JOY ELLIS - Dwell
Oti-O Records CD002
Joy Ellis (piano, Rhodes, vocals); Rob Luft (guitars); Henrik Jensen (double bass); Ferg Ireland (electric bass); Adam Osmianski (drums); Helen Burnett (sound bowls on 'Daffodils')
Recorded February - April 2019
Almost exactly two years o from her highly acclaimed debut recording, Life On Land, the pianist, singer and composer releases her second album, Dwell. If the debut was to bode well for Ellis, then the follow up justifies the accolades previously received with a solid follow up that builds on the first recording, while also looking to move her music onwards and upwards.
It is therefore gratifying to note that Ellis has retained the services of the core band from Life On Land, and this familiarity and continuity pays dividends giving confidence for the singer to flex her writing muscles safe in the knowledge that the musicians are comfortable and readily able to identify with any new material that may be presented to them.
The set opens strongly with 'Daffodils' with Joy establishing many of the ground rules for the remainder of the album. Interesting compositions that are harmonically and rhythmically propulsive, and allow plenty of room for some sparkling solos. If much of the playing comes out of the hard bop tradition, the soloists are also very much in command of the contemporary idiom and how to bridge both to give a perfectly balanced take on the material that is both traditionally weighted and modern by turns.
Apart from her vocals and abilities as a lyricist, the real treat here is how Joy has continued to develop as a composer and pianist. The songs all have a strong melodic hook, and a framework that obviously stimulates the imagination of all concerned, and ready to lead by example, the pianist takes some blistering solos that have a clean limbed and lyrical sense of structure, coupled with a sense of adventure and leap into the unknown with each outing. This shines through in the superb 'Family Tree', and the more subdued 'One Minute In Manchester', with the piano accompaniment mirroring the sombre lyrics to perfection.
Guitarist, Rob Luft, just gets better and better every time I hear him, and his contribution to Ellis' music cannot be underestimated whether contributing distorted or ethereal soundscapes to the songs, or in his deeply grooving and infectiously swinging solos. He is rapidly becoming the complete guitarist, knowing just what and how much to contribute to just about any setting; always playing just what is required to make his role within the composition work and also lifting the music a notch or two in the process.
With another strong release under her belt, an evolving sense of self and a group sound that will appeal to broad audience outside of the usual jazz fraternity it is hoped that Joy Ellis will be able to continue to present her music to listeners across the so-called genre divide. If she can continue to retain the services of this wonderful group of musicians, and continue along her chosen path, there is every chance that wider acclaim may not be far behind.
Reviewed by Nick Lea
Oti-O Records CD002
Joy Ellis (piano, Rhodes, vocals); Rob Luft (guitars); Henrik Jensen (double bass); Ferg Ireland (electric bass); Adam Osmianski (drums); Helen Burnett (sound bowls on 'Daffodils')
Recorded February - April 2019
Almost exactly two years o from her highly acclaimed debut recording, Life On Land, the pianist, singer and composer releases her second album, Dwell. If the debut was to bode well for Ellis, then the follow up justifies the accolades previously received with a solid follow up that builds on the first recording, while also looking to move her music onwards and upwards.
It is therefore gratifying to note that Ellis has retained the services of the core band from Life On Land, and this familiarity and continuity pays dividends giving confidence for the singer to flex her writing muscles safe in the knowledge that the musicians are comfortable and readily able to identify with any new material that may be presented to them.
The set opens strongly with 'Daffodils' with Joy establishing many of the ground rules for the remainder of the album. Interesting compositions that are harmonically and rhythmically propulsive, and allow plenty of room for some sparkling solos. If much of the playing comes out of the hard bop tradition, the soloists are also very much in command of the contemporary idiom and how to bridge both to give a perfectly balanced take on the material that is both traditionally weighted and modern by turns.
Apart from her vocals and abilities as a lyricist, the real treat here is how Joy has continued to develop as a composer and pianist. The songs all have a strong melodic hook, and a framework that obviously stimulates the imagination of all concerned, and ready to lead by example, the pianist takes some blistering solos that have a clean limbed and lyrical sense of structure, coupled with a sense of adventure and leap into the unknown with each outing. This shines through in the superb 'Family Tree', and the more subdued 'One Minute In Manchester', with the piano accompaniment mirroring the sombre lyrics to perfection.
Guitarist, Rob Luft, just gets better and better every time I hear him, and his contribution to Ellis' music cannot be underestimated whether contributing distorted or ethereal soundscapes to the songs, or in his deeply grooving and infectiously swinging solos. He is rapidly becoming the complete guitarist, knowing just what and how much to contribute to just about any setting; always playing just what is required to make his role within the composition work and also lifting the music a notch or two in the process.
With another strong release under her belt, an evolving sense of self and a group sound that will appeal to broad audience outside of the usual jazz fraternity it is hoped that Joy Ellis will be able to continue to present her music to listeners across the so-called genre divide. If she can continue to retain the services of this wonderful group of musicians, and continue along her chosen path, there is every chance that wider acclaim may not be far behind.
Reviewed by Nick Lea
