The Legendary Ten Seconds: “Richard III” (2015) CD Review

A friend of mine who is a Shakespeare fan refuses to attend performances of Richard The Third because of the historical inaccuracies in the way the titular character is portrayed. The band the Legendary Ten Seconds, led by Ian Churchward, helps to set the record straight with its album Richard III, which is actually the third album of music related to the king and the War of the Roses the band has released. It follows Tant Le Desiree, which was released in 2014 and re-issued last month. Like that album, this one contains tracks of narration between the songs, this time written and performed by historian Matthew Lewis. Richard III is the third, but not the last of the band’s War of the Roses albums. The Legendary Ten Seconds have released a few more since then. It’s a fascinating story, with plenty of intriguing characters, so there is a lot of material there for songs. Ian Churchward provides lead vocals, and plays mandola, mandolin, bass, acoustic guitar, electric guitar, 12-string guitar. Rob Bright is on banjo and electric guitar. Mike Zarquon plays mellotron, organ, keyboards, bass, drums and percussion. Tom Churchward plays melodeon. Camilla Joyce, Elaine Churchward, and Gentian Dyer provide vocals.

The album’s first track, “Sheriff Hutton,” has a modern rock sound, with some progressive elements, and features some good work on electric guitar. Sheriff Hutton is a village in North Yorkshire, where there is a castle where the Council of the North was stationed. This song is sung from a modern perspective, of someone who has learned about the castle there and is looking back. “Of Sheriff Hutton I have been told/A sense of wonder did unfold/Of Richard's council of the north/Its lonely ruins I see henceforth.” This track provides an entrance for us in these modern days back to the time of Richard. It is followed by the album’s first bit of narration, which gives biographical information about Richard. The narration on the previous album was given from the perspective of Richard III’s mother, making the narrator a strong character in the story. This time there is a different approach to the narration, the more traditional approach of an historian giving information. “Richard Plantagent was born on the second of October, 1452 at Fotheringhay Castle in Northamptonshire.” This track also touches on the rewriting of his biography after Richard’s death. In “Richard Liveth Yet,” the sound is a great mix of modern and medieval, sort of like a medieval rock song, with a catchy rhythm. I dig that bass line. It’s a lively song that celebrates Richard’s birth: “And the delight at the birth of a son/The Duke of York full of pride/And a new life has just begun.”

The next bit of narration is about William Shakespeare’s play, the work that introduced a lot of us to Richard. Matthew Lewis calls the play “a masterpiece in the depiction of evil and the study of the psychology of the antihero, the villain we love to hate.” He adds, “This is the image of King Richard that has imprinted itself onto our collective consciousness – the scheming, evil murderer, worst of all, murderer of children.” Then “Written At Rising” opens with the sounds of a storm and some strong work on electric guitar. This track draws us in, and then holds us with that slow steady beat. There is a power to this one. That’s followed by narration about the medieval Christmas, and how the religious community then “saw the true meaning of Christmas lost in the debauchery.” “How little some things change across the centuries,” Matthew Lewis comments. He then mentions the Lord of Misrule, often a peasant, who was responsible for overseeing and organizing festivities. That leads to “Gold Angels.” This music has a warm feeling of celebration, perfect for a Christmas song, making this an interesting and wonderful addition to your holiday play list. Seriously, you can slip this one into your Christmas day play list and everyone will probably enjoy it. And perhaps you could appoint a Lord of Misrule in your own home. “It was Christmas day in London town/Snow covered the filth in the streets/There was ice on the banks of the River Thames.”

There is some narration regarding the executions of Lord Rivers, Richard Grey and Thomas Vaughan, urging us to take a fresh look at this event. These men are led to their execution in Act III Scene iii of Shakespeare’s play, and this narration leads to a track titled “Act III, Scene IV.” The song’s first lyrics are the first lines of Act III Scene iv, spoken by Hastings: “Now, noble peers, the cause why we are met/Is to determine of the coronation./In God’s name, speak. When is the royal day?” And then Buckingham’s line: “Are all things ready for that royal time?” Female vocals deliver Hastings’ last line and the line by Buckingham, and the music does have the feel of celebration, particularly during the instrumental sections. That is followed by narration about the coronation. “Streets bursting with color and packed with bodies hungry for a glimpse of their new monarch.” This was touched upon in a bit of narration in the previous album, but this time we are provided a lot of interesting information about the coronation, what set it apart and made it remarkable, its historical significance. “The omens were promising/This was something new at a time when the country did not want old problems.” Then “The Year Of Three Kings” begins in a pretty place. “Edward the Fourth his lust for life flown/With the hated Woodvilles the seeds of strife sown/The chronicles tell us of conspiracy/Of the struggle for power in the year of three kings.” And I love of the use of backing vocals on the song’s chorus, “The year of three kinds, the year of three kings/The chronicles tell us of the year of three kings.”

