Home » Jazz Articles » Album Review » John Ellis & Double Wide: Puppet Mischief

John Ellis & Double Wide: Puppet Mischief

By Doug Collette
April 29, 2010
View read count

John Ellis & Double Wide: Puppet Mischief

Saxophonist John Ellis is slowly but surely distinguishing himself as a notably singular figure in contemporary jazz. Establishing a firm foundation for himself as a tenured accompanist to 7-string guitarist

Charlie Hunter

guitar
b.1967

" data-original-title="" title="">Charlie Hunter, the North Carolina native and current resident of Brooklyn embarked on his solo career in authoritative style with One Foot in the Swamp (Hyena, 2005), and then conceived the ingenious Double Wide ensemble, the unusual lineup of which may not have wholly defined itself on its debut, but crystallizes completely on this follow-up.

Puppet Mischief is, in line with its humorous title, an absolutely delightful album. Much of the air of gaiety that permeates the music derives from the presence of Gregoire Maret, but the harmonicist only builds upon the foundation of low-key jubilation set by the bandleader and the rest of the group. The absence of a conventional bass instrument—electric or acoustic—seemed an oddity on Dance Like There's No Tomorrow (Hyena, 2008), but here it becomes a distinction. Matt Perrine plays sousaphone in such a way his low notes permeate the rest of the instrumental interaction like a sort of sonic lubrication, so that Ellis' horn lines fly over the top and

Jason Marsalis

vibraphone
b.1977

" data-original-title="" title="">Jason Marsalis' drum lines scoot right along on "Okra & Tomatoes."

Trombonist

Alan Ferber

trombone

" data-original-title="" title="">Alan Ferber adds to the palpable New Orleans atmosphere that permeates Puppet Mischief too, but his guest spots—here and on "Heroes de Accion"—don't demonstrate Maret's dynamics. That's no criticism, but rather high compliment to the former accompanist of Hunter and

Pat Metheny

guitar
b.1954

" data-original-title="" title="">Pat Metheny. The diminutive harmonica master squeezes the finest of filigreed notes from his instrument, as he does on "This Too Shall Pass"—sounding at once breezy and melancholy, and reorienting the whole band to a different level.

It's the mark of a great musician to elevate the playing of those around him as they accommodate the sound he adds and Maret does that here, bringing out unusual facets of all the players' individual styles, especially organist Brian Coogan on "Fauxfessor." While Ellis' saxophone is lusty and robust on this cut, the keyboardist comps slyly along as the group slides in and out of blues progressions.

If "Dewey Dah" sounds familiar, it should; it's reminiscent of the original material Ellis brought to seven-string guitar wizard Hunter's group's while they played together from 2003 to 2006. The title song is more of the same, but doesn't sound over-familiar precisely because it is such an unpredictable piece of music. The way the melodic and rhythmic lines interweave and double back on each other is also ideal for this band's idiosyncratic style.

In those moments when Maret improvises over a quasi-martial beat supplied by Marsalis and Perrine, Double Wide bonds as a unit. With Puppet Mischief, Ellis reaffirms that he has truly found a niche for himself and his individualistic style of playing, composing and band leading.

Learn more about our star rating system

Track Listing

Okra & Tomatoes; Fauxfessor; Dewey Dah; Puppet Mischief; Carousel; Dubinland Carnival; Chorale; H��roes De Acci��n; This Too Shall Pass.

Personnel

John Ellis

saxophone, tenor

John Ellis: tenor saxophone, bass clarinet; Matt Perrine: sousaphone; Brian Coogan: organ; Jason Marsalis: drums; Alan Ferber: trombone; Gregoire Maret: harmonica.

Album information

Title: Puppet Mischief | Year Released: 2010 | Record Label: ObliqSound

PREVIOUS / NEXT

Rick Estrin and the Nightcats at The...
< Previous

Purpose Built
Next >

John Ellis Concerts

Oct 7 Tue

Johnathan Blake

Ronnie Scott's
London, UK

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.