, there is the Konnakol Carnatic Indian percussive vocal exchange taken from the South Indian traditions at the six-minute mark. Odd use of minor keys at times where popular tradition would have made different choices. (18/20)

12. "Zim" (alternate take) (John Magruder) (4:00) a much more smooth-flowing "Take Five"-like version of the tune; this was not Don's preferred version of the song but he was serving popular demand from the response of listeners from those who had purchased or heard the original unapproved version on Columbia's initial release of the material. I can't say that I dislike it. The mix ius a bit muddier than the other one, but that almost gives it an era-appropriate psychedlic acid-trip feel! (9/10)

13. "I Remember Clifford" (Benny Golson / arr. Terry Woodson) (5:25) a more traditional lounge jazz tune like something you might have heard at Rick's Café in Casablanca. (8.875/10)

14. "Rasty" (2:52) another song that sounds like a Big Band remnant brought into the late 1960s for renovations. (8.666667/10)

Total Time 65:42

While most of music on this album does sound (almost laughably) out-dated and anachronistic one cannot the technical and compositional skills required put together and then pull with such tight (and professional) performances--captured in just two days in the recording studio!

B+/4.5 stars; a near-masterpiece of large-spectrum jazz and jazz-rock performances of cutting-edge compositions.

P.S. That girl photographed for the album cover has some long-ass toes!

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.

A-/five stars; a minor masterpiece of boundary-pushing jazz-rock fusion.

DON ELLIS (1934 -- 1978) was an American jazz trumpeter, drummer, composer and bandleader. He experimented especially with time signatures, and later in his life he composed several soundtracks, the best known of those films being The French Connection (William Friedkin, 1971). Often his albums are big band oriented with lots of brass, and in this sense Haiku is a unique work. Actually it's pretty unique in the whole jazz genre. The ten Ellis originals are "based" on Japanese haiku poems and feature a large string orchestra (ie. violins, violas and cellos) plus harp, behind the leading instrument which is naturally the trumpet played by Ellis. There are also guitarists, keyboards and a rhythm section involved, but on some pieces their roles are relatively small. On some tracks such as 'Parting' the rhythm section is more present, but always in a peaceful manner.

The music is extremely mellow, relaxed, starry-eyed romantic and introspective. The arrangements by Ellis himself are excellent in their harmonic smoothness. Perhaps the music is at times almost too sentimental for its own good -- or then not! Naturally it depends on the listener's point of view. I wholeheartedly appreciate this album for being proudly what it is. Listen to 'Mirror-Pond of Stars' or 'Two Autumns' for example, and you know why I used the words starry- eyed romantic.

Also the track titles reflect the nature-inspired serenity: 'Blossoming', 'Cherry Petals', 'Summer Rain', 'Dew', etc. To whom this music is best recommended? To romantic minds who appreciate introspective melodies and relaxed mellowness, and who enjoy the sounds of the trumpet, harp and softly played strings, and who are not straight away put off by sentimento. Very beautiful music to soothe your mind and make you feel dreamy and romantic.

Still, there's enough to like about the album. The first three tracks show a funk influence but are sure to spice themselves up with uneven rhythms (as on "Whiplash", popularized by the 2014 movie of the same name), a gradual buildup of intensity (as on "Sladka Pitka") or with intricate contrapuntal melodic lines (as on "The Devil Made Me Write This Piece"). The latter two pieces especially showcase the big band at its best, with the orchestral timbre and large array of players helping these tracks come to life beautifully. Ellis himself also plays some great solos throughout, the best being on "Sidonie" near the end of the album. I don't think the album as a whole is consistently interesting enough to warrant more than a three-star rating, but there is in fact good stuff happening here.

A five star masterpiece of progressive music from a VERY serious envelope-pusher. This album is also a treasure that we are very lucky to have.

The song Bulgarian Bulge, midway through side one, is furiously paced odd-metered Bulgarian party music played with flawless precision. This song showcases Dons interest at that time in Bulgarian music, an interest that lead him to bring several Bulgarian fusion artists to the states. This migration eventually led to Milcho Levievs brilliant keyboard work with Billy Cobham. Elsewhere on this side Ellis and his band play the high energy pop classic, Elis Coming, straight ahead without any sign of irony for a sonic blast of pure big band euphoria.

