Morning Light Liner Notes by Randy Brecker

I was pleased to be asked by John Ellis to write the liner notes for “Morning Light” his 2nd CD. His 1st CD had surprised me with its maturity of conception, plus John’s playing was superb. This was after a 20 year or so hiatus, from the trumpet and performance! Any trumpet player will tell you that this is a feat not easily accomplished. It takes a lot of commitment and perseverance. Add to that, a talent and dedication toward composition and arranging, and you begin to realize how much work goes into a project like this.

The new CD reaffirms John’s return to Jazz, and adds some Latin leanings to the mix. It is filled with great playing from all concerned (once again, what a band!) and also a memorable batch of new tunes. “Morning Light”, the title track, features an introductory bass clarinet, some polyrthymnic musings; inventive, modal, and melodic, soloing from John and Michael Brecker, sensitive accompaniment by an excellent rhythm section, and a composition with a real sense of development.

“So Much Sorrow”, in a minor-major 7 mode, moodily captivates the listener. Edward Simon solos within the nuance, and Mike’s interlude is very effective, topped off by John in a Milesian mode. Isla Verde reminds me of my man Horace Silver’s compositions. Chris Potter, John, and Edward solo in a Cape Verdean mood.

“Ballad To Chet” is a heartfelt tribute with John’s beautiful tone shining through. Eddie Gomez singing into his solo plays with his usual self assurance and soul. An interlude by John is followed by a moody, searching Chris Potter.

“One Last Tune” features a free-er context where John creatively solos in harmon mute. Listen carefully and you can hear an intense Al Foster gutteral offering in the background. These guys know how to focus!

Edward solos well, into a Foster fete of musicality, then back to the upbeat head. ”Bittersweet Love”, a melodic beguine, with some interesting harmonic twists, is a feature for another swingin’ Edward Simon solo, ending with a brief quote from “The Peanut Vendor”, picked up and turned around by Chris Potter into his tenor solo. John picks up the melody with Chris along the way, and vamps on out with an infectious island feel.

“Tout Droit” Has an immediate sensation of falling, then a Spanish sounding theme and harmony into a bebop Don Cherryish head and open blowing section with a strong solo by John and great comping by Edward.

An equally strong piano solo features some great rhythm section interaction, into a Chris Potter solo where everyone freely stretches the boundaries back into the call and response head, and everyone converses on the way out ”Blues Shuffle” returns to soulful hard bop, with funky solos from John and Chris. Al, with an abstract nod to Buhaina (Art Blakey) takes it on home. “Darkness Falls” opens with a plaintive melodic statement by John, leads into a Spanish tinged section and very soulful tenor, trumpet and bass solos. Once again check out how the rhythm section responds to the soloists.

I’ve been friends with most of these players for a long time (especially one of the tenor saxophonists) and it occurred to me during listening to this CD how after all these years, I still never get tired of hearing these guys play.

Well done John!

Randy Brecker