Elvin Jones Music

These five cuts from three live recordings, made in the last five years before Coltrane's untimely death at age 40, represent his transition to the experimental jazz that so disappointed many of his fans who prefered his earlier work (the individual concerts have been released in their entirety under Live At Birdland and also Live At The Half Note). This, however, is the Coltrane I prefer. An experienced ear can hear a few blemishes here and there but the inovation of these cuts cannot be overstated.

Live CDs are hit and miss, though Coltrane nails this sucker from start to glorious finish in 68 minutes of some of the best damn jazz one will ever hear. This CDs deserves repeated listening. Sometimes I just listen to the music and let it take over my soul. Other times, I'll listen with rapt attention and hopelessly try to figure out what he's doing. He was a genius with that sax. He died when I was 11 so I never saw him play. This CD makes me feel like I had a table ten feet from the stage and was watching history being made by a jazz icon at work.

There was a second volume of Jones' 1972 appearance at the Lighthouse, and I unfortunately cannot report whether or not this CD release contains that date. (Judging by the cover, which was used on the first volume, I suspect that this CD release does not contain the second date, but perhaps another listener can confirm or correct that.) I can report, however, that the first volume, released as a double LP on Blue Note, was one of Jones' best recorded efforts.

That volume, recorded by Blue Note on Jones' 45th birthday, featured the dynamic front line duo of David Liebman and Steve Grossman, each doubling on soprano and tenor saxophone. Liebman also played flute. Gene Perla sparkled on bass. The show began with an incredible 20-minute version of Donald Byrd's "Fancy Free." After Elvin's grooving intro, Liebman and Grossman departed on an utterly astonishing double solo, with Liebman on soprano and Grossman on tenor. The two wove in and out, playing off of one another in a long sequence that was truly hypnotic, then each crafted his own superb solo. It's absolutely one of the best performances I've ever heard. Jones' drumming never lags throughout the performance, and Perla contributes a throbbing, ostinato line that will leave you wondering why we've heard so little from him since, especially since he has not vanished from the musical scene.

Also particularly worthy of mention is the performance of "New Breed," which was also recorded by Elvin on the studio album "Mr. Jones" on Blue Note, and the standard "My Ship," which features masterful interplay between Jones' brushwork and Liebman's lovely flute. The performance demonstrates thoughout, in fact, why Jones has consistently shown to be one of the best judges around of great young talent. Liebman, Grossman and Perla take on the challenge of playing with Jones and consistently contribute superior solos throughout the release.

It's a shame, of course, that the listener has to pay a premium, import price for this release when it should be on the short list of great '70s recordings and therefore readily available to the American jazz listener. Still, I feel confident in saying that the CD will not let you down.

Basically, I agree with everything that Tyler says. I just wanted to add that this and the other Live At the Lighthouse volume (there were volumes 1 and 2) comprise both sets from the same evening, so these two volumes are essentially an expansion of the classic 70s LP. This is probably the single greatest Elvin Jones recording, and a testament to his skills as a bandleader (of COURSE his drumming is fabulous). If you would like to read more reviews like this, check out JazzboNotes.com.

I have the original Blue Note LP release, a two-fer, and it doesn't include David Liebman's brilliant and moving solo on Frank Sinatra's "I'm a Fool to Want You." So this CD is the way to go--if you can find it.

Over the course of 30 years, I've taken students to Milwaukee, Chicago, New Orleans, and New York to hear jazz, but catching Elvin live in 1972 at the Jazz Showcase in Chicago stands out as the musical highlight. The ensemble was polyphonic and polyrhythmic, cerebral yet passionate, advanced yet primal, Apollonian yet Dionysian--far more engaging, in fact, than Coltrane's meterless performances (happenings?) during his last two years. Perla masterfully held down the center while Elvin supplied the energy and tension, along with an irresistible pulse (which he was not always permitted to do with Trane). Grossman sounded weak in the mix, but his role was largely to serve as a foil and a stimulus to Liebman, whose playing was simply unreal.

