Elvin Jones

Elvin Jones - Earth Jones (1982) {Quicksilver QSCD4015 rel 2003}
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© 1982, 2003 Quicksilver | QSCD4015
Jazz / Hard Bop / Post Bop / Drums

On this interesting but unfortunately out of print LP, the immortal drummer Elvin Jones teams up with four advanced but very different improvisers: Dave Liebman (doubling on soprano and flute), cornetist Terumasa Hino, pianist Kenny Kirkland and bassist George Mraz. Other than a lyrical version of "Never Let Me Go," the songs were contributed by either Jones ("Three Card Molly") or Liebman, whose "Day and Night" is not surprisingly based on the chord changes of "Night and Day." The solos are unpredictable but logical, and the blend between the lyrical Hino and Liebman is appealing.

Elvin Jones - Live At The Lighthouse Vol.1 (1972) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50536}
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Full Artwork @ 600 dpi (png) -> 186 Mb | 5% repair rar | 24-bit remaster
© 1972, 2013 Blue Note / EMI Music Japan | TOCJ-50536
Jazz / Hard Bop / Post Bop / Avant-Garde Jazz / Drums

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic!

Elvin Jones - Live At The Lighthouse Vol.2 (1972) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50537}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 503 Mb | MP3 @320 -> 183 Mb
Full Artwork @ 600 dpi (png) -> 181 Mb | 5% repair rar | 24-bit remaster
© 1972, 2013 Blue Note / EMI Music Japan | TOCJ-50537
Jazz / Hard Bop / Post Bop / Avant-Garde Jazz / Drums

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic!

Elvin Jones - Puttin' It Together (1968) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 263 Mb | MP3 @320 -> 99 Mb
Full Artwork @ 600 dpi (png) -> 295 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1968, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5051
Jazz / Post Bop / Modal Music / Avant-Garde Jazz / Drums

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Proof that Elvin Jones wasn't just riding on the laurels of the Great One during his years with John Coltrane – as the album's a breakout date that has Jones firmly establishing his own voice in jazz! There's an explosive power here that makes us think that Elvin must have really just been biding his time with Coltrane – waiting for the chance to try out his own new ideas in music, and finding the perfect accompanists here in a trio that includes Jimmy Garrison on bass and a young Joe Farrell on tenor, soprano sax, and flute! The lack of a piano in the group really makes for a sense of new freedom that's totally great – not dreamy, melodic piano-less work, as in some of the LA groups of earlier years – but a searing, soaring intensity that Farrell was a perfect choice to head up.

Elvin Jones - Genesis (1971) {2014 Japan SHM-CD Blue Note 24-192 Remaster TYCJ-81072}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 265 Mb | MP3 @320 -> 95 Mb
Full Artwork @ 600 dpi (png) -> 241 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1971, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81072
Jazz / Post Bop / Modal Music / Drums / Saxophone

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Elvin Jones rose to fame in the company of one of the greatest saxophone players ever – the mighty John Coltrane – and his post-Coltrane work like this really continues a keen respect for the role of the reeds in jazz – and really does a lot to push it forward as well! There's a compelling edge to the record that's light years from Elvin's work with Coltrane – a completely new sensibility that can be spacious one minute, extremely powerful the next – and quite possibly realized to its fullest potential here, thanks to the mindblowing contributions of Dave Liebman on tenor and soprano sax, Frank Foster on tenor and flute, and Joe Farrell on alto and soprano sax.

Elvin Jones Jazz Machine - The Truth. Heard Live At The Blue Note (2004) {Half Note}
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© 2004 Half Note Records | 4519
Jazz / Hard Bop / Post Bop

This live date, recorded at the Blue Note in 1999 in commemoration of Elvin Jones's 72nd birthday, was one of the drummer's last recorded performances before his death in 2004. Jones's Jazz Machine turns in an exciting program of nervy hard bop, with nods to both the mainstream and the avant garde. The band, comprised of Michael Brecker and Antoine Roney on saxophones, Robin Eubanks on trombone, Darren Barrett on trumpet, Carlos McKinney on piano, and Gene Perla on bass, displays an impressive sense of group interplay, while not skimping on brio in the solos.

This Impulse! session co-led by drummer Elvin Jones and bassist Richard Davis finds the pair joined by tenor saxophonist Frank Foster and pianist Billy Green. The quartet performs an erratic but generally interesting set of music including "Shiny Stockings," Foster's funky "Raunchy Rita," and "Elvin's Guitar Blues"; the latter briefly features Jones making his first and only appearance on guitar.

The second album by Elvin Jones as sole title rights leader (excluding the co-op ensemble that recorded the stunning and essential progressive jazz icon Illumination!) has the drummer sounding more like a backup musician, as he claims no compositional duties or noticeable solo space. In fact, this is one of the very best albums in the career of alto saxophonist Charlie Mariano, who occupies the bulk of lead lines and improvising responsibilities. He's so up-front, and on an instrument that is not John Coltrane's main instrument - the tenor sax - that the title is also a bit of a misnomer. The value of Jones as a bandleader lies in his concept of using fellow Detroiter Sir Roland Hanna or brother Hank Jones on selected tracks, or in the case of three tracks, no pianist…