Queen Of EuroVision

Not since Dame Edna have we had a Queen worthy of her name......And if these creeps are protesting I say go Verka go....

Ukrainian nationalists are protesting the nation's official entry in the Eurovision Song Contest - a single by drag queen Verka Serdyuchka.

After all it's not like she is really imitating the real Queen of the Ukraine; Evita Tymoshenko.....


Ukraine aims for Eurovision glory

Ukraine is tipped to win with Dancing Lasha Tumbai

Twenty-four nations will compete in Helsinki on Saturday to win this year's Eurovision Song Contest.

Eastern European states dominate the finals after they scored a near clean sweep in Thursday's semi-finals.

Ukrainian drag queen Verka Serdyuchka is the bookies' favourite, just ahead of Marija Serifovic from Serbia.

UKRAINE

Artist: Verka Serdyuchka
Title: Dancing Lasha Tumbai

Hello everybody!
My name is Verka Serdyuchka
Me English don't understand!
Let's speak DANCE!

Seven, seven, ai lyu lyu
Seven, seven, one, two
Seven, seven, ai lyu lyu
One, two, three!

And the Ukrainian entrant was accused of slipping in a reference to the 2005 Orange Revolution by using the phrase: "Russia goodbye".

It later transpired the artist, a drag queen called Verka Serdyuchka, was singing "condensed milk" in Mongolian.

Eurovision’s got American Idol beat

Russian slam or reference to Mongolian ‘churned butter’?
But that spat pales in comparison to the current controversy surrounding Ukraine’s cross-dressing entry, Verka Serdyuchka (real name: Andrei Danilko).

VIDEO: Verka Serdyuchka's performance of "Dancing Lasha Tumbai"

The controversy surrounds one phrase of Serdyuchka’s song, where it sounded like the singer was saying "I want to see/ Russia goodbye."

Serdyuchka’s management has since denied any anti-Russian sentiment in the song and has said that the phrase is actually "I want to see/ Lasha tumbai," in reference to the Mongolian for "churned butter." Mongolian speakers have debunked this translation, though, and the real meaning of lasha tumbai is still a mystery.

This could be costly for Ukraine in a contest where friendly relations count for a lot of points (I guarantee you that Greece and Cyprus give each other top votes). Not to mention that Serdyuchka could be out-dragged by Peter Andersen, a famous drag queen who is representing Denmark.

Ukraine's extravagant drag queen vows to bring smiles to European song contestions.

On stage, Verka Serdyuchka portrays herself as a simple village girl living her dream. Not all her countrymen are beguiled by her charms.

Serdyuchka, a drag queen whose real name is Andriy Danilko, takes her extravagant costumes and ribald song-and-dance routine to Helsinki next week to compete for Ukraine in the annual Eurovision song contest.

When she gets there, a busload of Ukrainian protesters plan to confront her: Serdyuchka, they complain, makes this former Soviet republic look like a nation of philistines, tasteless peasants shaped like sacks of potatoes - not sleek, chic Europeans.

"Guys, let's not quarrel," said an exasperated Danilko, a comedian who dresses like a man when he's not in character, adding he was "sick" of all the criticism.

The 33-year-old performer, whom Ukrainians chose to represent them at Eurovision in a popular vote in March, said some Ukrainians are taking the annual pop song extravaganza - and the fun-loving Serdyuchka - too seriously.

"Let's dance," he said. "That's the message Serdyuchka is sending to Europe."

Danilko dreamed up his stage character more than 10 years ago, following a long Soviet tradition of male comedians impersonating over-the-top females for big laughs. He got them, and Serdyuchka became a hit across the former Soviet Union.

Audiences loved her risque humor, her bouncing dance routines and her colorful costumes - she appears onstage laden with gaudy costume jewelry, heavy makeup and elaborate headgear, including rhinestone-studded berets.

Serdyuchka won hearts by making good-natured fun of her homely looks and large size, and singing about the single woman's yearning for love. In one song, Serdyuchka sings: "Beauties have it good, everybody likes them ... But I am ugly. They ride in a car but I ride in the subway."

