The double slim-line jewel case is presented in a color card slip sleeve. And it comes with a glossy twenty-page inlay booklet, which features original liner notes, and a new seven-page write-up about both albums.

Ellis started his career in the mid-1950’s playing in Glen Millers band, going onto  release under his own name in the 1960’s, through to the 1970’s. He composed the soundtracks for a fairly wide range of films too-going from two classic 70’s crime thrillers French Connection 1 & 2. Onto 1970’s psychological/supernatural thriller Ruby, and late 60’s  Hammer Sci-fi film Moon Zero Two. He was always known for unpredictable leanings in the jazz form, particularly with time signatures.

The two albums here show Ellis's creativity, flare & sly humor in spades, with often a more approachable & populous leaning.  The two albums here are Tears of Joy from 1971- which is an eighty-minute live album. And 1972’s Connection- a studio album, which features mainly covers, all giving that distinctively creative & inventive Ellis touches.

So first up on the release we have 1971’s Tears of Joy- this features eleven tracks, with all but three been Ellis compositions. The album was recorded live over two nights in May of 71 at the Basin Street West Venue in San Francisco, and really you wouldn't know it was a live recording, aside from the crowd applause at the end of a few of the tracks.  For the album Ellis- playing Flag horn, trumpet, and drums- is joined by sixteen other musicians, so there is often a very full & detailed sound to the compositions, and really Ellis comes into his own as bandleader/ arranger here.  Due to the over eighty-minute runtime Tears Of Joy is spread over both discs, with the lion share on disc one, and remaining two tracks appearing at the starts of disc two. Tonally & mood wise the album jumps all over the place- the whole thing opens with the buoyant & jiving title track- which finds Ellis ring-modulated electric trumpet playing out a jaunting ‘n’ quirky melody over a layered rhythmic & horn backing that’s somewhere between samba & Mambo. The third track "Bulgarian Bulge" shifts between effortlessly between swinging & urgent Klezmer horn work, and jazzy-to-harmonic piano runs. The fittingly named "Quite Longing"- slows things down to more smoky & moody pace, with rich & felt horn wails over a sadly simmering backdrop of string swoon ‘n’ pick, piano, and rustling percussion darts. To the  epic "Strawberry Soup", which over it’s nearing eighteen minutes moves from bleak & slightly angular string swoons. Onto 70’s big band dramatics with funky undercurrents. Through to marching & bombastic cinematic horn swings.  There really is so much flair & passion in every moment of the Tears Of Joy album.

Next, of course, we have 1972’s Connection, and this offers up thirteen tracks. Most of these are covers, but don’t let that put you off- as what Ellis covers is surprisingly varied, and pretty much each tune he makes his own. Highlights here are "Alone Again( Naturally)"- which sees a slinky-yet- playful percussive backing ebbed with a shifting canvas Santana like guitar licks, funky wow-wows, grooving horns, and emotional string sweeps. Onto "Superstar"- which is a surprisingly great & nearly unrecognizable version of this track from Andrew Lloyd Webbers Jesus Christ Superstar- with it funky horn punches, tick-tock percussion, and grooving organ runs. Onto the "Theme From The French Connection"- with it’s angular & sawing beginning, and later bongo edged & funk bass tipped horn dramatics.

This double disc release is my first experience of Mr. Ellis work, and I must say I was highly impressed with his creative & clever arrangements. A well as his own horn work, and the supporting players he surrounded himself with. And I’d go as far to say that both Tears of Joy & Connection up their with some of the best & genre creative 1970’s work of  Miles Davis & Keith Jarret, when they where utilizing & leading larger bands.