Don Ellis Critical Editions
Don Ellis Critical Editions
About the Don Ellis Critical Editions
Exciting news for fans of Don Ellis' music: The Don Ellis Critical Editions is a series of never-before-published charts from the book of the Don Ellis Orchestra! In this series, some of Ellis' most requested charts are being published through UNC Jazz Press, as well as available directly through Nick Di Scala in certain cases. You may have encountered more simplified student versions or transcriptions from recordings. These charts are professionally typeset directly from the charts in the Ellis book. Painstakingly reset note-for-note, these great pieces are finally getting the meticulous treatment they deserve. Each chart has a full score. The parts and score are engraved using notation software for clarity and accuracy. These charts are suitable for performance and study. Ellis alumni and other musicians and pedagogues who have experience with Ellis' music and odd-meter jazz in general have been consulted on ease of reading, performance practices, rehearsal problems, etc., and their recommendations will be reflected in these editions. Cuts, variations, modifications, and optional parts used by Ellis are included and discriminately annotated. The impetus for this series arose out of my desire to publish the most requested pieces from the Don Ellis library not already in circulation. The Don Ellis Memorial Library—initially housed at Eastfield College in Mesquite, Texas, and now within the UCLA Ethnomusicology Archive—has made these pieces available in the past, but the condition and readability of the scores and parts were not always ideal. Presently, due to small staffing, and preservation concerns, UCLA no longer makes the materials available for purchase.
“But why a Critical Edition?”, you might ask. Frankly, I believe the music of Don Ellis to be of significant importance in the development of jazz and worthy of the extra care it takes to prepare the music in this form. Too often, important material sits in a box or someone’s attic waiting to be rediscovered...all but forgotten except by those intimately involved with its creation. I did not want this to happen to Don’s music. This project was founded and is headed by me. I have done extensive research and study into the life of this great musician for more than 40 years. Some of my previous projects have included producing archival and new recordings of Ellis material. I work directly with the Ellis estate and UNC Jazz Press for making this project a reality. In addition to preparing these editions with notation software for maximum clarity, they have also been prepared to allow for the many ways that Don and his band performed the pieces. The original score, performing parts, various recordings (public and private), and input from former band members have all been referenced to arrive at these current editions. You also get a full conductor’s score because the music often demands it. Finally, the score and parts have been thoroughly checked for accuracy. Wherever obvious, incorrect notes were amended. One significant feature of this series (and to any 'critical edition' for that matter) is the addition of performance and editorial annotations. These notes are provided to clarify issues of performance, point out areas of contention, as well as where and why I, the Editor, made changes. If you disagree with any of my editorial decisions, you are always given the information to do things 'the other way'. The series will be updated as the charts are prepared. Currently, the future scope of this series encompasses about forty pieces! In a few cases, a standard big band instrumentation arrangement will be made along with the original version. Please note that these Critical Editions and the compositions they represent are copyrighted, with all rights reserved. Duplication and dissemination of any part, other than necessary for personal requirements, is not permitted. It not only is against copyright law, it undermines the effort to make more of Don’s music legitimately available through publications and recordings. If you have any questions about this series, or about Don Ellis in general, please feel free to use the contact form on this site to reach me.