"She is a Ukrainian Cinderella," Danilko said. And the way he sees it, this is her chance to go to the ball.

Olexander Lirchuk, a disc jockey in Kyiv, fumes. His Europa-FM radio station is leading the protest against Serdyuchka's appearance at Eurovision, arguing that Ukraine should send a band that can showcase the country's hip, young talent.

Lirchuk rallied about a dozen protesters and burned the performer in effigy. Now he and some other Serdyuchka critics plan to continue their protests in Helsinki.

"Serdyuchka is in poor taste," he said, motioning toward his svelte co-DJ, Yuliya Vladina: "Look, that's a real Ukrainian woman."

Many Ukrainians, though, embrace the performer and his character, homely and awkward as she may be. Some say Serdyuchka even has the best chance to win the Eurovision contest, which is judged by television viewers from all 42 countries that participate.

"Serdyuchka fits Eurovision 100 percent," said lawmaker Dmytro Vydrin.

The annual Eurovision contest is no stranger to outlandish acts. The Finnish band Lordi, which performs in monster masks, was the shock winner of the competition last year with "Hard Rock Hallelujah." Israeli diva Dana International - who was a man until a sex-change operation - won the contest in 1998, triggering a bitter rift between Israel's secular majority and its ultra-religious minority.

Ukraine was thrilled to win in 2004, just a year after its debut in the contest; a singer called Ruslana - known for her leather-and-fur outfits - triumphed with an energetic piece called Wild Dances. As the winner, Ukraine got to host the event the following year, and as a measure of its importance in this nation of 47 million, President Viktor Yushchenko attended and presented the prize. Ruslana later won a seat in parliament.

Some accuse Danilko of dabbling in politics as well. He caused an uproar with the song he plans on performing. Many listeners say the lyrics include a veiled insult to Russia, with whom Ukraine has had tense relations since the breakup of the Soviet Union.

Some hear the words "Russia, Goodbye," - but Danilko insists the phrase actually is "Lasha Tumbai," which is Mongolian for "Whipping Cream."

Danilko insists that he and his alter ego just want to have fun.

As he prepared for the contest, he filmed a daring video in which Serdyuchka and her mother - who wears a headscarf and goes by the name Mutter - visit a disco where they take turns playing with special glasses that reveal the crowd of young dancers in their underwear.

"I wanted to show that Ukrainians have the best bodies in the world," said Danilko.


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Tax Time and Walpurgisnacht

There is something sinister about the Canadian Tax system. It is declared that we must file taxes by Midnight April 30. This is Walpurgisnacht, or night of the witches, the ancient pagan festival of fire; Beltane, and consumption of the last of the salted meat from harvest in celebration of the new life of spring.

Death and Taxes as they say. Leads to rebirth new life.

Walpurgisnacht,night of the witches the celebration of the end of darkness and the fire rituals of spring. We pays our taxes and hopes we gets some back from the tax man. A sacrifice, even if it is in coin, as the season demands.

Goethe and Mendelssohn express this Euroean pagan tradition in verse and song.
Mendelssohn's Choral arrangement is a modernist paenan to paganism. But damn we still must give unto Caesar; the real meaning of the festival of fools........

Mendelssohn’s Walpurgisnacht
Conductor : Valérie Fayet
Walpurgis Night, based on a work by Goethe, celebrates the popular tradition which talks about pagan gatherings taking place on the “witches' mountain” during the night of May 1 st.
Mendelssohn's work is admirably clear, colourful and full of energy.

