Live at Montreux
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Don Ellis Orchestra: Live at Montreux

 

Date(s) Recorded

July 8, 1977

Tracks

  1. Open Wide (Ellis) - 9:40
  2. Loneliness (Ellis) - 5:54
  3. Future Feature (Ellis) - 7:18
  4. Go-No-Go (Ellis) - 5:10
  5. Sporting Dance (Ellis) - 8:45
  6. Niner Two (Ellis) - 11:59
  7. Lyra (Ellis) - 8:32*
  8. Eros (Ellis) - 5:39*
  9. Arcturus (Ellis) - 10:49*

* Included on CD Reissue, not original LP release

Credits

  • Don Ellis - Trumpet, Flugelhorn
  • Ted Nash - Clarinet, Flute, Alto Sax
  • Laurie Badessa - Violin
  • Richard Bullock - Bass Trombone
  • Darrell Clayborn - Bass
  • Jack Coan - Trumpet
  • Jim Coile - Clarinet, Flute, Tenor Sax
  • Dave Crigger - Drums
  • Mike Englander - Percussion, Drums
  • Leon Gaer - Synthesizer
  • Paula Hochhalter - Cello
  • Alan Kaplan - Trombone
  • Randy Kerber - Keyboards
  • Sidney Muldrow - French Horn
  • Ann Patterson - Flute, Oboe, Piccolo, Alto Sax, Soprano Sax
  • Gil Rathel - Trumpet
  • Ruth Ritchie - Percussion, Timpani
  • Jimbo Ross - Viola
  • Jim Self - Tuba
  • Jim Snodgrass - Flute, Oboe, Piccolo, Baritone Sax
  • Glenn Stuart - Trumpet
  • Pam Tompkins - Violin
  • Carlos "Patato" Valdes - Bongos, Conga

Liner Notes

Don Ellis (short quote)
Nick DiScala (CD Release only)

Releases

Atlantic SD 19178 (1978)
Koch Jazz 51410 (2002) – CD Reissue:
Available at CDNOW for $17.49

Notes

Studio-recorded versions of "Arcturus," "Eros," and "Lyra" appear on Music from Other Galaxies and Planets.

Live at Montreux (1978) was Ellis's final recording. This recording offers reflections of the more adventurous Ellis ensemble recordings on selections such as "Future Feature," "Sporting Dance," and "Niner Two." However the disco-influenced "Go-No-Go" indicates Ellis's continued connection to popular styles. The selection "Open Wide" enjoyed some degree of popularity with its 4/4 meter and accessible main theme.  Despite the conventional meter, the selection also represents an excellent example of Ellis's rhythmic superimpositions over the barline.

Live at Montreux demonstrates a more-restrained use of exotic meters, but a more-liberated use of rhythmic superimpositions.