Perhaps the biggest question surrounding Richard III is whether he was responsible for the deaths of the princes in the tower. In Shakespeare’s play, he is. But apparently there is no historical proof that was the case. It is part of the depiction that many object to, for it really helps cement Richard’s image as an evil man. That’s what the next section of narration is about, questioning who actually said that Richard killed the princes. There was rumor and gossip about their disappearance from public view at the time. That leads to “Hollow Crown.” The phrase “hollow crown” was used by Shakespeare in Act III Scene ii of Richard The Second, when Richard says, “let us sit upon the ground/And tell sad stories of the death of kings –/How some have been deposed, some slain in war/Some haunted by the ghosts they have deposed,/Some poisoned by their wives, some sleeping killed/All murdered: for within the hollow crown/That rounds the mortal temples of a king/Keeps Death his court.” And so those lines are in mind as we listen to this song about Richard III. This one establishes a strong beat immediately, and interestingly has some dance elements, while also having a darker energy. “A golden crown and it is mine/I wear it for England which I hold dear/A cry of usurper I did hear/This hollow crown upon my head/They say my brother’s sons are dead/Whispers at court behind my throne.”

The disc contains narration about the Battle of Bosworth. Again, this historical event was addressed on the previous album, but from a different perspective. Here is drawn a connection between this and an earlier event: “Seventy years earlier, at the Battle of Agincourt, King Henry The Fifth had done the same thing, as his small band of bedraggled refugees faced the flower and might of French chivalry.” That leads to “Remember My Name,” which has more of a folk vibe, and is about soldiers called to battle, bidding farewell to loved ones, and it features both male and female vocals. “So if I never see you again/I won't forget you/I'll remember your name.” This is one of my favorite tracks. It is followed by the shortest bit of narration on the album, this one simply mentioning Richard’s friend Lord Lovell. “Lord Lovell’s Lament” is a slower and moving number. “Remember those now reviled/Whose faith had wavered not/Their honor has been defiled/They lie in earthen plot.” This track features a pretty instrumental section.

The narration now moves past the death of Richard III. “York rejoiced when Richard became king, and mourned him after Bosworth, doing all that they could to resist the influence of Henry Tudor without openly inviting attack on the city.” “Requiem” is about the reaction of Richard’s older sister to his death as the news spread, and what she had to do regarding a requiem mass for him. “A requiem mass for Richard/She had to prepare/Her heart was full of turmoil/Anger and deep despair.” This track features some excellent work on guitar. Interestingly, another requiem mass was held for Richard III in March of 2015, a few months before the release of this album. His body had been discovered in 2012, which reignited interest in the king. The next narration is about the divided opinion about Richard III, during his lifetime and beyond. Matthew Lewis mentions the works written by Thomas More and William Shakespeare, as well as the novel The Daughter Of Time. This track also gets into the interesting idea that Shakespeare might have been making a point about Robert Cecil, son of William Cecil. The next song, “Royal Title,” is sung from the perspective of Sir George Buck, who wrote a history of King Richard III, a work published after his death in the mid-1600s. In it he apparently defends the king, and now I want to obtain a copy that book. There are so many fascinating facets to this tale, and seems to be enough material for several more albums on the subject. There is a light feel to this track, as in the work on keys. “For King Richard I will write a book/Truth and honor he does deserve.”