Die erste Walpurgisnacht Op. 60: So weit gebracht, dass wir bei Nacht

Listen

Die Erste Walpurgisnacht, cantata for chorus & orchestra, Op. 60 So weit gebracht, daß wir bei Nacht
Composed by Felix Mendelssohn
Performed by Chamber Orchestra Europe
Conducted by Nikolaus Harnoncourt

A period of travel and concert-giving introduced Mendelssohn to England, Scotland (1829) and Italy (1830-31); after return visits to Paris (1831) and London (1832, 1833) he took up a conducting post at Düsseldorf (1833-5), concentrating on Handel's oratorios. Among the chief products of this time were The Hebrides (first performed in London, 1832), the g Minor Piano Concerto, Die erste Walpurgisnacht, the Italian Symphony (1833, London)

5. Die Erste Walpurgisnacht, Op. 60: Ouverture: 1. Das schlechte 2. Der Ubergang zum Fruhling -
6. Die Erste Walpurgisnacht, Op. 60: I Es lacht der Mai! -
7. Die Erste Walpurgisnacht, Op. 60: II Konnt ihr so verwegen handeln? -
8. Die Erste Walpurgisnacht, Op. 60: III Wer Opfer heut' zu bringen scheut -
9. Die Erste Walpurgisnacht, Op. 60: IV Verteilt euch hier -
10. Die Erste Walpurgisnacht, Op. 60: V Diese dumpfen Pfaffenchristen - Kommt mit Zacken und mit Gabeln -
11. Die Erste Walpurgisnacht, Op. 60: VII So weit gebracht - VIII Hilf, ach hilf mir, Kriegsgeselle - IX Die Flamme reinigt sich vom Rauch -

O+1+2.nwc:	0: Overture
:	1: Now may again
:	2: Know ye not a deed so daring?
3+4.nwc :	3: The man who flies
:	4: Disperse, ye gallant men
5+6+7+8+9.nwc:	5: Should our Christian foes assail us
:	6: Come with torches brightly flashing
:	7: Restrain'd by might
:	8: Help, my comrades
:	9: Unclouded now, the flame is bright

"...don't you think this could become a new kind of cantata?" Rituality, Authenticity and Staging in Mendelssohn’s Walpurgisnacht

Assuming a potential analogy between art and ritual, or between art and the interpretation of ritual as a Gesamtkunstwerk, the question arises as to what degree boundaries or transitions between aesthetic presentation, staging and identification with ritual can be determined in art. This topic could be discussed in terms of reception-aesthetics, with the question of the participation of an implicit or exclusive audience in ritual or in art. On the other hand, the perspective of this question can also be developed, as in this article, in terms of production-aesthetics, using the model of a musical composition based on a preexisting literary text. In Goethe's and Mendelssohn's texts,' not only their cultic-religious rituality will be investigated, but also the problem of how far beyond the cultic subject the immanent formative principles of ritual in terms of music are effective. Although in his early ballad Die erste Walpurgisnacht (The First Walpurgis Night) of 1799 Goethe distinguished the pagan Walpurgis night from the classical and romantic in both stages of Faust, in his own way Mendelssohn related these three forms of ritual directly to one another within one work.

Cantata - LoveToKnow 1911

In modern times the term cantata is applied almost exclusively to choral, as distinguished from solo vocal music. There has, perhaps, been only one kind of cantata since Bach which can be recognized as an art form and not as a mere title for works otherwise impossible to classify. It is just possible to recognize as a distinct artistic type that kind of early r9th-century cantata in which the chorus is the vehicle for music more lyric and songlike than the oratorio style, though at the same time not exclude ing the possibility of a brilliant climax in the shape of a light order of fugue. Beethoven's Glorreiche Augenblick is a brilliant "pot-boiler" in this style; Weber's Jubel Cantata is a typical specimen, and Mendelssohn's Walpurgisnacht is the classic.

The Jews seem fated to wanDer forever among other nations and be faced perpetually with minority status and a legitimate pressure to acculturate and assimilate. If one compares the ending of The Eternal Road to Felix Mendelssohn's setting of Goethe's Die erste Walpurgisnacht, one is struck by a vital difference. Mendelssohn, although bearing the most celebrated name in early nineteenth-century German-Jewish history, had been converted and become a devout Protestant. Nevertheless through his music he celebrated with empathy and pride the courageous resistance of the Druids to the siege on their traditions and beliefs laid by violent Christian attackers. In contrast, The Eternal Road ends much more ambiguously with a vague hope for a return to Zion among a defeated and divided community, bowing to a fate of perpetual exclusion, persecution, and powerlessness.


