John Ellis.

Don Ellis' Orchestra is heard at the peak of its powers on this Columbia LP. "Pussy Wiggle Stomp," a variation on "My dad's better than your dad" but performed in 7/4 time, became the band's theme song, and it has its riotous moments. The 19-and-a-half minute, six-part "Variations for Trumpet" is a major showcase for Ellis, "Scratt and Fluggs" is a brief bit of silliness, and the relatively straightforward "K.C. Blues" features altoist Frank Strozier, John Klemmer on tenor, and keyboardist Pete Robinson. However it is the 17-and-a-half minute "Indian Lady" (a live remake) that really finds the band going crazy. Ellis, trombonist Glen Ferris, and keyboardist Robinson play humorous solos before tenors John Klemmer and Sam Falzone engage in a long and nutty tradeoff that is often quite hilarious. The many false endings at the end of this performance add to the general atmosphere. This is a classic release.

A fiery guitarist and talented songwriter who plays a unique blend of Memphis R&B, southwest blues, and urban funk. Collection includes: Hell Or High Water (2002); The Hard Way (2004); Moment Of Truth (2007); Speak No Evil (2009); Red Clay Soul (2016); Winning Hand (2018).

Avid Jazz continues its occasional Three Classic album plus series with a re-mastered 2CD release from Don Ellis complete with original artwork, liner notes and personnel details.
“How Time Passes”; “New Ideas”; “Essence”; plus 4 tracks featuring Don Ellis from the Charles Mingus album “Dynasty”
Three early albums from vastly under-rated trumpeter, composer and bandleader Don Ellis showing the direction he was to follow over the next fifteen years or so before his tragically early death at age, just 44! If you check out the names of the guys Don was playing with in the early sixties it will give you a clue as to where his music was heading. In New York, Don had met fellow jazz searchers like Charles Mingus, Eric Dolphy and George Russell. On our three selections you will hear him playing with a new breed of upcoming jazz men like Jaki Byard, Ron Carter…

This is a crazy and consistently riotous two-disc set that features the Don Ellis Orchestra at its height. The 20-piece orchestra (with trumpeter Ellis doubling on drums along with a regular drummer and two percussionists) often used electronic devices (such as ring modulators) at the time to really distort its sound. When coupled with odd time signatures and such exuberant soloists as Ellis, trombonist Glenn Ferris, tenor saxophonist John Klemmer (showcased on the remarkable "Excursion II"), guitarist Jay Graydon, altoists Fred Selden and Lonnie Shetter, and tenor Sam Falzone, the results are quite memorable. Highlights of the date include "Final Analysis" (which contains a countless number of false endings), a bizarre rendition of "Hey Jude," and an often hilarious remake of "Pussy Wiggle Stomp." In 2005, the Wounded Bird label reissued this session on CD for the first time.

Many improvisers would agree that having the feeling of the blues is a crucial part of jazz expression; however, the jazz and blues worlds don't interact nearly as often as they should. There are jazz musicians who will play Miles Davis' "All Blues" or Charlie Parker's "Parker's Mood" on a regular basis but wouldn't know John Lee Hooker from Little Milton; there are blues artists who are much more likely to work with a rock musician than a jazz musician. So it is a rare treat to hear a blues-oriented guitarist and a jazz-oriented guitarist co-leading a session, which is exactly what happens on More Conversations in Swing Guitar. This 2003 release is a sequel to bluesman Duke Robillard and jazzman Herb Ellis' 1999 encounter Conversations in Swing Guitar, and the CD proves that good things can happen when jazz and blues players interact. More Conversations in Swing Guitar is an album of very blues-minded instrumental jazz – it's hardly a carbon copy of Robillard's work with the Fabulous Thunderbirds, but the bluesman has no problem appearing in a jazz-oriented setting.

Charlie Byrd was teamed up with Barney Kessel and Herb Ellis (along with bassist Joe Byrd and drummer John Rae) for this rather exciting concert. While Ellis and Kessel have three unaccompanied duets, the inclusion of Byrd (thought of as a Brazilian specialist rather than a bopper) is the wild card that makes this set a major success. While Byrd is excellent on his features "Charlie's Blues" and "O Barquinho," it is the three stomps featuring all the guitarists ("Undecided," "Topsy" and "Benny's Bugle") that are most memorable.

The combination of jazz and guitar, whether in a group setting or duo, has frequently been associated with swing. This stretches back further than Django Reinhardt and Stéphane Grappelli to players like guitarist Eddie Lang and violist Joe Venuti in the 1920s; the tradition, however, also moves forward in time, including work by Stuff Smith with guitarist Herb Ellis in 1963 and numerous recordings by groups put together by Tony Rice and David Grisman beginning in the '70s. Despite the long history, the guitar/fiddle combination is nonetheless a rare one in jazz, which makes the issue of Blue Too by guitarist John Pizzarelli and violinist Aaron Weinstein a real treat.