Matthew Lewis then talks about how people over the ages have sat at Ambion Hill, which was believed to be the site of the Battle of Bosworth, where Richard III died. That leads to “Ambion Hill,” which has a beautiful opening, like a new day, saying goodbye to the old. “I saw a knight up on Ambion Hill/His armor did shine in the sun/He wore a surcoat of murrey and blue/It felt like a dream had begun.” By the way, the fifth album recorded by The Legendary Ten Seconds to address Richard III is titled Murrey And Blue. This track has a beautiful ending. The subject of the final section of narration is the question about how Richard’s rule might have gone if not for the events at Bosworth Field, and raises the question of how the history of England might have been different had the Tudors not ruled afterward. The album concludes with “How Do You Rebury A King,” addressing the burial of King Richard III in the early spring of 2015. It is a bright, rousing number, a great way to wrap up the album.

CD Track List

1. Sheriff Hutton
2. Richard Plantagenet (Narrative)
3. Richard Liveth Yet
4. William Shakespeare (Narrative)
5. Written At Rising
6. The Medieval Christmas (Narrative)
7. Gold Angels
8. The Issue Of (Narrative)
9. Act III Scene IV
10. King Richard (Narrative)
11. The Year Of Three Kings
12. Who Said (Narrative)
13. Hollow Crown
14. As King Richard (Narrative)
15. Remember My Name
16. It Was (Narrative)
17. Lord Lovell’s Lament
18. Whatever His Motivations (Narrative)
19. Requiem
20. Good King Richard (Narrative)
21. Royal Title
22. Many Have Stood (Narrative)
23. Ambion Hill
24. Part Of The Lament (Narrative)
25. How Do You Rebury A King

Richard III was released on July 6, 2015.

The Legendary Ten Seconds: “Tant Le Desiree” (2014/2023) CD Review

The Legendary Ten Seconds, a project started by Ian Churchward, has focused much of its creative energy on the War of the Roses, and especially Richard III. Many people, myself included, have drawn their image of Richard The Third from Shakespeare’s account. It’s a fantastic and exciting play, but might not be entirely historically accurate. As a result of some things Shakespeare included, Richard III has gotten a perhaps undeserved reputation as evil. The Legendary Ten Seconds have been digging into the actual history, dedicating several albums to the story. The second album in this series, Tant Le Desiree, has now gotten a new re-issue, complete with the narration by Sandra Heath Wilson, which was included on the earlier CD release but not the original digital release. Ian Churchward provides lead vocals and plays guitar, 12-string guitar, bass, mandola and mandolin; Mike Zarquon (who goes by Lord Zarquon, and why not?) is on mellotron, organ, keyboards, drums and percussion; Rob Bright is on guitar and banjo; Tom Churchward plays melodeon; and Camilla Joyce provides vocals.

As the first track, “Shakespeare’s Richard,” starts, the music takes us to another time. Then after a few seconds, a more modern and progressive rock sound takes over. The lyrics address William Shakespeare directly: “Master William, you have shown/A tyrant of the English throne/A hunchback with a withered arm/His reputation has been harmed.” The song mixes the old with the new as far as the sound and vibe. “Master Shakespeare for your queen/With sonnet and drama you did dream/Morton's tale you had read/By Thomas More you were misled.” It has often been said that history is told by the victors, and it is believed that the Tudors adjusted the history of Richard The Third. Sir Thomas More wrote The History Of King Richard The Third around 1513. And of course Shakespeare had to appease the queen, she herself a Tudor.

Then we get the first bit of narration by Sandra Heath Wilson. Interestingly, the disc’s narration is from the perspective of Richard III’s mother. Earlier this year at Will Geer Theatricum Botanicum, I saw a production of Queen Margaret’s Version Of Shakespeare’s War Of The Roses, which basically combined all three parts of King Henry The Sixth and Richard The Third, focusing on Margaret and the other female characters, telling the story from Margaret’s perspective. So this, in a way, is the other side of that, the same tale (or part of the same tale) told by the mother on the other side. That’s followed by “The Ragged Staff,” an instrumental track. Again, I love the way it combines the modern and the medieval in a way that gives us easy access to the world of the tale being told on this album, almost inviting us to dance our way in. Plus, it has a cool sound, featuring some really nice work on guitar. That is followed by some narration about Richard in battle. It functions as an introduction to the following track, as the narration will do throughout the rest of the album. “He fought valiantly for York, for his brother King Edward IV, and alongside his other remaining brother, George, Duke of Clarence.” There is a light vibe to “Tewkesbury Tale,” which tells the story of battle. “‘Twas after Barnet’s morning mist/King Edward’s army he did dismiss/Then came the news of a queen from France/For the fate of her son she would take a chance.” The queen mentioned here is Margaret.

