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Elvin Jones

PMR-004 "Live" © 1975
John Coltrane Memorial Concert
Recorded September 12, 1971
at Town Hall, New York City


Elvin Jones

Drums
Joe Farrell

Tenor Saxophone & Flute
Frank Foster
Tenor and Soprano Saxophones
Chick Corea
Piano
Gene Perla
Double-bass

1. Shinjitu 22:00
    by Keiko Jones
    Elvin Jones Music (ASCAP)
2. Simone 23:53
    by Frank Foster
    Frank Foster Music (ASCAP)

Elvin Jones Courtesy of Blue Note reccords
Joe Farrell Courtesy of CTI Records
Graphic Design by Anne Maria Schnider
Produced by Gene Perla

PM Records
PMR-004
Copyright 1975 PM Records

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All Music
By Jim Todd

This 1975 date for the brilliant drummer, with Jan Hammer on keyboards and bassist Gene Perla, is a minor, if somewhat overlooked, classic from the tail-end of the early '70s to the mid-70s' run of great jazz fusion releases. Both Perla and Hammer worked with Elvin Jones between 1971 and 1973, in bands featuring saxophonists Frank Foster, Joe Farrell, Steve Grossman and Dave Liebman. Here, the smaller format allows for a tight group sound with openings for strong solos and fluid interplay throughout. Jones is well up in the mix, giving fans a front-row opportunity to enjoy the drummer, both in all-over-the-kit, rolling-thunder mode and in the subtler moments of his peerless brushwork. The trio perform a half-dozen originals by Perla and Hammer. The impressive writing has a definite jazz sensibility, but Hammer's Moog and electric piano work, Perla's alternating between electric and acoustic basses, and Jones' own fierce eruptions provide a satisfying, rock wallop in several spots.

Much as I love the sax players that were with Elvin I think "On The Mountain" one of his best!
Mike Migliore


It sounds every bit as good now as it did when I first heard it, and confirmed it as one of my favourite sessions from the period.
Gary Allan


On the Mountain has made me impatient for the Elvin Jones Live album with Corea, Foster, Farrell and Perla.
Michael Winston


Who said Elvin Jones is a very loud drummer? Well, what’s wrong with being loud, and correct?
Clinton Scott, Disc and Data

Elvin Jones is On the Mountain, indeed, demonstrating his mastery of subtlety in drumming, and he is in good company.
Nighthawk, The Gazette

Both albums [Live and On the Mountain] are guaranteed brain benders and mind massagers.
Graham Carlton, Illinois Entertainer

These three develop good feelings throughout the album, one of the most satisfying trio sessions in some time.
Radio Free Jazz

The real pleasure, however, is the discovery of Jones’s work as drummer/leader with Perla and keyboardist Jan Hammer on “Elvin Jones Is on the Mountain”… Three compositions by the pianist and three by the bassist go to make up the album – but the whole is greater than the sum of the parts. Instead of the potential for nothing but drum work that drummer albums often impose, this outing is a chance to hear innovations contributed equally by Jones, Perla and Hammer in a fast-paced series of interchanges.
Chris Colombi Jr., Disc-ussion

All the cuts are very good – no waste on this LP – the musicians are superb (as expected), the playing (both electronic and acoustic) is excellent making On the Mountain a very fine album… The musicians all work together really well and no egos are stepped on, as all have a chance to show their playing. Very simply – it’s an album of the highest quality.
Danny Kunsch, Community Radio

The freshness of this studio gig is apparent, from the top of the opener to the leave-you-breathless finish.
New Review

