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Just released, "Code Of Being" is the quartet's second album and Lewis' third European release. The duo played at Willisau Fest (released on "Live in Willisau", Intakt, 2020,Switzerland) and then grew into a quartet with bassist Brad Jones, and pianist Aruán Ortiz, which recorded and released their critically acclaimed debut on Swiss Intakt the same year.
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Lewis' first album with an accent on composition (and his European debut) was actually a duo album (James Brandon Lewis - Chad Taylor "Radiant Imprints", Off Records, 2018, Belgium).
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His soulful, r'n'b and soul rooted liquid sax sound is always mixed with free improvisation in the same way of the great free jazz masters of the 60s.
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After some years working for TV and as a studio musician, Lewis started his recording career as a leader in 2010, playing avant-garde jazz and modern jazz-related crossover music. A New York-based rising star sax player, he has a background in University studies under Wadada Leo Smith and also playing gospel as well. Not that it is so bad, but its not what I would normally be drawn to in a Don Ellis recording.īorn in Buffalo in 1983, James Brandon Lewis is the son of a preacher father and a schoolteacher mother. Its kind of convenient the way they split the music on this album, I will probably spin side one now and again, but its possible I may never give side two another listen.
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One other track on this side, “Sidonie”, brings back the Bulgarian rhythms and energy, but it lacks the luster of the tracks on the first side. I think this album was intended to include all the fan favorites, so that might explain the more pop oriented material.
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The rest of this side is taken by two ballads that are quite sentimental by Ellis standards. It starts as a ballad but then builds, guided by Vince Denham’s powerful sax solo, as it goes through constant modulations and then a classic Don Ellis false ending. “Invincible” opens side two and is probably the best track on this side. In fact, this album may be the one album of his that best showcases his soloing abilities. Throughout this side Don delivers many hair raising solos on the trumpet showing he ranked with the best of the day. Side one closes with “Go Back Home”, a foot stomping soul jazz rave up that was a crowd favorite. Ellis’ “The Devil Made Me Write this Piece” features African rhythms and Don himself taking a drum solo. Some highlights on side one include Milcho’s “Sladka Pitka” which features Bulgarian rhythms and Leviev’s crazed solo on an electric piano enhanced with wah wah effects. Milcho was always Don’s most valuable sideman.
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A big plus on this album is Bulgarian keyboardist Milcho Leviev who shares Don’s enthusiasm for complex arrangements, odd metered rhythms and wild solos enhanced with electronics. The whole album is worth a listen, but I bet most Ellis fans are going to gravitate to side one. Side two, instead, centers more around ballads and pop type material. Side one of this album is classic Don Ellis high energy modern big band music with ambitious arrangements, lots of odd-metered rhythms, electronic effects and screaming solos. Don Ellis’ “Soaring” is another one of those albums that is a tale of two sides, with one side being quite different from the other.