Mr. Jones - Elvin Jones

Apr

11

Mr. Jones - Elvin Jones

≡ Category: 1970s, Essential, Post Bop, Reviews |
≅ Written by: Michael Kydonieus

JAZZBO NOTES ESSENTIAL RECORDING

Rating:

Mr. Jones is yet another phenomenal Elvin Jones Blue Note recording.

Elvin called Dave Liebman’s New Breed “a cross between Duke Jordan and Monk.” I don’t hear that myself, but it’s a nicely twisted, dissonant theme, with Liebman and Steve Grossman twining around each other on the head, sometimes in very close intervals. Elvin and Gene Perla come up with an unconventional but effective swing feel behind the tune. There is no chordal instrument, but Liebman and Grossman make their solos sound natural, if mysterious. When it’s Perla’s turn to improvise, he’s surprisingly up front in the mix, playing tasty, original lines with his usual full tone, while Elvin comments behind him. Awesome tune.

What’s Up? — That’s It starts out with one of the coolest Latin grooves you will ever hear, courtesy of Jan Hammer on piano, Patato Valdes on congas, and Elvin on traps. It kills. Then Pepper Adams on baritone sax takes the head. Afterwards, Hammer launches into a burning Tyner-ish solo that nonetheless is unmistakeably his, with his propensity for chopping up the rhythm and making precise note choices. Steve Grossman spits out pentatonic phrases on tenor and explores the full range of the horn, from the basement to bats in the belfry. Then it’s back to the head and that amazing Latin groove.

Then it’s time for Steve Grossman’s gorgeous ballad feature, Tadd Dameron’s Soultrane. It’s a trio performance, with no chordal instrument, Elvin playing quietly on the brushes, and Gene Perla providing a rock solid bass line that nonetheless has plenty of interest. It’s a bit shocking when Elvin gets bombastic at the turnaround, but it fits. Grossman does a great job on tenor, never forgetting he’s playing a ballad, honoring the melody, keeping the lyricism, but displaying fire and passion, coming up with surprising ways to reharmonize the tune.

Probably the weakest cut on Mr. Jones is One’s Native Place, written by Elvin’s wife, Keiko. It has a vaguely Japanese folk character. Things gets more interesting when the tune transforms into a swinging minor blues, with Steve Grossman provings a few typically blistering choruses on soprano sax. Elvin gives himself a solo, which has kind of a falling down the stairs and hitting a few trash cans on the way down kind of character to it, but in a good way.

Finally, there’s the vaguely sinister G.G. Thad Jones takes the melody on flugelhorn, while Liebman and Grossman provide an insinuating, harmonized saxophone background. Jan Hammer’s comps are the soul of tact. Thad Jones’ solo on flugelhorn focuses on lyricism, as does Jan’s on keys. Hammer displays a unique touch, in which each note is almost frighteningly distinct, like a handful of glittering diamonds on a black velvet cloth.

What can you say after a date like Mr. Jones but “Wow.” Jazz just doesn’t get any better than this, folks.

But here’s the bad news: this deathless classic hasn’t been released on CD by Blue Note, unless you want to count the out of print Mosaic box set of Elvin Jones’ Blue Note years. Also, Mr. Jones is almost impossible to find as a used LP. In my opinion, this is nothing less than tragic. Mr. Jones should be revered as a masterpiece instead of rotting away in Blue Note’s musty vaults, where jazz fans can’t listen to it.