"Don Ellis" was an United States/American jazz trumpeter, drummer, composer and bandleader. He is best known for his extensive musical experimentation, particularly in the area of unusual time signatures. Later in his life he worked as a film composer, among other works contributing a score to 1971's The French Connection (film)/The French Connection and 1973's The Seven-Ups.

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On those long notes behind the trumpet solo, if anyone lets his mind wander for a minute he is dead.

Because when we are right there is not a band in the world that can touch us!

As we see in folk music quite often, emotion transforms what might otherwise be considered 'corny' (i.e. trite, banal, sentimental) music into valid, moving art.

It is much easier to be accepted if you play like everyone else, and you will get more jobs. It depends on where your values lie.

It is my belief that there is a tendency among the so-called 'modern' or 'hip' jazz musicians to consider styles other that their own, 'corny', and it is my contention that in actuality it is these musicians who are producing that which in future years perceptive critics will deem 'corny'.

I expect the audience to come up to my level. I am not interested in compromising my music to make it palatable to an assumed sub-standard mass.

The truth in the matter lies in the fact that anything repeated too long without variation tends to become boring.

I got bored with the old way - it came too easy. I worked until I could play and chord changes at any tempo in any key, and then said 'What else is there?' Now I'm finding out.

Why should a craftsman not make use of all his tools if they will promote a greater communication and expressiveness? This is not to deny that beautiful things can be fashioned out of very modest means, but what possible objection can there be towards an artist trying to be more resourceful?