Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A stunning early set as a leader from Elvin Jones – both a tremendous demonstration of the free energy he let loose after the passing of John Coltrane, and a set that's also still got some key Coltrane-esque elements! As with other Jones albums to follow, Elvin's got some key reedmen on hand – George Coleman on tenor, and Frank Foster on tenor, alto, and bass clarinet – both given plenty of room to run around with long solos on the open space of the record – yet without ever blowing off their heads as much as some of the younger players who'd work with Jones. There's no piano at all on the set – just the rock-slid bass of Wilbur Little, and additional congas from Candido next to Elvin's drums. The tracks have a haunting quality that mixes modal grooving with spare moments, and titles include "Simone", "5/4 Thing", "Shinjitu", and a nice version of "Yesterdays".
Pianist Masabumi Kikuchi joins drummer Elvin Jones in a really great trio date – one that draws extra power from the mighty bass of Gene Perla, whose soulful tones help push the music along strongly! The Jones/Perla combination is always great, but it seems to take on a whole new level of sensitivity in the presence of Kikuchi – showing more sense of space to allow Masabumi's piano some great placement in the date, yet without any of the "hollowed out" modes you might guess from the title. Perla can be bold one minute, very subtle the next – and his presence is always appreciated on the record, making us wish he'd recorded more with Kikuchi over the years. Titles include "Apple", "Ginkai", "Little Abi", "Bell", and "Hollow Out".
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.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Most of this CD reissue features drummer Elvin Jones leading a sextet full of notables, which also includes the underrated tenor great George Coleman, Joe Farrell on tenor, flute and English horn, baritonist Pepper Adams, bassist Wilbur Little, and Candido on congas. They stretch out on group originals highlighted by "Mr. Jones" and "Whew." In addition, flutist Fred Tompkins teams up with Farrell's flute, Little and Jones on his own "Yes." Advanced modal hard bop with all of the musicians playing in top form.
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.
A overlooked gem in Elvin Jones' Blue Note career – and an album that's virtually the blueprint for the Stone Alliance sound forged later in the decade by bassist Gene Perla and reedman Steve Grossman! Both players are working to full effect on this smoking little set – mixing some of the more spiritual modes of other group members with their own sharper-edged, funky-leaning styles – all held together perfectly by both Jones' tight work on drums, and his expansive musical vision! Other players are great too – and include Pepper Adams on baritone sax, David Liebman on flute and tenor, and Jan Hammer on acoustic piano – an instrument he handles with surprising subtlety and soul. Many cuts have a hard, choppy groove – and titles include a remake of "Gee Gee", plus "One's Native Place", "Mr Jones", and "What's Up – That's It".