“But why a Critical Edition?”, you might ask. Frankly, I believe the music of Don Ellis to be of significant importance in the development of jazz and worthy of the extra care it takes to prepare the music in this form. Too often, important material sits in a box or someone’s attic waiting to be rediscovered...all but forgotten except by those intimately involved with its creation. I did not want this to happen to Don’s music. This project was founded and is headed by me. I have done extensive research and study into the life of this great musician for more than 40 years. Some of my previous projects have included producing archival and new recordings of Ellis material. I work directly with the Ellis estate and UNC Jazz Press for making this project a reality. In addition to preparing these editions with notation software for maximum clarity, they have also been prepared to allow for the many ways that Don and his band performed the pieces. The original score, performing parts, various recordings (public and private), and input from former band members have all been referenced to arrive at these current editions. You also get a full conductor’s score because the music often demands it. Finally, the score and parts have been thoroughly checked for accuracy. Wherever obvious, incorrect notes were amended. One significant feature of this series (and to any 'critical edition' for that matter) is the addition of performance and editorial annotations. These notes are provided to clarify issues of performance, point out areas of contention, as well as where and why I, the Editor, made changes. If you disagree with any of my editorial decisions, you are always given the information to do things 'the other way'. The series will be updated as the charts are prepared. Currently, the future scope of this series encompasses about forty pieces! In a few cases, a standard big band instrumentation arrangement will be made along with the original version. Please note that these Critical Editions and the compositions they represent are copyrighted, with all rights reserved. Duplication and dissemination of any part, other than necessary for personal requirements, is not permitted. It not only is against copyright law, it undermines the effort to make more of Don’s music legitimately available through publications and recordings. If you have any questions about this series, or about Don Ellis in general, please feel free to use the contact form on this site to reach me.
Current Don Ellis Critical Edition Titles
All of the titles below, unless indicated otherwise, are available through uncjazzpress.com. UNC Jazz Press also carries many other non-Critical Edition titles played by the Ellis band–the Don Ellis Big Band Series titles that were all published during Don's lifetime through his own company, Ellis Music Enterprises (EME). Do you have a question about a particular unpublished piece? Contact me with your inquiry. Click the title of each selection to access the YouTube audio. After an Autumn Rain A quiet, impressionistic, and lovely piece that displays many unusual colors and textures. Relatively easy on paper, it will showcase your ensemble’s ability to play with subtlety and finesse. Short solos for Alto and Flügel. Don’s last composition for big band. Unrecorded at present. K. C. Blues The classic Charlie Parker composition as arranged for big band by Don Ellis. Although a fairly traditional treatment by the usual Ellis standards, it still packs a punch with several exciting ensemble passages. Lots of blowing room for your alto, tenor, and piano players. Recorded on the Autumn album. Loose as a GooseAn exciting and unusual up-tempo Latin chart that switches between Afro-Cuban and samba grooves. The meter also switches around between 2/2, 5/2, and 7/2 sections. Solos for drums and soprano sax, plus an expanded percussion section. Not too tough, but it does have a few unexpected curveballs! Unrecorded at present. LossA beautiful minor tune in a slow 7/8, this fusion of jazz and classical elements features a flügelhorn solo and string quartet. It was most recently used to great effect in the award winning show Blast!. It is fairly easy to perform, but very powerful and effective. Recorded on the Tears of Joy album. Open WideThe popular, explosive, and infectious Ellis composition newly arranged and reorchestrated for a standard big band. An energetic 4/4 samba with many polyrhythms, it features significant passages for your trumpet and percussion soloists. Despite its friendly-on-the-ears nature, it contains many challenges for all. A surefire crowd pleaser. Recorded on the Live at Montreux album. Opening (of the Birth Canal)A