Now here’s an album that combines three really great talents in the jazz and jazz-rock industry. Elvin Jones, as a veteran of the legendary John Coltrane group has always impressed me with his fiery and explosive drumming. The multivariations in rhythm put him in a class of his own. Hammer’s tenure with Jones and later the Mahavishnu Orchestra gave him the ability to demonstrate his acoustic and electric skills respectively. And Perla, his work with artists like Jones, Dave Liebman, and Steve Grossman write his own future. In any setting, he is able to maintain either a smooth accompaniment, or his solos are beautifully melodic. All of this comprises “On the Mountain.” The opener, “Thorn of a White Rose,” shows the Mahavishnu shining through in Hammer. Jones is a great drummer in an electric type situation. Perla’s “Namuh” is a flowing acoustical ditty that even impresses me more. Each musician seems to hold their own abilities to the heights. Special mention is made to the bass lead during the song. But the real winner is “On the Mountain,” I can’t describe what is good about it, I guess the old cliché holds where it is “too good for words.” Side two deals with the same amount of beauty. Out of the two electric compositions on Side two, “Destiny” seems to be the better one in fact that the complexity impressed me, also the idea of the synthesizer-drums dueting. “Smoke in the Sun” moves in a lilting manner, with the chord structure supplying a nice icing for the melody. The somberness of “London Air” adds to the variety of the album in a most beautiful manner. This only proves that in the final analysis, this album will impress the jazz listener of all preferences, whether smooth melodic jazz or moving jazz-rock.
Jeff Sion

Let the logic of the music heard remain secret – these unlimited impressions of denseness, homogeneity of all sound occurrences here are furnished with a unique richness of substance. Flexibility and restraint are reconciled with the performers’ spontaneity and infallibly they steer us to points of clarity in a wonderful labyrinth which enables us to tell truth from falseness, sincerity from deception… But let’s leave these two compositions untouched. Listen for yourself!
Janusz Szprot, Jazz Forum

LORD ELVIN…

Elvin, Elvin, where’d you go…
fierce Black Warrior, your
Dobermans straining
on a tight leash…

‘Don’t even think of fucking
with ME’ you glowered, but we
knew you sweet as chocolate
“Hey baby, what you know?”

ELVIN, you made and ruined
the dreams of Drummers old
and young, still to be, even
Tony was no match…

Couldn’t touch your majesty
no more than catch that Trane,
doomed to imitation not even
remotely close…

They wrote a song for these two…

There will NEVER be another
YOU…

Shelly Rusten   4/6/07 NYC


Jonesin’
By Bill Meredith

If there were a Mount Rushmore of jazz drummers, one of the faces on it would undoubtedly belong to Elvin Ray Jones, who succumbed to heart failure last May at age 76. Jones secured his place in jazz history by his tenure with John Coltrane (1960-1966), but the drummer also made other bold statements during his 55-year recording career. One such gem that fell between the cracks is Jones’ 1975 album On the Mountain, initially released on bassist Gene Perla’s P.M. Records. The recording — featuring Perla on acoustic and electric basses and Jan Hammer on piano and multiple electric keyboards — became relegated to bootleg status until Perla reissued it recently on CD. The bassist remembers the one-day recording session fondly.

“I picked Elvin up in New York,” says Perla, 65, by cell phone near his home studio in Whitehouse Station, New Jersey. “Jan and I were both living at Red Gate Farm, and we had started Red Gate Studio [in Kent, New York] together. Jan played just the piano parts — there were no overdubs during the initial piano-trio recording — but we left holes for him to overdub the other keyboards.”

After the Mahavishnu Orchestra’s 1975 demise, Hammer embarked on a solo career, thus he took full advantage of this opportunity. His opening “Thorn of a White Rose” features multiple layers of Moog synthesizer in its two main sections, which alternate after a thunderous Jones drum intro. The Czechoslovakian keyboardist’s other two compositions are the electric-piano-driven “Smoke in the Sun” and the pensive “London Air.” Hammer’s acoustic-piano intro and Perla’s upright-bass accompaniment segue into a signature theme from “Full Moon Boogie,” a piece on one of Hammer’s later fusion albums. Here, Jones’ brushwork and accents drive one of the disc’s more straightahead jazz tunes.