This album proudly advertises that it features RnB vocalist Patty Allen, but she only shows up on a couple cuts, mostly for good effect though. Her vocals on Higher (not the Sly Stone song) recreates a 60s kitsch soul vibe that recalls cult musical time capsules like Hair and JC Superstar. This album also features the ultimate session lizard faux psychedelic-soul wannabe guitarist Jay Graydon and his always eager and hyper wah-wah pedal which adds so much to Ellis albums in this style.

This album opens with a huge wall of metallic ring-modulated tones from Ellis trumpet that sounds like the ultimate Armageddon between Stockhausen and Sun Ra and then immediately shifts into a groovy big band groove made for a 60s GTO commercial. Some people get musical style and irony, David Bowies gets it, so did Miles Davis. God bless you Don Ellis.

This being a Don Ellis album there is some inevitable big band cheeze that might be difficult for someone with a rock background to appreciate. After side one's high speed chaos, side two starts off with more traditional big band fare on The Blues and carries on in this manner until the second half of Rock Odyssey (I know, it sounds like a Spinal Tap title) picks up the tempo a bit. Side three opens with Ellis playing his trumpet through an echoplex and ring modulator to create huge soundscapes on a level with Sun Ra and Stockhausen. From here perrenial studio guitarist and lounge meister supreme, Jay Graydon, enters with sarcastic psychedelic guitar and leads the band in a bizarre deconstructionist cover of Hey Jude complete with Zappasque polka sections and a big buildup tease that never quite happens. This side continues with some rockin moments mixed with sophisticated orchestrated ballad like moments. Side four opens with more big band fusion in odd-metered grooves, saxophonist Lonnie Shetter turns in a crazed solo on Great Divide that seems to channel the frenetic style of John Gilmore from Sun Ra's big band. The album closes with more Ellis classics played with renewed enthusiasm and almost avant-garde solos.

This is a big band album and very much for people who love jazz in many of its facets, but for the curious fusion/rocker who wants to hear the roots of bands like Soft Machine, Mahavishnu Orchestra, King Crimson and countless fusion bands, it all starts with Don Ellis in the mid-60s. There are a number of performers on here that went on to play in similar ensembles led by George Duke, Frank Zappa and Billy Cobham. In a sense, Ellis became a training ground for future jazz fusion mini-big bands

I have difficult relations with Big Bands, what means I like to hear some first minutes of them playing somewhere on regular jazz Fest, but it usually becomes boring during ten -fifteen minutes.

This album happily is different. Formally using a big band as musicians resources, Don Ellis adds some unusual (for big bands music) rhythms, complex compositions 'structures and electric keyboards. So - even if it sounds as jazz orchestra music, there are some classical, rock influences in sound and even some unusual psychedelic moments. In some compositions orchestra is used just as supporting band for few soloing musicians.

So - even if still big band music, open ears listener can really find more interesting moments there. What doesn't mean this album is jazz-fusion though. Just some roots of the future jazz fusion experimentalism, hardly more.

The album for collectors and early fusion researchers.

Two songs on here stand out above the rest. Future Feature hit's a classic prog rock fusion Oberheim odd-metered bass line that drives solos from the horns, saxes and violins leading to many complicated arrangement change-ups and the final big buildup from the full horn and string section that recalls Mahavishnu Orchestra's album with an additional 'orchestra'. Sporting Dance is hard driving and intense hippie acid jazz with film noir melodies and a long solo(s) between two battling trombones against a Cobham/Bitches Brew inspired manic drum section.

Elsewhere we get sophisticated and slightly avant-garde takes on popular late 70s music such as disco and Brazilian dance rhythms, as well late 70s styled slick intelligent big band music. If you are a fan of Don Ellis, there is much to like here. If you are looking for an introduction to some of his more progressive material, you may want to look elsewhere.