As for Elvin, he was friendly, loquacious, and extremely generous off the stand, taking time during intermission to talk to my class about Ellington (he explained the circumstances of his joining and leaving Duke's band) and Coltrane (it was like playing with an "angel"). No recording can duplicate that experience, though as the previous reviewer's comments suggest this is a pretty exceptional CD nonetheless.

There was a second volume of Jones' 1972 appearance at the Lighthouse, and I unfortunately cannot report whether or not this CD release contains that date. (Judging by the cover, which was used on the first volume, I suspect that this CD release does not contain the second date, but perhaps another listener can confirm or correct that.) I can report, however, that the first volume, released as a double LP on Blue Note, was one of Jones' best recorded efforts.

That volume, recorded by Blue Note on Jones' 45th birthday, featured the dynamic front line duo of David Liebman and Steve Grossman, each doubling on soprano and tenor saxophone. Liebman also played flute. Gene Perla sparkled on bass. The show began with an incredible 20-minute version of Donald Byrd's "Fancy Free." After Elvin's grooving intro, Liebman and Grossman departed on an utterly astonishing double solo, with Liebman on soprano and Grossman on tenor. The two wove in and out, playing off of one another in a long sequence that was truly hypnotic, then each crafted his own superb solo. It's absolutely one of the best performances I've ever heard. Jones' drumming never lags throughout the performance, and Perla contributes a throbbing, ostinato line that will leave you wondering why we've heard so little from him since, especially since he has not vanished from the musical scene.

Also particularly worthy of mention is the performance of "New Breed," which was also recorded by Elvin on the studio album "Mr. Jones" on Blue Note, and the standard "My Ship," which features masterful interplay between Jones' brushwork and Liebman's lovely flute. The performance demonstrates thoughout, in fact, why Jones has consistently shown to be one of the best judges around of great young talent. Liebman, Grossman and Perla take on the challenge of playing with Jones and consistently contribute superior solos throughout the release.

It's a shame, of course, that the listener has to pay a premium, import price for this release when it should be on the short list of great '70s recordings and therefore readily available to the American jazz listener. Still, I feel confident in saying that the CD will not let you down.

Basically, I agree with everything that Tyler says. I just wanted to add that this and the other Live At the Lighthouse volume (there were volumes 1 and 2) comprise both sets from the same evening, so these two volumes are essentially an expansion of the classic 70s LP. This is probably the single greatest Elvin Jones recording, and a testament to his skills as a bandleader (of COURSE his drumming is fabulous). If you would like to read more reviews like this, check out JazzboNotes.com.

I have the original Blue Note LP release, a two-fer, and it doesn't include David Liebman's brilliant and moving solo on Frank Sinatra's "I'm a Fool to Want You." So this CD is the way to go--if you can find it.

Over the course of 30 years, I've taken students to Milwaukee, Chicago, New Orleans, and New York to hear jazz, but catching Elvin live in 1972 at the Jazz Showcase in Chicago stands out as the musical highlight. The ensemble was polyphonic and polyrhythmic, cerebral yet passionate, advanced yet primal, Apollonian yet Dionysian--far more engaging, in fact, than Coltrane's meterless performances (happenings?) during his last two years. Perla masterfully held down the center while Elvin supplied the energy and tension, along with an irresistible pulse (which he was not always permitted to do with Trane). Grossman sounded weak in the mix, but his role was largely to serve as a foil and a stimulus to Liebman, whose playing was simply unreal.

As for Elvin, he was friendly, loquacious, and extremely generous off the stand, taking time during intermission to talk to my class about Ellington (he explained the circumstances of his joining and leaving Duke's band) and Coltrane (it was like playing with an "angel"). No recording can duplicate that experience, though as the previous reviewer's comments suggest this is a pretty exceptional CD nonetheless.

Recorded live at the Village Vanguard in the early 70's The basic group is Coleman on Tenor - Wilbur Little on bass & Jones on drums. Marvin Peterson on trumpet is added for the 15 min. track on which Jones is featured also. George is featured all the way on the 2 standard semi-ballads without stopping for a bass solo. Little is not heard in solo at all. - Good Show - Certainly more Boppish than Avant.