BRIAN ELLIS

Brian Ellis is a gifted multi-instrumentalist as well as being a Producer and much more. He has a lot of hats. Brian is probably most known for leading ASTRA along with his buddy Conor Riley. They both closed that chapter and opened a new one with the band BIRTH which oddly enough is also the name of the first track here. It is an inspiring track so I get it. "Quipu" was actually ready to be released in 2008 when the record label he was on folded so it sat for three years until being released in 2011.

Brian relates in the liner notes that he had taken a new step musically with this one which would have been his third solo album at the time but the delay now makes it his fourth with him releasing "Yellow Light District" in 2009. He decided not to use any samples or sequencing, instead playing the instruments live in a more traditional multitracking situation. He mentions also in the liner notes that it was a very creative time for him and that this is some of his most unique work to date. Understatements abound here, this is a masterpiece. Ellis plays everything except the drums on the last three tracks which were done by David Hurley from ASTRA.

I'm trying to calm here but this is a huge discovery for me. Brian is a big music fan like all of us here are. He is into Jazz/Fusion, Psychedelic and more including Zeuhl. One person who wasn't calm in talking about this record is Julian Cope. He raves about this one and mentions that he thought of albums like "Devotion" by John McLaughlin, "Continental Circus" by GONG, "Agharta" by Miles Davis and he doesn't mention an album but he also mentions MAGMA.

Discogs has this listed under Jazz/Fusion and I agree that that is the predominant sound. Mostly from the gorgeous electric piano but horns too. And yes the sound of Miles is all over this and in particular the electric piano with the reverb and all the percussions bringing "Bitches Brew" to mind. We also get ethnic sounds and there's that psychedelic influence as well. And that final track will knock the socks off of Zeuhl fans it's called "Walomendem" and Brian does his best Blasquiz impression, okay not really but he's got that chanting down and he clearly has got the MAGMA thing going on. It's over 14 minutes long! On another solo album he covers "De Futura", just sayin'.

The 9 1/2 minute opener has ethnic sounds to opena dnend it. Sounds like sitar being played like a harp to start and then late it sounds like the cry of a zurna. Some Miles sounding stuff inbetween. "Canyon Star" is the shortest at 6 minutes and the organ gets the spotlight here it's also quite spacey earlier and so much going on. "Count To Ten" impresses late with the dissonant sax. "Funeral March" is one of the best and it feels like a march. The electric piano sounds so good.

"Gossamer" at over 8 minutes is the first to Have Hurley drumming along with the next two final tracks. You just have to hear this music. Check out "Gossamer" right from the start and that upfront bass, percussions, electric piano and more. Just too good. "Psaw" again bring Miles to mind like the last tune. All of the echo and reverb and it's like everyone is doing their own thing(okay Brian and David) but within the same atmosphere and eventually groove. Headphone music.

"Walomendem" ends it with Zeuhl and I like how Julian Cope ends his little review with a question to Christian Vander "What is Kobaian for extremely well done?" It opens with this distorted atmosphere that hovers before high pitched sounds arrive and suddenly I'm thinking during my first listen "Is this Zeuhl?" Then the wordless vocals arrive and my question is answered rather quickly and we're just getting started. Full blown at 2 1/2 minutes. Guitar is great here. This one is a ride folks and we're heading for Ork.

I can't wait to spend time with his 2011 release with a full band in play. As for this one, 5 stars is a given and the art work is pretty cool but better on the vinyl where the lower part isn't cut off like on the cd losing the full affect of it.

Now here you have the opportunity to become familiar with a collaboration of two prolific musicians deriving from the current progressive psychedelic/space rock front. On this occasion formed under the moniker ELLIS/MUNK ENSEMBLE. On the keyboards you can notice the allmighty Brian Ellis, amongst several other projects managing guitar work for the US band Astra. He joins forces with allrounder Jonas Munk, probably bestknown for playing with the Danish band Causa Sui. When it comes to additional guitar, bass, drum/percussion and keyboard power they are supported by not less than eleven other musicians in total. The album title 'San Diego Sessions' exactly points to what has happened. Yep, they actually have met in California, it was September 2019 exactly.

The seven songs selected for this album are carved out from several evenings, yet showcasing an instrumental as well as rather improvisational nature. A slight jazzy flavour predominantly comes from the keyboards. The Wedge provides a valuable entry to the album, powerful drive featuring fuzzy guitars, lively organ and drumming all over. When trying to spot an album highlight, the following Pauly's Pentacle turns out to be my big favourite. The inspired flow, the playfullness, awesome track! A worthwhile matter. Psychedelic space rock fans in general, moreover those especially with Causa Sui or 3rd Ear Experience affinity, are warmly invited to come in.

— First review of this album —

It takes a lot to get this former-reviewer off his duff and into the review-writing mode, but this is one album that inspired me to do so BIG TIME. This mostly-solo artist really knows what he's doing! I loved 2011's Cosmic Perspective but this is way better! And such a diverse collection of trippy, jazzy, funky, proggy instrumentals! Awesome! Definitely a keeper! A true masterpiece of eclectic gathering of retro 1960s-early 1970s sounds and styles.

Tracklist: 1. "Roadbells" (3:08) gentle solo distorted electric piano opens before being joined by other keys/vibes in a three- way weave. Old IRON BUTTERFLY-like organ (with Mellotron backing) then takes the lead. Cool! Funky EGG/BACHian end! (8.5/10)

2. "Spiral" (5:33) opens with some serious funk in the bass and drums! Multiple keys create a little repetitive weave which is then joined by electric guitar. Definitely a perfect setup for some blazing guitar soloing--but the drums and keys steal the show, that is, until the fourth minute when two (or is it three) layers of guitars come out of the gates. Reminds me of QUANTUM FANTAY or SAMSARA BLUES EXPERIMENT. (8.5/10)

3. "Worship" (5:13) old bluesy-funky jazz with the guitars sounding like the saxophones. Amazing! Again, a very old sound and style resurrected for this song. Great ears, Brian! (Wish I could peg the 1960s-70s jazz-funk artist this reminds me of! Larry Coryell? Eumir Deodato?) (9.5/10)

4. "Seventeenth" (2:33) a piano étude (for three pianos) reminiscent of many tributes to John Coltrane and/or Bill Evans. Incredible! (There's even a little "Shaft" in there, right Brian?) (9.5/10)

5. "Emerald" (3:36) This guy can play an organ! And choose great sounds from it, too! A little Wakeman-like feel (Criminal Record or "Seahorses") to this one. Awesome! And incredible use of effects to fade. (9/10)

6. "East" (6:15) like ELECTRIC ORANGE on acid--or Courvoisier! Awesome! One of the best songs of the year! (10/10)

7. "Dwell" (featuring Zuri Waters on saxophone) (6:36) funky but pretty straightforward. Nice Santana-like guitar sound/styling. Like the "tuned percussion" and drums best. Really gets under your skin (in a good way) by the end! (9.5/10)

8. Night Flight (6:54) moody heavily treated electric piano (á la LED ZEPPELIN's "No Quarter") opens up the song before heavily distorted softly picked electric guitar is woven in, and then bass. As a matter of fact, the longer it plays, it reminds me a LOT of "No Quarter." Crazy synths and even heavier distortion of other instruments turns the second half into a kind of cray-cray updated end to "Space Oddity." (8/10)

4.5 stars; a near masterpiece of progressive rock music though it is one of my favorite albums of the year!