Don Ellis' "Final Analysis" made UMM history

Don Ellis seemed way ahead of his time when he was in his music heyday. Examining his music today, he would still seem ahead of his time. His approach drifted away from convention. You might think it was dry or incapable of being appreciated by the "masses" (like me). So wrong! Ellis' innovative music could be intoxicating to listen to.
This was impressed on us at our U of M-Morris in the days before Jim Carlson came on the scene to lead jazz. While many UMM jazz concerts have blurred together in my mind, one stands out from the pre-Jim Carlson era. The UMM jazz ensemble performed a Don Ellis tune called "Final Analysis." I was already familiar with the tune from an Ellis album.
The subject came up recently when I reminisced with Del Sarlette. Del was in the jazz band back in that developmental time for college jazz. So was Tom Garberick, the well-known Morris drummer who mastered the "skins" (drums). Mentioning Tom as drummer should prompt lots of nostalgia.
I was in the audience for the performance I'm alluding to. I reminded Del that he "nailed" a trumpet solo early in "Final analysis." I teased him about how the solo might have been the most distinctive in UMM music history. Hyperbole, yes, but I truly remember "Final Analysis" as if I had been to the concert just recently. Clyde Johnson was the director at the HFA Recital Hall. I'm certain Clyde remembered that performance for a long time too, likely because of the way his band righted itself after the kind of disoriented state that could easily happen with an unconventional Ellis tune. Del reminisces:
 
Ah, Don Ellis' "Final Analysis." Fun tune, but the only time we ever got that Beethoven-style ending right was at the concert. Clyde had a look of immense relief on his face when we finished. If you remember, Tom Garberick was our drummer that evening. He couldn't read music, so had taken the album ("Live at the Fillmore") home and memorized the song. Quite an accomplishment given all of the weird time signatures (17/8 etc.). That one also had the strange electric guitar/synthesizer "duet" in the middle. Nobody but the band knew it, but those two guys (Chris Santillo on guitar, Omar Metawah on synth) got lost in the middle of it. They sort-of got back on track, but the band was looking at each other not knowing exactly how we were going to get out of it. Then, Tom just started playing a familiar riff and everybody jumped on board. Mr. Santillo died of cancer a couple of years ago.
 
I had the opportunity to play musically with Clyde a few times. We were together in the Donnelly Threshing Bee parade once. We also played some gigs with the Tempo Kings orchestra, a Sammy Kaye style orchestra that could travel far for its engagements. As a young person I thought the extensive travel to be exciting. I wouldn't view it that way today. We in the band joked that if it was our plan to pick up Clyde at, say, 6 p.m., we should tell him we're coming at 5:30. Get the point? But we all had fun together.
Del and I were in a generation that loved a certain set of touring big bands. Many of us got attracted to Maynard Ferguson. That enthusiasm got extended to the likes of Buddy Rich, Woody Herman, Count Basie and Stan Kenton. We also became quite aware of Don Ellis. I'm not sure Ellis ever went on a national tour with his music, but we never had the opportunity to see/hear him in person. We all learned he was in a precarious health state, specifically with his heart. Alas, we lost Ellis before the '70s ended.
Going on YouTube today to hear "Final Analysis" plus other Ellis numbers, I get misty.
Ellis' trademark was truly innovation. I'll repeat that this trait did not contradict crowd-pleasing potential. It helped greatly that Ellis had a sense of humor and readily incorporated this, as with "false endings." He developed as a trumpet player. He even played with Ferguson's band. Playing with the great Maynard Ferguson gave him the pedigree to wow my generation. He was one of the trumpeters joining Maynard in his popular "Three More Foxes" improvisation tune.
Ellis formed his own orchestra in 1965 and opened eyes (and ears). His bands were distinguished by unusual instrumentation - would you believe, up to three bassists and three drummers? - and most markedly by unusual time changes, e.g. 7/8, 9/8 and even 15/16. Boy, all of that is sure over my head. He got into rock rhythms and electronics. He invented the four-valve trumpet and used a "ring modulator" and all types of wild electronic devices.
By 1971 the Ellis band included an eight-piece brass section including French horn and tuba! This reminds of some things Stan Kenton did that were not as crowd-pleasing. Kenton talked about the sophistication of his band in a defensive way - Ellis had no need for that.
Ellis employed a four-piece woodwind section and string quartet. Appreciation of his work has increased since his death.
Ellis' own trumpet playing combined dazzling technique with a hot jazz feeling. He scored the music for ten films including "The French Connection" (1971) for which he got a Grammy. His "eastern" music was rendered with great flair. What a dazzling resume and bio he compiled before he left us too soon. I'm sure he would have been delighted hearing that UMM jazz performance at the Recital Hall way back when, as pieces were getting put together for Jim Carlson's triumphant arrival to lead UMM jazz in a legendary way!
RIP Chris Santillo. RIP Don Ellis. Maybe UMM jazz of today should tackle "Final Analysis" as a historical tribute.
- Brian Williams - morris mn minnesota - bwilly73@yahoo.com