Elvin Jones--early solo work

[Milestones]

I'm wondering about your impressions of Jones' early solo work, mostly on Blue Note,  This something I have never really explored, in stark contrast to Tyner (I have all of his Blue Note records). But Elvin seems to have some nice stuff out there, and I'm particularly intrigued by the records with Joe Farrell. 

 

[Mark Stryker]

:

Here are a few paragraphs about Jones' early recordings as a leader that I've drawn from my forthcoming book (2017) about Detroit jazz musicians.

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Jones earliest recordings under his own name date back to “Elvin” (Riverside) from 1961-62 with his brothers and three LPs for Impulse, the best of which is “Dear John C” (1965). It’s a lyrical nod to Coltrane that features strongly melodic songs and tremendous playing from alto saxophonist Charlie Mariano. Hank Jones and Detroit-born pianist Roland Hanna alternate on piano. 

 

Jones’ finest body of recordings as a leader was the group of 10 albums recorded for Blue Note from 1968-73. They range from lean trios to eight and nine-piece bands and they sweep through a striking range of material. The initial LPs, “Puttin’ it Together” and “The Ultimate Elvin Jones,” showcase his first working group with Jimmy Garrison on bass and Joe Farrell on tenor and soprano sax, flute and piccolo. With no piano and the bass hot in the mix you can really hear the death-grip bond between Garrison and Jones. “Puttin’ it Together” has an extra spark heard in the greasy hipness Jones slaps on the march beat on “Keiko’s Birthday March” and the George-of-the-jungle tom-toms that drive “Gingerbread Boy.”  If Farrell felt pressure from stepping into Coltrane’s shoes less than a year after his death, he doesn’t show it, and he turns in some of the best work of his career.

 

Of the other Blue Notes, “Merry-Go-Round” (1971) stands as an inspired, thoughtfully arranged microcosm of the eclecticism entering jazz. The 10-member cast expands and contracts as it journeys through all kinds of repertoire. Older Jones associates like Farrell and Pepper Adams rub shoulders with a new generation — saxophonists Dave Liebman and Steve Grossman, keyboardists Chick Corea and Jan Hammer, bassist Gene Perla and percussionist Don Alias. By 1972’s “Live at the Lighthouse,” Liebman, Grossman and Perla were now in Jones’ working band. The young saxophonists sound like twin wild animals tearing into a post-Coltrane language.

 

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[Milestones]

Thanks for that--very informative and nicely written.

Ten records in such a short space is quite a bit.  Were all of them released at the time?  I know a lot of Blue Note records from the 1960s (some of them quite superb) sat on the shelf for a decade or more.

 

[mjzee]

A relatively inexpensive way to explore Elvin's BN work is to spring for the download on iTunes of "Elvin Jones - The Capitol Vaults Jazz Series."  This is the Mosaic box @ $29.99 for the (legit) download.  https://itunes.apple.com/us/album/capitol-vaults-jazz-series/id716174257

[Eric]

This is a great Mosaic set.  I'll admit to ignoring the post-trio LPs, in part due to the cover art 

The music is consistently excellent.  Thanks to Mark, I'm going to re-spin Merry-Go-Round tonight.

[Spontooneous]

I'd also say to everyone: Don't overlook "Midnight Walk" on Atlantic, for its unique mix of personalities: Elvin, Thad, Mobley, Abdullah Ibrahim.

[clifford_thornton]

1 hour ago, Spontooneous said:

I'd also say to everyone: Don't overlook "Midnight Walk" on Atlantic, for its unique mix of personalities: Elvin, Thad, Mobley, Abdullah Ibrahim.

agreed.

[StarThrower]

I like everthing I've picked up by Elvin Jones on Atlantic, Impulse, and Blue Note. Aso Mountain is the only other title i need to acquire.

[JSngry]

Of all the tenor players Elvin had on those BN records, George Coleman is the one I felt best brought all that needed to be brought.

I do confess a soft spot for Heavy Sounds, the impulse! side he co-led with Richard Davis.

 

 

[chewy-chew-chew-bean-benitez]

i still remember in vivid clairty the elvin cymbal crash, u know like the one he does at the end of the songs w/ the bass drum and cymbal

[king ubu]

This one here belongs with the first few Blue Notes ... and is just as excellent, in my opinion:

[soulpope]

7 hours ago, JSngry said:

I do confess a soft spot for Heavy Sounds, the impulse! side he co-led with Richard Davis.

Same here ....

[Joe]

My entry point for Elvin's BNs were the LIVE AT THE LIGHTHOUSE dates. Steve Grossman, Dave Liebman, Gene Perla. Not a bad place to start, still, IMO, but I now found more rewarding listening in POLY-CURRENTS and COALITION.

[felser]

I think Wilbur Little and Gene Perla brought a lot to those Blue Note albums with their bass playing.  Wonder if that was Jones's conception of how he wanted the bass to be played?  My favorite is 'Coalition' for the great versions of 'Yesterdays' and 'Simone', but I really like all the Blue Notes.  Farrell, Coleman, and Foster all did great playing with him, in all cases as good or better than anything they ever did otherwise.  Liebman and Grossman also did themselves proud, especially given their ages (especially Grossman in that regard)..   I find parts of 'Heavy Sounds' very self-indulgent, and the live stuff has too many long drum solos, but all have value.  Don't remember him ever making an unworthy album, just different levels and degrees of goodness.

[JSngry]

Regarding Midnight Walk (which is indeed a very good record) there was another Atlantic side called And The Again, which I was completely unaware of until Collectables issued it on a 2-on-1 with Midnight Walk. And there was a semi-third Atlantic, the co-led date with Philly Joe, on which Hank is also present.

[Mark Stryker]

Yeah, "Coalition" is very good; so are the Village Vanguard recordings (various sources) with Little and Coleman. Are the latter all collected somewhere in reasonable sound and legitimate provenance?

"On the Mountain" is killing with Jan Hammer and Gene Perla.

Overall, "Heavy Sounds" was never a favorite of mine  -- YMMV -- but I do like the way they play "Shiny Stockings," especially Elvin on brushes. Has anybody ever made brushes sound as gritty and dirty as Elvin did? I also like Billy Greene's tune "M.E.," whose melody and harmony reminds me of those deliriously lyrical Freddie Redd/Tina Brooks pieces that I think of junkie music. What ever happened to Greene anyway?

Re: "And Then Again" (1965) -- this was the last of the four LPs that all three Jones brothers appeared on together. The title track, spontaneously conceived with no written material and loosely in D minor, is particularly interesting, among the most "modern" settings in which Hank appeared. (note: if you go looking for this on youtube, be aware that "And Then Again" has been mislabeled in some instances so that while you see the correct cover what you're actually hearing is the music from "Midnight Walk."

For the record the other three records that featured all three brothers were "Keepin' Up with the Joneses" (Metro, 1958); Herb Geller's "Gypsy" (Atco, 1959), "Elvin!" (Riverside, 1961/62)

Edited June 13, 2016 by Mark Stryker