Mendelssohn, Goethe, and the Walpurgis Night
The Heathen Muse in European Culture, 1700-1850
John Michael Cooper


Mendelssohn, Goethe, and the Walpurgis Night is a book about tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains.
After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal and professional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz.
In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of spiritual inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insights into its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world.

Among some of his (Goethe’s) most engaging/compelling musical experiences of his late maturity were the visits of Felix Mendelssohn, who was 12 years old in 1821 and had been introduced to Goethe personally in Weimar by his (Mendelssohn’s) teacher, Zelter. Further visits took place in 1822, 1825, and 1830. Goethe had Mendelssohn play for him and explain to him technical matters concerning music and music history. This relationship became one of tender devotion on the part of Goethe towards Mendelssohn: in 1822 Goethe said to Mendelssohn: “I am Saul and you are my David,” and in his last letter to Mendelssohn, Goethe began with “My dear son.” Mendelssohn dedicated his Piano Quartet in B minor, opus 3 to Goethe and composed music for “Die erste Walpurgisnacht” (1^st version in 1832)…. Goethe was eager to hear instrumental music which was played by Reichardt, Kayser, Zelter, Eberwein, Hummel, Spohr, Beethoven, Baron Oliva, Szymanowska (female pianist), J. H. F. Schütz, and finally by Mendelssohn whom he repeatedly asked to play something for him.”]


Mendelssohn's Die erste Walpurgisnacht, one of his greatest cantatas, was based on Goethe's Faust, and on Goethe's personal interpretation of the scene (Grove Dictionary 146). Mendelssohn's friendship with the poet lasted for a great many years, up until Goethe's death in 1832.

The first Walpurgisnacht

The Ouverture represents the transition from the winter to spring. The beginning in A-Moll is overwritten with “the bad weather”, while with the idiom into the Dur variant approaching the Walpurgisnacht in spring is announced. It is described in the following, as the priests and Druiden of the Celts meet secretly in the inhospitable mountains of the resin, in order to address after old custom with fire their prayer to the all father of the sky and the earth. Since their rites are forbidden by the Christian gentlemen however, everything must happen in the secret one. With cheat and to linings the soldiers of the Christians were frightened in such a manner that the Celts in peace can celebrate their Walpurgisnacht.
There are two Walpurgisnächte in Goethe's work. Admits is above all that from that fist I, in which a typical Hexensabbat is sworn to in visionär grotesque way. On the other hand Goethe takes poem the first Walpurgisnacht a heidnisches victim celebration developed to 1799 in that during thunderstorm eight to the cause to confront two incompatible ways of thinking and being LV each other.
Whole 19. Through century the romantic composers let themselves fist be inspired again and again from the picture world of the I and fist II, while the first Walpurgisnacht remained almost unknown. Only Carl Friedrich Zelter, Goethe friend and musical advisor, have try, the poem tone. It kept full fifteen years it under its papers, before it took distance finally from a project, which exceeded its imagination.
That was introduced by Zelter at that time twelve-year-old boy Mendelssohn with around sixty years the older Olympier Goethe, whom time and fame had coined/shaped. By Beethoven and Schubert to judge, understood the old gentleman not much about music. In its youth he had heard some of the Mozarts' works, whose clarity and harmony it zollte still at the age attention and acknowledgment; and it found favours to feel with the citizen of Berlin miracle child from good family the aftereffect of those melodies in those the ideal of its own youth lived. It would be inaccurate to speak of a co-operation between Goethe and Mendelssohn. The first important piece, to which the poet energized the young musician, was the Ouvertüre sea silence and lucky travel, which arrived only in the year 1832, Goethe's death year, at the public performance. That Goethe would have known to appreciate a music, so clearly under Beethovens the influence is to be doubted. Just as little it the score of the first Walpurgisnacht would have probably behagt. The work, in which orchestras and voices verwoben closely into one another are, becomes not completely fair the central thought of the artist Philosphen. From its “Faible for witches” seduced, Mendelssohn stated little interest in the deeper meaning of the poem: the always-lasting conflict between the instinktiven natural forces on the one hand and the mental clarity of a thought world coined/shaped by the clearing-up on the other hand. With the primarily romantic treatment of the article it remains on the level of a descriptive poem and tears us in tumbles uncontrolled thunderstorm eight.
The 1831 completed first minute of the score experienced substantial changes, before she arrived to 1842 at the premiere. Goethe did not experience no more, which regulation to his verses assign became, whose Vertonung lends a fascinating juvenile fire to them. Mendelssohn proves here as genuine romantics. It uses a pallet of magnificent tone qualities, lets the horns from the supple fabric of the Streicher step out and gives to the Holzbläsern a most personal note. The choirs are from a Schlichtheit, which lends occasionally the serious character of a Volksliedes to them, while proper large airs are assigned to the soloist.
The whole wealth of the romantic opera is united in this musical illustration of a poem, which reminds at the Feenzauber of shakespearscher scenes. The choir of the Druiden (No. 6 of the score) is from an imaginativeness, which only the late Verdi in the last act of its Falstaff reaches again. The composer, at whom Goethe estimated the causing its own youth, somehow not completely up-to-date one, appears here surprisingly as one of the prophets of the music 19. Century. With deciveness it secures the transition from Beethoven to the large rhapsodies of Brahms.

