Review of Liberty Ellman "ORTHODOXY"
in Cadence, December 1997
 
The title of this album is a definite misnomer. There is nothing customary, conventional, or traditional about this recording. It is an original piece of work put together by guitarist Ellman and his California cohorts. Ellman wrote seven of the eight tunes on the recording. The mainly showcase the solo work of pianist Iyer, saxophonist Crystal, or himself, all wrapped in an extremely strong rhythm section. Ellman has chosen to use two bass players, and occasional does the same with the drummers. Adding the djembe and turntables, which are both rhythm tools, gives the entire effort a full and bold sound.

None of the tunes are lighthearted. Each has a density and substance that allows for induvidual expression. The opening number sets the stage. Behind the turntable sounds of Pause and the heavy drum, percussion, and bass rhythms, Ellman, Iyer, and Crystal take the lead in creating a dark-toned musical poem. Ellman's guitar sound is crystal clear, which allows you to hear all his progressions without any blurring of the notes. He is capable of soaring high which he does in both a group and induvidual context. Ideas seem to flow naturally from him and they typically result in close interplay with either Iyer or Crystal.

Iyer has an innovative piano style and also lots of ideas. His solo work is creative and flows logically throughout the pieces. He has a very percussive style that matches the darker side of the songs. I enjoyed his extended solo on "Tectonic Tightrope" but
his work throughout the program is highly rated. Crystal switches between alto and tenor and is comfortable either in the solo role or interlacing with Ellman's guitar notes. He interfaces neatly with Ellman throughout the recording. Their interplay on "Out Of A Jazz Coma" is particularly good.

The title tune features the dense rhythm section behind some extended solos by Crystal, Iyer, and Ellman. The tune's pace and beat remind me of the pattern Alice Coltrane often got from her quintets.

Although Fredericks, Pause, and Sagna are listed as being on all tracks, I found it difficult to pick them out on some pieces. Certainly they are not on "Blood Count," and intriguing duet between Ellman and Iyer. As Billy Strayhorn's title suggests, it is a moody, often brooding song done at an extremely slow tempo. The two players communicate throughout the piece in a quiet manner.

One of the pleasures I get out of reviewing music is the occasion surprise that results from hearing a new voice that has originality. Ellman certainly fits that bill. The young talent he has assembled also speaks well for the future of jazz.

Frank Rubolino