Ellie Martin (voice, vocal backgrounds); Peter Eldridge (piano,
vocal backgrounds); Kurt Krahnke (bass); Olman Piedra (drums, percussion);
Andrew Bishop (tenor/soprano saxophones) (1,4,5,11,12); Ben Wolkins (trumpet)
(5); Kevin Ganz (guitar); Rob Avsharian (drums) (10,13).
It
is a certainty that vocalist, composer, educator Ellie Martin knew that titling
her recent release, Morning Glories would offer more profound and
resonant meanings beyond the horticultural. Martin’s poetic lyric content and
musically robust originals here – a hefty thirteen of them all performed
splendidly – give it away.
Love and Light spins things off in a brisk bossa nova take wherein Martin confidently delivers her poignant, optimistic lyrics. A long, lyrical tenor sax solo from Andrew Bishop follows. Vocal overdubs and Martin’s scatting take things out. It is a superb opener.
Spring’s
Around the Corner, a straight-ahead
swinger, has a sunny, “Blossom” vibe. Pianist Peter Eldridge sends in a solo
before Martin scats. Little Flowers in Bloom is a dreamy, folk-like portrait
of Martin’s daughters. Her lyrics here, as they are elsewhere, are poetically
vivid. The track builds in intensity and open-ends to a hopeful view to “paint
the world with love.”
Shattered
Shadow is a slow, dramatic, almost theatrical rubato
statement between Martin and Eldridge and later, saxman Bishop. Asking Us to
Change is a 12/8 bit that has an up, Steely Dan groove and an
environmental message. Trumpeter Ben Wolkins delivers a hip solo. The horns add
body here. Morning Glories is a light-rock textural piece – think Carole
King. Martin’s dynamics here are aces. Kevin Ganz offers a fine ride.
Martin
is an attractive, confident, and gymnast-limbered voice that senses and
delivers the drama and emotion in the melody and lyrics she’s composed. On this
album it is the fine lyrics that tips the scales - literally. The accompanying
musicians frame Martin exceptionally well. Further, the dynamics here, whether
vocal or instrumental, embellish the messages told. Kudos to bassist Kurt
Krahnke and drummers/percussionists, Olman Piedra and Rob Avsharian for solid
support throughout the date.
Pays de Désir (translated as “Land of Enchantment” or, more precisely, “Desire”) is a two-part presentation. The Intro is reminiscent of those marvelous Ellingtonian piano-vocal introductions to Duke’s extended suites. The main segment is an exotic Latin platform over which Martin chants her French translated lyrics. Keith Ganz’s guitar solos. The track drives heavy with a great Martin scat. This is, hands down the highlight track of the session.
Woman in the Frame was inspired by the artistically complex
and revolutionary Arnolfini portrait. Martin covers the slower, haunting melody
and lyric with deep emotion. The up-tempo section is a perfect complement to
the earlier dreamscape. Keith Ganz aggressively solos over a driving rhythm
section. This is another album highlight. Dancer in the Dark is a
quicker statement with Martin deftly covering an attractive melodic line, a
fine soprano sax solo, and lush background vocals. Everything Must Come Down
closes the session deeply textured with both thoughtful intro and retrospective
lyrics. This is a haunting track perfectly rendered by Martin, Eldridge, et
al.
Morning
Glories is, without doubt, an album with profound
messages delivered by way of potent lyrics, effervescent and engaging melodic
lines, all delivered by an artist with an obvious bones-deep commitment to
both. Nick Mondello
Love
and Light; Spring’s Around the Corner; Little Flowers in Bloom; Shattered
Shadow; Asking Us to Change; Morning Glories; Pays de Désir (Intro); Pays de Désir;
Unraveling; Woman in the Frame; Lonely in a Crowd; Dancer in the Dark; Everything
Must Come Down.
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