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Two New York City narcotics detectives learn of a scheme to smuggle a large quantity of heroin inside an automobile being shipped from France.
', issued in 1972, was a brazen attempt at swinging for the chart fences. Most of the tunes selected come right from the pop vernacular of the day.
They range from a barnburning read of and 's theme for 'Jesus Christ Superstar' and a dirty funk approach to 's 'I Feel the Earth Move' to a provocative and spacy cover of 's 'Conquistador' that feels like the horn chart for 's '25 or 6 to 4' wedded to ' 'Classical Gas' trumped by in the mid-'50s. While the description may read atrociously, sonically and aesthetically the set comes off far better.
![Ellis Ellis](/uploads/1/2/7/2/127247491/447396338.jpg)
Incorporated inventive, in-your-face, swaggering arrangements into his hearing and execution of pop's possibilities in the jazz world of the early '70s. Most of the tracks are short, with only a big-band freakout read of 's 'Chain Reaction' going over the five-minute mark. This, along with the disc's opener (a fine cover of 's 'Put It Where You Want It') and ' own 'Theme from The French Connection' (a surprise hit for him) work well as modern creative big band offerings. There are some really embarrassing moments here as well.
's 'Alone Again (Naturally)' was utterly unnecessary and is pure schlock; likewise the 'jazz on Quaaludes' take on ' 'Goodbye to Love.' 'Lean On Me' (the soul classic written by ) is simply surreal, as is the cover of ' 'Roundabout.' Devotees will no doubt delight in because of its abundance of sass, humor, and imagination, while jazz purists will shake their heads in disgust and others will greet the album with mix of curious bewilderment, a good-natured (hopefully) chuckle, and a perverse kind of glee.
Don Ellis, bandleader, trumpeter and composer, died Sunday night in his home in North Hollywood, Calif., apparently of a heart attack. He was 44 years old and had recently resumed his career after having recuperated from a heart attack suffered in 1975.Mr. Ellis was an avid explorer of experimental jazz forms, primarily in a bigband context.After early flirtations with 12‐tone writing and free‐form jazz, Mr.
![French French](https://indianapublicmedia.org/nightlights/files/2006/12/R-2450199-1323950237.jpeg.jpg)
Ellis focused much of his attention on the use of unusual time signatures and was a pioneer in the use of electronic instruments — trumpets, flutes and saxophones as well as keyboards and stringed instruments— in a large ensemble.Believed in Wide Range“I believe in making use of as wide a range of expressive techniques as possible,” he once said. “The more we know, the freer we are.”Writing for a 23‐piece band he formed in California in 1964 — a band that sometimes included three bassists and three drummers— Mr. Ellis moved away from the standard 4/4 and 3/4 time signatures to create pieces in 7/8, 9/8, even 3½/4. One composition, written in 19/4, was titled “3‐3‐2‐2‐2‐1‐2‐2‐2” to show how it was divided. In introducing the piece, Mr. Ellis, an articulate and persuasive man, would get his listeners to clap out the breakdown of this involved Signature.
Some of his interest in time signatures that were unusual in Western music came from the period when he studied and played with Haru Har Rao, a sitar player around whom he built a small jazz group called the Hindustani Jazz Sextet.Used Electronic DevicesIn addition to its use of electrified instruments, Mr. Ellis's big band was one of the first to use such electronic devices as choplex, phasers and ring modulators for both solos and ensembles. He had his trumpet altered by the addition of a fourth valve, which allowed him to play quarter tones.Mr.
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Ellis, who was born in Los Angeles on July 25, 1934, studied composition at Boston University and played trumpet in the bands of R.
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