short, dynamic fanfare that might be easily summarized as The Rite of Spring in two minutes. Originally written for octet, it has been reorchestrated for big band by me. It can be purchased only directly from me. Unrecorded at present. Over the RainbowA dynamic reworking of the classic standard that is a feature for your lead trumpet player. While the other parts are all very manageable, the lead trumpet part will challenge the best of players. Written in the late 1960’s, it is very much a product of that time: a bit 'edgy', with an adventurous and bold harmonic approach. It can be obtained only directly from Nick Di Scala. Contact him at [hyperlink]. Unrecorded at present. Scrat and FluggsA hilarious, tongue-in-cheek, fast bluegrass tune in 5. Very reminiscent and in the style of Foggy Mountain Breakdown, with some fiendish clarinet writing. It features trumpet and piano / optional guitar solos. Recorded on the Autumn album. Star ChildrenA mystical sounding piece in a slow 5/4. A combination of electronics (including woodwinds), East Indian instruments, and a wordless choir make this a very atmospheric chart that will leave a unique impression on your audience. The writing is fairly easy, yet effective and features trumpet. Used in Cyberjam, the follow-up to the award-winning stage show, Blast! Recorded on the Shock Treatment album. Strawberry SoupOne of Don's most popular charts ever and a major composition. A rich, multi-layered minor tune in a moderately fast 9 with plenty of shifting subdivisions. Eventually, everyone gets featured either as a soloist or as a section. A surefire showstopper that winds it all up with a dirty 4/4 blues. Recorded on the Tears of Joy album. WhiplashAn exciting chart written by Hank Levy. Featured in the 2014 movie of the same name. It’s a medium-fast rock in 7 with a couple intricate passages in 14/8. It features exacting ensemble writing and a trumpet solo. This edition is a combination of the version Hank first wrote for Don and Hank’s own 1978 rewritten version for standard big band instrumentation. Recorded on the Soaring album. Without JoanDon't let the title fool you! This Sam Falzone chart is a full-on, raucous, riotous, dance-in-the-aisles party in Rio! A combination of samba and rock, it features solos for tenor, congas, and keyboard—plus some screaming trumpets! This isn't one for the judges, but your audience will love it! Unrecorded at present. Wolfgang for All SeasonsA hilarious concerto grosso feature for French horn and tuba. Written by Milcho Leviev as a Theme and Variations that mashes up a variety of styles and quotes, including classical, jazz, rock, Bach, Dixieland, marching band, Glen Miller, Gershwin, Blood, Sweat & Tears, and opera! Make a Joyful Noise!Written in the summer of 1978 for an outdoor music festival and the last major work by Don Ellis. It's for a medium sized symphony orchestra and is in three movements in an upbeat mood. Although it does not use any jazz specialists it still retains a certain 'popular' sensibility. The first two movements have substantial portions in Latin feels: the first uses samba figures and the second employs a boss nova approach. The third movement might be accurately subtitled "Toccata and Hymn" and is a real tour-de-force for the strings. Full score and parts. It can be purchased only directly from me. Unrecorded at present.
Upcoming Don Ellis Critical Edition Titles(In order of planned production.)
· Chain Reaction (Hank Levy - original version)· Indian Lady (revised and corrected from prior published version)· French Connection II/I· Invincible· Chain Reaction (Hank Levy - big band version)· A New Kind of Country (Hank Levy)· Variations for Trumpet· Niner-Two· New Horizons· Alone (Hank Levy)· Let’s Do It This Way for Awhile (AKA Eros)· Brash Brass Bash· Passacaglia and Fugue (Hank Levy)· Palomar· O Soli Mio· Creative Aggression!· Dance Around the Beast· T.R.· Wolfgang for All Seasons (Milcho Leviev - big band version) NEW! I have decided to make certain titles available in a 'score only' format. There were certain pieces that I felt were of significant interest to Don's legacy but, for various reasons, had little chance of actually being performed by groups. It takes a lot of time to generate any Critical Edition thoroughly—particularly when juggling other assignments and work. So this is a way of sharing more of Don's material, but with an eye towards practicality. Preparing only a score with annotations is a time saving measure. These titles will likely be of more interest to composers, arrangers, and scholars.
Upcoming Score-Only Don Ellis Critical Edition Titles(In alphabetical order. No planned order as yet.)