Jean Francois Labie
(Translation: Ingrid trusting man)

G O E T H E ' S   P A G A N   P O E T R Y

Goethe, a genius with unmistakable Pagan sympathies,
excelled as a poet, dramatist, novelist, essayist,
philosopher and scientist (his works occupy 140
volumes!).  Here are several of his Pagan poems,
including his ballade "The First Walpurgis-Night," in
which the Pagans score a Discordian victory over their
oppressors.  (I'm sure Goethe now dwells happily among
the Pagan Gods.)  The ballade has been set to music by
Mendelssohn (Die Erste Walpurgisnacht), which is quite
good, but not suitable for small group performance.
Perhaps the Muses will help some modern Pagan to
compose a version for contemporary witches' sabbats.
Although only the God (Allvater) is mentioned, I've
left Goethe's text unchanged; it's easy to substitute
"Mother" for some or all of the "Father"s if you like.
           -- John Opsopaus


THE FIRST WALPURGIS-NIGHT
Johann Wolfgang von Goethe

A DRUID.

Sweet smiles the May!
The forest gay
From frost and ice is freed;
No snow is found,
Glad songs resound
Across the verdant mead.
Upon the height
The snow lies light,
Yet thither now we go,
There to extol our Father's name,
Whom we for ages know.
Amid the smoke shall gleam the flame;
Thus pure the heart will grow.

THE DRUIDS.

Amid the smoke shall gleam the flame;
Extol we now our Father's name,
Whom we for ages know!
Up, up, then, let us go!

ONE OF THE PEOPLE.

Would ye, then, so rashly act?
Would ye instant death attract?
Know ye not the cruel threats
Of the victors we obey?
Round about are placed their nets
In the sinful Heathen's way.
Ah! upon the lofty wall
Wife and children slaughter they;
And we all
Hasten to a certain fall.

CHORUS OF WOMEN.

Ay, upon the camp's high wall
All our children loved they slay.
Ah, what cruel victors they!
And we all
Hasten to a certain fall.

A DRUID.

Who fears to-day
His rites to pay,
Deserves his chains to wear.
The forest's free!
This wood take we,
And straight a pile prepare!
Yet in the wood
To stay 'tis good
By day till all is still,
With watchers all around us placed
Protecting you from ill.
With courage fresh, then, let us haste
Our duties to fulfil.

CHORUS OF WATCHERS.

Ye valiant watchers now divide
Your numbers through the forest wide,
And see that all is still,
While they their rites fulfil.

