Editing Don Ellis (section)

==Europe and America==
In October 1962, Ellis traveled to Poland to take part in the 1962 Jazz Jamboree in [[Warsaw]]; his quartet performance was partially documented on a Polish-only {{convert|10|in|adj=on}} EP. Ellis chronicled his experience in an article called ''Warsaw Diary'', which was printed in the January 3rd, 1963 issue of ''[[DownBeat]]'' magazine.<ref>Ellis, Don. ''Warsaw Diary''. ''Down Beat'', January 3, 1963.</ref> In December, Ellis participated in the [[Norddeutscher Rundfunk|NDR]] Jazz Workshop in [[Hamburg]], [[Germany]],<ref>Frohne, Michael. {{cite web |url=http://www.uni-duisburg.de/AVMZ/frohne/discos/hamburg.htm |title=Workshops, Workshop TV and Radio Concerts by the NDR |accessdate=2007-11-12 |url-status=dead|archiveurl=https://web.archive.org/web/20060303055049/http://www.uni-duisburg.de/AVMZ/frohne/discos/hamburg.htm |archivedate=March 3, 2006 }}</ref> and in early 1963, traveled to [[Stockholm]], [[Sweden]]. While there, he became somewhat well known for his experimentation with [[happenings]], similar to those used by members of the [[Fluxus]] art movement.<ref>Feather, 218</ref>

Back in New York, Ellis formed the Improvisational Workshop Orchestra, which gave its debut performance on February 10, 1963 at the [[Five Spot]].<ref name=Agostinelli>Agostinelli, Anthony. "Don Ellis: A Man For Our Time" published in ''Jazz Research Papers: 1984''. NAJE Publications: Manhattan, KS, 1984.</ref> (Another tape of the same group is listed in the Don Ellis Collection as being recorded on Feb. 9th,<ref>[http://www.ethnomusic.ucla.edu/archive/previous_site/ellis7in.htm Don Ellis Collection: 7 Inch Reels] {{webarchive |url=https://web.archive.org/web/20120309015540/http://www.ethnomusic.ucla.edu/archive/previous_site/ellis7in.htm |date=March 9, 2012 }}. Accessed Nov. 18th, 2007</ref> but it may be a rehearsal tape.) The performance had a quality similar to those Ellis gave in Sweden: unusual artistic devices were employed, such as performers using cards to determine event orders, and musicians using their instruments to interpret a painter's work. Some uncommon musical elements were employed, such as the use of Arabian rhythms and scales, and foot shuffling.<ref name=Agostinelli/>