The Exotic Rhythms of Don Ellis a Dissertation Submitted to the Peabody Institute of the Johns Hopkins University in Partial Fu
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THE EXOTIC RHYTHMS OF DON ELLIS A DISSERTATION SUBMITTED TO THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS BY SEAN P. FENLON MAY 25, 2002 © Copyright 2002 Sean P. Fenlon All Rights Reserved ABSTRACT Fenlon, Sean P. The Exotic Rhythms of Don Ellis. Diss. The Peabody Institute of the Johns Hopkins University, 2002. This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The New Rhythm Book (1972), and Rhythm (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis’s important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis’s most rhythmically-complex and also most-popular compositions. iii ACKNOWLEDGMENTS I wish to extend my heartfelt thanks to my dissertation advisor, Dr. John Spitzer, and other members of the Peabody staff that have endured my extended effort in completing this dissertation. Also, a special thanks goes out to Dr. H. Gene Griswold for his support during the early years of my music studies. Posthumous thanks to Hank Levy whose incredible musical influence introduced me to the music of Don Ellis. Most of all, I would like to thank my wife Terri for her love, support, and patience throughout the process of completing this dissertation. iv DEDICATION The author wishes to dedicate this dissertation to Henry J. (Hank) Levy (1928- 2001). v TABLE OF CONTENTS List of Tables ..................................................................................................................... ix List of Figures......................................................................................................................x List of Examples ................................................................................................................xi I. Introduction .....................................................................................................................1 Survey of Ellis Sources..................................................................................................3 The Don Ellis Memorial Library .............................................................................3 Ellis Recordings.......................................................................................................4 Liner Notes...............................................................................................................4 Ellis Writings ...........................................................................................................5 Scores.......................................................................................................................6 Interviews.................................................................................................................6 Scholarly Works.......................................................................................................7 Books .......................................................................................................................9 Periodicals..............................................................................................................10 Dissertation Overview .................................................................................................10 II. Brief Biography & Stylistic Evolution.........................................................................12 Childhood & Early Music Instruction (1934 – 1952)..................................................12 College Years (1952 – 1956) .......................................................................................13 vi Sideman Years (1956 – 1960)......................................................................................14 Small Band Leader (1960 – 1963)...............................................................................15 Exposure To Music Of Non-Western Cultures (1963 – 1965)...................................25 Early Big Band (1965 – 1970).....................................................................................30 Late Big Band (1970-78) .............................................................................................46 III. Historical Background ................................................................................................60 Brief History of Jazz Rhythms Through 1960.............................................................60 Regular Pulse vs. Absence of Regular Pulse ...............................................................63 The Development of Unconventional Meters in Jazz..................................................64 Attitudes Toward Unconventional Meters In Jazz.......................................................68 Summary of Historical Background ............................................................................72 IV. Analysis of Ellis Writings and Theories (1965-1973)................................................75 Introduction to Ellis’s Writings on Exotic Rhythms....................................................75 Description of Ellis’s Documents on Exotic Rhythms ................................................76 Analytic Overview of Ellis’s Writings on Exotic Rhythms.........................................82 Exotic Meters.........................................................................................................84 “Straight Ahead” meters ..................................................................................85 Additive meters................................................................................................88 Irregular Subdivisions of the Beat and Unequal Beats ....................................91 Rhythmic Superimpositions...................................................................................92 Superimpositions Within the Barlines .............................................................94 Superimpositions Over the Barlines ................................................................94 Tihai .................................................................................................................98 Metrical Superimposition in Exact Multiples..................................................99 Ellis’s Two Categories of “New Rhythms” Combined .......................................107 Inconsistencies and Peculiarities in Ellis’s Rhythmic Practice............................110 vii Ellis’s Theory and Notation vs. Aural Perception ...............................................113 V. Ellis’s Use of Exotic Rhythms in Composition (Analytical).....................................116 Analytical Approach ..................................................................................................116 Analysis of “Strawberry Soup”..................................................................................117 Schema.................................................................................................................117 Intro......................................................................................................................121 First Chorus..........................................................................................................125 Second Chorus .....................................................................................................133 Third Chorus ........................................................................................................135 Fourth Chorus ......................................................................................................137 Fifth Chorus .........................................................................................................140 Sixth Chorus.........................................................................................................143 Seventh Chorus ....................................................................................................143 Eighth Chorus ......................................................................................................145 Ninth Chorus........................................................................................................147 Shout Chorus..................................................................................................148 Drum Routine.................................................................................................150 Second Half....................................................................................................153 Blues Coda...........................................................................................................155 Summary of Strawberry Soup Analysis...............................................................157 VI. Conclusion ................................................................................................................160 Bibliography ....................................................................................................................165