“No king could have had a more faithful and reliable brother than Richard,” our narrator tells us. Because the narration is delivered by Richard III’s mother, we have to take what she says with a bit of skepticism, don’t we? After all, as a narrator, she can’t claim to be impartial, even as she tries to set the record straight, even as she speaks against one of her other sons. “The Gold It Feels So Cold” begins with a drum beat, and has the strong sense of moving forward without hesitation or fear. But there is also a pretty aspect to the music. This one is told from Richard’s perspective: “My brothers took their share of wealth/And I took mine for sure/A heavy heart I still have/When that day I recall/No honor in the treaty/No honor in the gold.” The next bit of narration is about Edward wanting to bring home the bodies of his father and Edmund, who had both died at the Battle of Wakefield. And here she also speaks of Richard’s birth: “So frail a baby he had been/I feared I would lose him/But he fought, oh, how he fought.” A wind and a bell, along with a warlike beat of the drum, begin “To Fotheringhay.” “My dear trusted Richard, I charge you this day/Bring our father and brother to Fotheringhay/To the church near our castle of Fotheringhay/The church near our castle at Fotheringhay.” It is not a dirge, however. There is still determination in its sound, in its drive. The track ends at it began, with the wind and the church bell.

In the next section of narration, we are told this of Richard: “It pleased him to be away from court, from the plotting, subterfuge and sordid cunning he hated so much/He did not want to be embroiled in such dishonorable matters, but embroiled he soon would be.” Ah, but here we can’t help but wonder if a mother’s love for her child clouds her vision of him. Can we so completely dismiss everything we’ve heard and learned about Richard? That narration leads to “Confort Et Liesse,” a pleasant and rather cheerful instrumental track. There is no hint of war or trouble here. Rather, it feels like a dance across the countryside. The narration then tells us about how Edward named Richard as Lord Protector to watch over Edward V, and how the queen (Elizabeth Woodville) plotted against Richard. That leads to “By Hearsay.” Here Ian Churchward sings, “King Edward her husband was buried and gone/In mourning and sorrow she did not linger long.”  On this track, he is joined by the duo Gentian on backing vocals.

Regarding Richard’s coronation and tour through the realm, our narrator has this to say: “How dazzling his banners and standards/How gracious his smiles as the people lined the way to cheer him/They knew he saved them from more years of war and strife during a minority rule/And they did not believe he had harmed his nephews or done away with them.” This, of course, does make some sense. Henry The Sixth had been a young child when he gained the throne, and that certainly was the cause of some of the troubles. The people of England likely didn’t want another child on the throne. And listen to the sting in her voice as she says, “his foul toad of a cousin, Buckingham.” That leads into “Royal Progress,” which also begins with church bells. There is certainly some joy in the sound of this track, as the king’s royal tour is described. “Long live our good King Richard, they shouted to the sky.” I love that work on keys. Yet there does seem to be a hint of something darker, a warning in the guitar work, and before the end of the track we are told, “Of Buckingham’s betrayal he would soon be told/The schemes of Bishop Morton would very soon unfold.”

“There was such celebration and joy at Richard’s court,” his mother tells us in the next narration. “He would have been a great king, but there were those who hated him.” It is clear that our narrator has a lot at stake in this telling, which again makes for an intriguing tale, but also makes us question some of the things she tells us. What an interesting effect. The music of the next track, “The Court Of King Richard III,” takes us inside the court, and there is the joy that our narrator has described. I love the female vocals delivering the lines, “In the court of King Richard the Third/The loveliest music I’ve ever heard,” for her voice adds to the loveliness of the music we are hearing. This again helps us feel like we are there. Before the end of the song, treason is mentioned. And so there is a darker tone to the music behind the next bit of narration as we are told, “Death took his wife and son and left him surrounded by baseness and treason.” Here she tells us straight out what the purpose of her narration is: “As the almighty is my witness, I will protect his name/With this, my testimony, I point my accusing finger at all who were soon to set themselves against him on the battlefield.” So, again, no impartial witness, she. There is a sadder, haunting tone to “Fortune’s Wheel.” “The Goddess Fortuna spins the wheel/And our bad luck she may seal.”