· Cherry Petals· Cross Currents (Hank Levy)· The Devil Made Me Write This Piece· Dew· Epic· Future Feature· Future: Tense! (A stage musical in three Acts)· Get Closer (AKA Arcturas)· Head Quarters· How's This For Openers?· In the Beginning· Jupiter's Favorite Child (Sam Falzone)· Love Structures (A three movement oratorio)· Mind Flowers (For orchestra and chorus)· Now and Forever· Out There· Reach (oratorio)· Sporting Dance· Sunny's Day (For trumpet soloist and concert band)· The Tihai· Water Jewel
FAQ
Q: How can I purchase a specific chart?A: Most of the Critical Edition charts are available through uncjazzpress.com with whom I work directly and exclusively. UNC JazzPress also makes most of the charts available through ejazzlines.com For charts not in their catalog–but found on my lists above, including all the 'score only' selections, contact me . (Note: I do not have a complete collection of everything in Don's library, but I have a lot. If there's something you want that is not on any of these lists, I have it, and you're not looking to make money off of the music, I can typically help. All of Don's material is under copyright—all rights reserved.) Q: How often will new charts be available?A: At present, all the preparation and annotating is done exclusively by me. I try to get the material out as my time and schedule allow. There is no set production schedule. Please join my Facebook group, Don Ellis Appreciation Society to learn about new publications. Q: Are only charts written by Don Ellis published?A: No. Several of the contributing composers to the band are also represented: Hank Levy, Milcho Leviev, and Sam Falzone, at present. It depends on popularity and demand. However, since one of my intents in creating these Critical Editions is promoting and focusing on the legacy of Don Ellis, the charts are predominantly his. Q: I love Don! How can I get more involved?A: I'm always open to help in creating new Critical Edition titles. Philanthropists with solid Finale skills, please contact me to chat.
Connections
For additional information on the Don Ellis Critical Editions, please contact me.
UNC Jazz Press publishes most of the Don Ellis Critical Editions, as well as those that were published by Ellis Music Enterprises in the 1970s. uncjazzpress.com. Ejazzlines.com is another site where most of UNC's Ellis catalog is available. The UCLA Ethnomusicology Department houses and curates all of the Ellis materials. They are useful as a database resource. They no longer make copies available for purchase due to preservation of the materials, a small staff, and a high cost for outsourcing the materials out to a third party copying vendor. UCLA Ethnomusicology archive Facebook has a Don Ellis Appreciation Society, which is administered by me. Several alumni of Don's bands are members there. Lots of links to recordings, videos, announcements, memories, and more! YouTube: There are many links on the site that have official recordings of Don's music, as well as tribute groups, and various educational ensembles. I have a channel, Don Ellis rare and unknown, where I post recordings that were typically not commercially recorded, and from Don's personal collection. The Internet Archive has an extensive collection of recordings and videos. Made possible through a grant, it has almost all the recordings in Don's possession that took place in California. Due to the nature of the grant, recordings made outside of California are not included. Most of the recordings are in rough, unedited form and not always catalogued thoroughly. But there is a wealth of material here to listen to.
UNC Jazz Press publishes most of the Don Ellis Critical Editions, as well as those that were published by Ellis Music Enterprises in the 1970s. uncjazzpress.com. Ejazzlines.com is another site where most of UNC's Ellis catalog is available. The UCLA Ethnomusicology Department houses and curates all of the Ellis materials. They are useful as a database resource. They no longer make copies available for purchase due to preservation of the materials, a small staff, and a high cost for outsourcing the materials out to a third party copying vendor. UCLA Ethnomusicology archive Facebook has a Don Ellis Appreciation Society, which is administered by me. Several alumni of Don's bands are members there. Lots of links to recordings, videos, announcements, memories, and more! YouTube: There are many links on the site that have official recordings of Don's music, as well as tribute groups, and various educational ensembles. I have a channel, Don Ellis rare and unknown, where I post recordings that were typically not commercially recorded, and from Don's personal collection. The Internet Archive has an extensive collection of recordings and videos. Made possible through a grant, it has almost all the recordings in Don's possession that took place in California. Due to the nature of the grant, recordings made outside of California are not included. Most of the recordings are in rough, unedited form and not always catalogued thoroughly. But there is a wealth of material here to listen to.