A WATCHER.

Let us in a cunning wise,
Yon dull Christian priests surprise!
With the devil of their talk
We'll those very priests confound.
Come with prong and come with fork,
Raise a wild and rattling sound
Through the livelong night, and prowl
All the rocky passes round.
Screech-owl, owl,
Join in chorus with our howl!

CHORUS OF WATCHERS.

Come with prong, and come with fork,
Like the devil of their talk,
And with wildly rattling sound,
Prowl the desert rocks around!
Screech owl, owl,
Join in chorus with our howl!

A DRUID.

This far 'tis right,
That we by night
Our Father's praises sing;
Yet when 'tis day,
To Thee we may
A heart unsullied bring.
'Tis true that now,
And often, Thou
Favorest the foe in fight.
As from the smoke is freed the blaze,
So let our faith burn bright!
And if they crush our olden ways,
Who e'er can crush Thy light?

A CHRISTIAN WATCHER.

Comrades, quick!  your aid afford!
All the brood of hell's abroad:
See how their enchanted forms
Through and through with flames are glowing!
Dragon-women, men-wolf swarms,
On in quick succession going!
Let us, let us haste to fly!
Wilder yet the sounds are growing,
And the arch fiend roars on high;
From the ground
Hellish vapors rise around.

CHORUS OF CHRISTIAN WATCHERS.

Terrible enchanted forms,
Dragon-women, men-wolf swarms!
Wilder yet the sounds are growing!
See, the arch fiend comes, all-glowing!
From the ground
Hellish vapors rise around.

CHORUS OF DRUIDS

As from the smoke is freed the blaze,
So let our faith burn bright!
And if they crush our olden ways,
Whoe'er can crush Thy light?

[Bowring translation]


THE CONSECRATED SPOT

When in the dance of the Nymphs, in the
moonlight so holy assembled,
Mingle the Graces, down from Olympus in secret
descending,
Here doth the minstrel hide, and list to their
numbers enthralling,
Here doth he watch their silent dances'
mysterious measure.
[tr. Bowring]


[All selections from "The Poems of Goethe," New York:
John D. Williams, 1882.]

   finis

The Romantic Mendelssohn: The Composition of Die erste Walpurgisnacht

JSTOR: The Music of To-Day

THE FAUST LEGEND IN MUSIC

SEE

Paganism


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Fire, choral music, Gnostic, Druids, Spring, Germany, Carnival,Mendelssohn, pagan, Divine Fool, Faust, Tree of Life, Christianity, Walpurgisnacht, Beltane, Goethe, magick, gnostic

Thick as a Brick.

This blog headline; 23% Of Canadians Are THICK reminded me of this;




Which is one of the finest Concept Rock Opera's of the early seventies.

And considering it won platinum because of Canadian sales, I would say we are.


See: Environment

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rock, music, progressive, bands, polls, polling, Canada, Alberta, green, environment, climate change, global warming

Dion Sucked

Celine Dion not Stephane Dion.

At the Academy Awards.

Doing a pathetic souless song dedicated to the great composer Ennio Morricone.

10:52: I'm not the biggest fan of movie scores, but I have to say, Ennio Morricone elevates the genre. Take notes, please, John Williams. Celine Dion opens her mouth, my cue to get up and stretch my legs.

In fact it was so bad that while she looked like she was lip-syncing the words were actually coming out of her mouth. With lip-syncing there is at least some power, some force, some emotion because it is pre recorded. This was live.

You had to lean forward to hear her sing, and as the camera focused on her mouth I was given to think of a Kissing Gourami as she painfully formed each word with her lips as she sang. High notes ferget it. Deep contralto ferget it. It was white toast, nah make that Melba toast.

Luckily it was the Academy Awards and not American Idol, or she would never have made the cut. But then again Best Supporting Actress awards are given to those who don't make it on Idol.


Dion's performance was a flat as the other Dion's has been in Question period.

That's what happens when unilingual Francophone's try to express themselves in English by reading from a script or a teleprompter.





