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| John Ellis: Heroes: Blue Room Music |
The talented multi-woodwind artist John Ellis originally hails from North Carolina. He is a much sought after musician with over one hundred and fifty album credits as a sideman to his name. Besides his work as a leader, his horn work has often been heard in the orchestra of Darcy James Argue, and on projects with Kendrick Scott, Helen Sung, Dr. Lonnie Smith, Charlie Hunter, John Patitucci and Sting to name just a few.
Ellis studied in New Orleans in the 1990s with the pianist Ellis Marsalis and worked with drummer Brian Blade and trumpeter Nicholas Payton while studying there. The NOLA sound is a important aspect of his unique musical voice on the saxophone. Now based in both New York and New Orleans, Ellis's last recording as a leader was his 2023 release, Bizet: Carmen in Jazz, a wonderful album inspired by the music of Georges Bizet. Ellis's album was named one of Notes on Jazz's Best of Jazz for 2023 for its skillful execution of using jazz and some New Orleans influences to bring Bizet's opera into a new light with vivacity and reverence.
Ellis's latest project is titled Heroes, released in March of this year on Blue Room Music. Despite being a first call musician whose work has been predominantly in large ensembles, Ellis has always had a special connection to the classic jazz quintet format, two horns, in this case trumpet and tenor saxophone, and a piano along with bass and drums. On this outing, Ellis enlisted the expressive pianist Gary Versace, and a long time collaborator and superb bassist Reuben Rogers, both of who were on his Bizet album. The group is rounded out with the trumpeter Mike Rodriguez, a fiery horn player that is also part of the star ensemble SF Jazz Collective, and the sought after traps master Kush Abadey, who also works frequently with Ethan Iverson and Melissa Aldana.
With this exceptionally talented group, Ellis presents eight compositions on Heroes whose themes are derived from people-mentors, friends, family or inspirations- who have had an impact on Ellis's life. The unifying factor that makes this album so rewarding is the empathetic playing that these five gentlemen find in expressing Ellis's music so decisively and with passion. The interplay is so intuitive as to make the whole of this band so much more as a unit than as the individual parts. There are notable individual performances on this album to be appreciated, but the cohesiveness of this group and the subtle direction of the leader is the magic potion here.
"Slingshot" is a reharmonizing of the chords of pianist Ron Miller's "Small Feats," a mentor/teacher to Michael Rodriguez while he was at University of Miami. Miller's song was in turn a take on Coltrane's "Giant Steps." Here Ellis's brand offers some beautiful synchronized trumpet/tenor playing and a stellar piano solo by Versace.
"Beautiful Day" is a song that borrows from the theme to Fred Rogers old show Mister Roger's Neighborhood, a favorite of Ellis. There is joy in this song and you got to love the booming bass work of Rogers as he prances through this one. Ellis's tenor solo is deep-throated and reminiscent of some of Sonny Rollins' work. Abadey has his turn to add his own percussive acuity to the mix.
"El Cid" is a cinematic feast that features Rodriguez's clarion trumpet. The music recalls the movie of the same name that featured Charlton Heston as the Castilian knight Rodrigo Diaz de Vivar who grappled with Christian and Muslim armies. The music transports the listener to the medieval majesty of the period.
"Fort Worth" is an Ellis tip of the hat to two Texans of influence, Ornette Coleman and Dewey Redman. The music has that jumpy, walloping attitude that brings the world of hoe-down sensitivity to this one. The two horns fluently play off each other-Versace has an inspired take here- and Abadey's drum work shows his skillful percussive play off these lines. I am sure these guys enjoyed playing this one.
"Three Jewels" brings sensitivity and some contemplation to the music. This could be inspired by some of Coltrane's more meditative pieces. There is some probing, beautifully resonating bass lines by Rogers as Rodriguez soars majestically on the first solo. Ellis's deep-throated tenor navigates the shifting and turning line with expressiveness and aplomb. Versace's accompaniment is subtle and on point, and Rogers' solo is facile and inventive.
The album continues with "Color Wheels," a modal piece that has a circular feel and features telepathic trumpet/saxophone synchronous playing. There is a sense of reverence to this music that seems to emote from the way these guys play on this one. Ellis is particularly fluid and expressive. Versace 's piano is delicate and warm. The music is purportedly inspired from Bill Evans' "Blue in Green." Clearly a musical Hero for many.
"Linus and the Lyre" takes its theme from Greek mythology. Linus of Thebes was a notable musician, poet and teacher who was assigned to teach music and letters to young Hercules, son of deity Zeus and his mortal mother Alcmene. The legend has Linus berating and beating a young Hercules so severely for his unscholarly behavior, that Hercules in a rage took a Lyre and beat Linus to death. The music opens with a syncopated bass line before the two horns spell out the gorgeous melody line. Ellis plays a compassionate tenor solo that ebbs and flows with grace and style, one of his most expressive on the album. Rodriguez follows with his own more staccato, searching trumpet solo. Gary Versace's piano unfolds with a emotionally strong solo that dances as Abeday's set work accentuates the music with a percussive delight. The drummer's talent is featured in front of the last section as the two horns, piano and bass fade in a synchronous coda.
"Other Saints" has a distinct NOLA feel, accentuated with a Caribbean vibe that Reuben, who originally hails from St Thomas, carries off so well on his bass. It's hard not to claim some influence from Sonny Rollins's "St. Thomas" or from other island inspired classics. There are plenty of heroes that could apply to this song. As you metaphorically follow this cheerful group as they make their way down a boisterous and gay Bourbon street, there is no denying that the music makes you want to move your feet and puts a smile on your face.