About the Battle at Bosworth, our narrator tells us: “And how proudly he defended his crown, his realm and his life.” Interestingly, when she speaks of Richard’s death, she has to stop, a wonderful touch. That leads to “White Surrey,” a song that is partially about his horse. The line “My horse, my horse my White Surrey” calls to mind the famous line, “A horse, a horse, my kingdom for a horse!” Here that line paints a different image, creates a different tone from the play’s line. At one point toward the end of the track we hear the galloping of the horses. Now the narration becomes even more personal, as she tells us about wishing her son were still alive to embrace her, rather than relating his deeds. “The Boar Lay Slain” then describes the aftermath of his death. “The boar lay slain on Bosworth Field/Too brave to flee, too proud to kneel/And then a dragon claimed the land/With poisoned tongue and crooked hand.” The use of the word “crooked” here is interesting, because of course it is a word long associated with Richard himself (and with another Richard from our own time), though more precisely “crookback.”

In the next section of narration, she talks about her hatred for Margaret Beaufort, the mother of Henry VII, the first Tudor monarch. It is interesting how the narration becomes more and more blatantly biased as the CD progresses. And maybe that’s the point. We shouldn’t believe either account fully. It is also interesting that the mother of one king reserves her strongest hatred for the mother of the next king. Then “The Rose Of Tudor” begins with a powerful instrumental section. This song is about Margaret Beaufort. “Secret ambition and deep desire/So strong her feelings, a holy fire/The rose of Tudor risen from the earth/For the hope of her son at his birth/Margaret Beaufort, she did foresee/For her son Henry on bended knee/For her red rose she did claim/To bring glory to Tudor's name.” “How my sleep is haunted by what might have been,” the narrator says, lamenting not only her son’s death, but the England that would have existed under his rule. That leads to “Yorkist Archer,” a piece that is beautiful and gentle, especially at it begins. This one has a different sort of perspective, told by a man who is an archer and who, though alive after these events, still calls himself a Yorkist at heart. “My father, he too was an archer/In the army of Richard the Third/But died at the Battle of Bosworth.”

The narration now turns to beliefs about Richard after the events of his reign. “At least Bess, the new queen of England, will not speak out against her lost uncle, much as Tudor wishes it/Richard did not harm his nephews when they were sent into the palace in the tower/Nor did he poison his wife in the hope of marrying Bess, toward whom he was never other than a fond uncle.” This narration addresses the image that people still have about Richard, his hunched back and withered arm. “He had true beauty both within and without,” she tells us. Though we have learned from the discovery of Richard’s skeleton that the “crookback” description was not unfounded. That leads to “The Road To Middleham,” an uplifting and joyous instrumental piece. It is the final track listed on the CD case, though there are two more tracks. The first of these is actually a continuation of the previous track, and perhaps wasn’t meant to be a separate track at all, as one goes straight into the other. In the digital version, it is presented as one track. And the final track is also an instrumental piece, though with a different tone as it begins, a more serious tone. It then begins to take on the joy and vibe of the previous track. This final track, as far as I can tell, is not included on the digital version.

CD Track List

1. Shakespeare’s Richard
2. Intro Narrative (My Name Is Cecylle)
3. The Ragged Staff
4. Tewkesbury Narrative (It Was At Tewkesbury)
5. Tewkesbury Tale
6. The Gold Narrative (No King)
7. The Gold It Feels So Cold
8. To Fotheringhay Narrative (In 1476)
9. To Fotheringhay
10. Confort Narrative (But Richard Was Lord Of The North)
11. Confort Et Liesse
12. By Hearsay Narrative (On His Deathbed)
13. By Hearsay
14. Royal Progress Narrative (After His Coronation)
15. Royal Progress
16. The Court Of King Richard Narrative (There Was Such Celebration)
17. The Court Of King Richard III
18. Fortune’s Wheel Narrative (The Wheel Of Fortune)
19. Fortune’s Wheel
20. White Surrey Narrative (Richard Faced His Foreign Foes)
21. White Surrey
22. Tant Le Desiree Narrative (I Have Longed So Much)
23. The Boar Lay Slain
24. Rose Of Tudor Narrative (The Woman I Most Despise)
25. The Rose Of Tudor
26. Yorkist Archer Narrative (How My Sleep Is Haunted)
27. Yorkist Archer
28. Outro Narrative (Tudor That Vile Faintheart)
29. The Road To Middleham

This special re-issue of Tant Le Desiree was released on November 1, 2023.