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Shaft

This is too funny I just heard it on CKUA Overnight...

John Shaft Listen

I thought it was Billy Crystal imitating Sammy Davis Jr. doing Issac Hayes; Shaft Theme.

Nope I was wrong.

It was the real Sammy Davis Jr. doing the Shaft Theme. Talk about high camp.

He isn't even singing he is reading the words, sort of like William Shatner does.

And it is on not just one album, nor two, but three!

The only way it could have been campier is if he had a Klezmer band in the background. Nope sorry then it would sound like Sammy imitating Billy.




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Trumpetlingus

The dirtiest song ever.

Don Ellis performing Pussy Wiggle Stomp from his Live At the Fillmore album.

lyrics - don ellis

There are no lyrics it's all grunts groans and licking the mouthpiece. Reminiscent of the later grunting orgasms of Keith Jarrett as he plays his piano, or the Japanese Cellist I saw in the seventies play with the Edmonton Symphony, who grunted and groaned playing his cello.

I found it a very funny song when I first heard it, and was suitably impressed with Don Ellis speeded up time signature.

However what was really funny was to hear him make dirty with what trumpet players do everyday, that is warm up their lips blowing into their mouthpieces before they even begin to practice with their horn.

Don Ellis was a unique product of the sixties, he mixed jazz, rock, electronica, classical and world music before anyone else in jazz. As the Sights and Sounds documentary on Don; Electric Heart, points out.

As a trumpet player myself, Ellis was a breathe of fresh air, and was as radical as Frank Zappa, and as underrated.

Until Ellis trumpet even when it was solo or big band, Miles or Herb Albert, was not a lead instrument, the source of the sound, with the band in the background. Ellis did for trumpet what great rock guitar soloists of the sixties did for that instrument.

In that wonderful world of blog syncronicity I find that there is a revival of sorts around Don and his music with last summers re-release of Pieces of Eight and Don Ellis Band Goes Underground.

But as I discovered years later writing this article and realizing I have no Don Ellis CD's . But I do have vinyl albums. So as a result of this article I ordered some Don Ellis from my pal Peters store; South Side Sound.

I made a special order mistakenly of Don Ellis Live At Monterey, which does not have Pussy Wiggle Stomp on it. But is does have 33 222 1 222 which after listening too I realized was the musical basis, sub structure tonality for Pussy wiggle Stomp.

Listening to this break through Live album I realised that I had never heard it before. And suddenly it was all fresh. Why and what I remembered of Don Ellis, and what made him and his band unique. They were a band, and they went beyond cutting edge in sound not only for their time, for their moment in history, but beyond. And for a white jazz big band. They dared, they broke boundaries.

And for me as a young trumpet player, who had been forced to pick an instrument to learn, because that's what you do to keep up with the Jone's. So I picked trumpet as it broke through in pop music with Herb Albert and the Tijuana Brass.

But it was Don Ellis that really turned me on as to what a trumpet and a modern big band could do.

In the post modern Jazz world of the seventies, Don broke open a dam, and the flood created the new jazz, including the urban funk of Miles as well as the popularization of Jazz fusion of Chick Corea. It was the new sound of classic rock meeting classic jazz.

Thanks to Don Ellis.

Don Ellis Collection

Don(ald Johnson) Ellis was a jazz trumpeter, drummer, bandleader, touring performer, recording artist, composer, and arranger. Born in Los Angeles in on July 25, 1934, he died of a heart attack at his home in North Hollywood on December 17, 1978. Ellis studied composition at Boston University (BMus 1956) and spent a year as a graduate student at UCLA, where he later taught. Ellis played with a variety of prestigious big bands and jazz groups, including those of Charlie Barnet, Sam Donahue, Maynard Ferguson, Lionel Hampton, Woody Herman, Ralph Marterie, Ray McKinley, Stan Kenton, George Russell, and Claude Thornhill. He also led big bands, jazz orchestras, trios, quartets, and other small combos of his own. He performed with the National Symphony Orchestra of Washington, DC, under the direction of Gunther Schuller, the New York Philharmonic under the direction of Leonard Bernstein, and the Los Angeles Philharmonic under the direction of Zubin Mehta.

Ellis is perhaps best known for his unusual and complex meters, amplified trumpet, electronic distortion, and quarter-tone melodic structures. He often used 9/4, 5/8, 7/8, 9/8, and 19/4 time signatures. He played a quarter-tone trumpet with four valves, which gave subtlety and microtonal effects to his music. In later years, he played a "superbone," a combination valve and slide trombone. Ellis received Grammy nominations for Live at Monterey (1967), Electric Bath (1968), The New Don Ellis Band Goes Underground (1969), Don Ellis at Fillmore (1970), and "Theme from The French Connection" (1972). "Theme from The French Connection" won the Grammy for "Best Instrumental Arrangement" in 1972.

Don Ellis Web Archive

DonEllisMusic.com -- Dedicated to the Music and Life of Jazz ...

Before his untimely death in 1978 at the young age of 44, Don Ellis was one of the most creative and innovative jazz musicians of all time. In a career span of less than 25 years, Don Ellis distinguished himself as a trumpeter, drummer, composer, arranger, recording artist, author, music critic, and music educator. However, Don Ellis is probably best remembered for his work as a big band leader. His orchestra, which was active from 1966-78, achieved enormous popular appeal at a time when the influence of big band music was noticeably fading.

Don Ellis - Wikipedia, the free encyclopedia

Don Ellis: Information from Answers.com

CD Baby: SAM FALZONE: A Family Sweet

While employed as a school teacher in 1965, Falzone met Don Ellis who was in residence at the University of Buffalo - a meeting that would rechart Sam's life for the next twelve years.

Ellis encouraged Falzone to begin writing and invited him to join his orchestra, for which he was to serve as performer, composer, and road manager from 1965-1976. The Don Ellis Orchestra not only was one of the most exciting and persistently innovative large jazz ensembles of the time, but also attracted a large and enthusiastic following. Falzone was frequently featured as a soloist ("Salvatore Sam" on Live at the Fillmore, "Pussy Wiggle Stomp" on Autumn) and composer/arranger ("Get It Together" on Tears of Joy, "Go Back Home" on Soaring, "Put It Where You Want It" on Connection).



Don Ellis at Fillmore
by Don Ellis
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This is a crazy and consistently riotous two-disc set that... More 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. Unfortunately, no bonus tracks were available. ~ Scott Yanow & Al Campbell, All Music Guide

DON ELLIS THE FINAL ANALYSIS

A miscellany of quotes made over the years by and about Don Ellis ... The late Leonard Feather once prophesied that Don Ellis would become the Stan Kenton

Don Ellis on YouTube

Don Ellis' Child Of Ecstasy 03:28 As a huge fan of Don Ellis it's really special for me to get a chance to play his music this one in particular is one of my favorite tunes. It combines Don's "out there" writing and monumental trumpet lines reminiscent of Maynard Ferguson o As a huge fan of Don Ellis it's really special for me to get a chance to play his music this one in particular is one of my favorite tunes. It combines Don's "out there" writing and monumental trumpet lines reminiscent of Maynard Ferguson or Cat Anderson. (more) (less) Tags: Maynard Ferguson Don Ellis Trumpet Scream Added: 1 month ago in Category: Music From: Fwlr2004 Views: 273 3 ratings

Don Ellis 07:11 This is Don Ellis playing the song "New Horizons" Tags: Don Ellis Jazz Added: 6 months ago in Category: Music From: degennes Views: 3,342 13 ratings

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Jazz Blogs

A group of Jazz blogs that rip music and do reviews of the hot jazz period of the late sixties and early seventies.


My articles on music:

Revolutionary Music Flashback

Happy Birthday Mozart

Soul of a City

Before MTV

Nazanin

Happy Birthday Bob

Daniel Barenboim's Dream

Rich Man's War

Classical Rock

Ennio Morricone A Fistful of Composer

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