John Paul McGee: “A Gospejazzical Christmas” (2023) CD Review

Last year, pianist John Paul McGee released Gospejazzical Vol. 1, a live album of beautiful, uplifting music. Now he is following it with what I suppose could be considered the second volume, though it is not titled as such. A Gospejazzical Christmas features some wonderful classic holiday fare, along with some more modern material. Joining him on this album are Joel Powell (who also played on Gospejazzical Vol. 1) on bass, Larry Wilson on drums, and Patrick Arthur on guitar, along with vocalists on certain tracks.

The album opens with a holiday song I am not all that familiar with, “Emmanuel,” written by Norman Hutchins. The arrangement here is by John Paul McGee and Larry Wilson. The tune has a bright feel, somehow both relaxed and lively. There is a light and warm touch on the piano, and when John Paul McGee starts to let loose on the keys this track really shines. That wonderful lead is followed by a strong lead on guitar, easing in and soon taking off just as John Paul McGee did on piano. The first vocal performance of the album is by John Paul McGee himself, who offers a warm, friendly and soulful delivery of “Have Yourself A Merry Little Christmas.” There is a delicious late-night vibe to this song, which I love. It makes me think of cuddling up in front of a fire with a loved one. John Paul McGee chooses the “Hang a shining star upon the highest bough” line instead of the far superior original line, “Until then, we’ll have to muddle through somehow,” but I still love this rendition. His is a vocal performance you want to wrap yourself up in like a blanket.

Of the traditional Christmas songs, “Little Drummer Boy” is one of my favorites, and on this album John Paul McGee offers a cool rendition. As it begins, it feels like a nod to Vince Guaraldi’s Peanuts work. Then when the drums come in, there is something of a funky element. This arrangement is by John Paul McGee and Larry Wilson. The track moves and pops at times, and also has smoother and soothing sections. During John Paul McGee’s lead, it begins to feel like a party. And then we do get one of Vince Guaraldi’s gems, “Christmas Time Is Here.” On this track, John Paul McGee is joined by Lori Williams on vocals. No other musicians play on this one. None is needed. These two deliver a sweet and beautiful rendition. The piano solo is magical. That’s followed by “What Child Is This,” delivered as a beautiful instrumental piece. Of course, as an instrumental it is “Greensleeves.” John Paul McGee and the other musicians create a wonderfully relaxing atmosphere, and the piano work seems to push away all worries and offer warmth and kindness in their place. This track also features some excellent work on guitar.

This album contains a few solo piano pieces. The first of these is titled “The Manger Medley,” and here again he offers warmth. The track begins with “O Little Town Of Bethlehem,” and also includes “Away In A Manger.” This track feels like that moment when the children are in bed, the presents are wrapped, and there is that quiet time before Christmas morning, when parents have a sip of eggnog or wine and feel that everything is right, everything is perfect. That feeling comes partly because he includes “Silent Night” in this medley. That song often creates that vibe. That’s followed by “Jesus What A Wonderful Child.” Wendi Henderson-Wyatt joins John Paul McGee on vocals for this one. It’s another that I’m not as familiar with, but it features some impressive and passionate vocal work. The second of the solo piano tracks is “Oh Holy Night.” This one begins gently, simply, almost tentatively, and grows from there, while maintaining a soft touch for the most part, until the power and passion increases in the second half. This is an excellent rendition, with some beautiful playing throughout.

The album’s final piano solo is “Mary Did You Know,” a song that I don’t care for, one that for some reason continues to be covered. However, as an instrumental piece it can work, and perhaps its best possible presentation is as a piano solo, as here. John Paul McGee’s passion and talent help make it work. That’s followed by “God Rest Ye Merry Gentlemen,” which begins at a fast pace, with some delicious work on drums. It soon settles down, and is an interesting rendition. About halfway through, it really starts to come alive, with some exciting, hopping piano work, a cool bass line and great work on drums. Fantastic stuff. There is also a really good lead on bass. John Paul McGee wraps things up with “Go Tell It On The Mountain,” on which he provides the vocals as well as plays piano, with no other musicians joining him. This is a seriously cool rendition. He seems to be having a great time here.

CD Track List

1. Emmanuel
2. Have Yourself A Merry Little Christmas
3. Little Drummer Boy
4. Christmas Time Is Here
5. What Child Is This
6. The Manger Medley
7. Jesus What A Wonderful Child
8. Oh Holy Night
9. Mary Did You Know
10. God Rest Ye Merry Gentlemen
11. Go Tell It On The Mountain

A Gospejazzical Christmas was released on November 16, 2023.

John Ellis Quartet: “Bizet: Carmen In Jazz” (2023) CD Review

Carmen was composed in the late 1800s by Georges Bizet, and its themes have become familiar even to those of us who have never attended the opera, through the music’s use in various television programs, films and even commercials. One of my absolute favorite films, Magnolia, uses not only some of the music (and in a wonderful way), but makes reference to the opera in one of the game show scenes just before that. But by the time of that film’s release, I had already heard that music many times and had come to love it, without ever once actually seeing Carmen. Saxophone player John Ellis delivers his arrangements of the opera’s popular music on his new album, Bizet: Carmen In Jazz. This project came about through a commission by the St. Barts Music Festival, which in early 2020 had a Carmen theme. He plays both saxophone and bass clarinet on this album, and is joined by Gary Versace on piano, Reuben Rogers on bass, and Jason Marsalis on drums, the same musicians who performed the music with him at the festival.

The album opens with “Habanera,” the piece referred to in Magnolia, and one that is instantly recognizable. John Ellis delivers that familiar theme on saxophone. As the track progresses, there are moments when you’ll feel compelled to dance to it. Seriously. This rendition has a cool groove and a bright feel, particularly in John Ellis’ playing, and features some great work on drums. There is a warm and wonderful lead on piano in the second half, which is followed by a brief bit where John Ellis solos on that theme. This is a great take on the opera’s most popular piece. That’s followed by “Seguidilla,” which also itches to move, as is clear early on. It’s a pretty piece that seems eager to break open and become a dance number, and it does so at times. That rhythm is delicious. Gary Versace is able to stretch out a bit on piano, and Jason Marsalis’ work on drums becomes more free and exciting, threatening to burst into a solo at any moment, and keen to do so. Interestingly, instead we settle into a good bass solo from Reuben Rogers, who pulls us in, using surprising pauses. And suddenly the other musicians come back in, engaging us in a dance, playing with pace. John Ellis leads the group into the next section, delivering some cool work. The piece teases us a bit, which is delightful.

“Flower Song” is presented as a saxophone and piano duet. It’s a beautiful and moving rendition, yet there is a surprising pep at times to the piano work during Gary Versace’s solo. And the piece takes on more energy from there, after John Ellis comes back in, becoming a romantic and magical dance, before then finally returning to that gentle tone at the end. That’s followed by “Toreador,” another piece that will likely be familiar to you even if you’ve never seen Carmen. It’s a more exciting piece, and this rendition by John Ellis Quartet begins in a delightfully cool place. There is a wonderful and intoxicating confidence in the air, and John Ellis’ work is excellent. This track also features some fantastic work on bass. This track feels like a dance, sexy and fun, and at one point begins to take on something of a New Orleans flavor, with a great rhythm. It is thoroughly enjoyable from beginning to end.

“Gypsy Song” features some beautiful work on saxophone, that instrument creating a vibrant and clear world, and leading us inside. The sax is the heart of this piece, remaining its driving force until deep in the track’s second half when Gary Versace leads on piano, delivering some wonderful work. The album concludes with “Card Song.” John Ellis draws us in immediately with his work on bass clarinet, supported by bass and piano. There are no drums on this track. His playing here is incredibly expressive, feeling like a human voice, just absolutely gorgeous. This track also features gentle and moving work on piano, and a beautiful lead on bass. This track ended up being my personal favorite. What an incredible way to wrap up the album.

CD Track List

1. Habanera
2. Seguidilla
3. Flower Song
4. Toreador
5. Gypsy Song
6. Card Song

Bizet: Carmen In Jazz is scheduled to be released on December 22, 2023 through Blue Room Music.