Perla composed the CD’s other three songs. The title track, like most of the disc, straddles the fence between acoustic jazz and electric fusion — all triggered by Jones’ subtle-to-slamming playing. Perla chooses the acoustic bass for the lengthy, playful “Namuh” and switches to electric for the muscular closer, “Destiny.” Jones punctuates the trio’s final statement with dizzying, signature solos. He may not have been known as a fusion drummer, but this disc — which is unlike the remainder of his catalog — proved that Jones could play any style. “

Elvin used to bring albums to the Blue Note to sell,” says Jack Kreisberg. One of the reissue’s executive producers, Kreisberg had a long working association with the New York City club, which was among Jones’ favorite tour stops. “So I got my vinyl copy there about eight years ago.”

“From what Elvin told me,” Perla says, “of all the albums he made as a leader, the ones that the fans asked him about the most were Live at the Lighthouse [Blue Note, 1972] and On the Mountain.”

Can't say exactly why, but "Namuh" has become a favorite. Touching, swinging tune, reaching for something... as every good endeavor should.

I just wanted to say that I'm a huge fan of your work and the "On The Mountain" album you did with Elvin and Jan is one of my top ten of all time...so much I that I borrowed the concept for my first solo album (Acoustic Bass/Fender Rhodes/Acoustic Piano/Mini Moog/Drums-trio).
Jason Harrison Smith
 

PMR-043 "Live At Carnegie Hall" © 2018
Recorded July 3, 1972
for the Newport Jazz Festival
at Carnegie Hall, New York City
Two months
before "Live At The Lighthouse"

Elvin Jones
Leader, Drums
Steve Grossman
Tenor Saxophone
David Liebman

Tenor & Soprano Saxophones & Flute
Gene Perla
Double-bass

1. A Brite Piece 10:33
    by David Liebman
    Liebstone Music (BMI)
2. Announcement 1:08
    by Elvin Jones
3. A Time For Love 6:50
    Mandel & Webster
    Warner Bros (ASCAP)
4. Children's Merry Go Round March 13:53
    by Keiko Jones
    Elvin Jones Music (ASCAP)
5. Fancy Free 12:33
    by Donald Byrd & Frank Foster
    Swing That Music (ASCAP)
6. I'm A Fool To Want You 9:25
    by Frank Sinatra, Jack Wolf, Joel Herron
    Warner Bros (ASCAP)
    Barton, MPCA Lehsem
    Warner Bros (ASCAP)
7. Three Card Molly
15:49
    by Elvin Jones
    Elvin Jones Music (ASCAP)

Recorded live at Carnegie Hall
New York City
For the Newport Jazz Festival, July 3, 1972

Edited, Mixed, & Mastered
    at The System, Easton, PA, US
    by Nicholas de la Motte & Gene Perla
Graphic Design by Gene Perla
Patrick Dorian, Producer
Gene Perla , Executive Producer

P.M. Records
PMR-043
Copyright 2018 P. M. Records

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By the time of this recording, July 3, 1972, the Elvin Jones Group was tight. In the jazz sense, this means obvious familiarity with the music itself, but more than that it translates to recognizing the basic parameters of each individual’s style and how it all blends together in the mix. At this point in the group’s evolution Steve and I could communicate telepathically while Gene and Elvin were completely locked in rhythmically. Time spent together on and off the bandstand is the only way this can be achieved (which unfortunately is not the norm in our time). The overall result is clearly heard on this recording… a sense of heightened intensity and commitment. The three of us were young and green, but realized that this was the greatest of gifts a young musician could experience, to play with one of the all-time greats.
This concert (part of the Newport Festival) is a very good example of the group in full throttle and can be construed as an accompaniment to the iconic “Live At The Lighthouse” recording from later that year, coincidentally done on Elvin’s birthday, September 9, 1972. These two recordings represent two sides of the coin… a club atmosphere in contrast to the concert stage of Carnegie Hall, an intimidating venue to say the least!! The tunes heard here represented the core of the group’s repertoire.
The link listed below consists of my extensive liner notes for the Mosaic boxed set of Elvin’s recordings on Blue Note Records during the late ‘60s into the ‘70s. Organized beautifully by Chip Stern with photos, everything about the “Jones” experience is described. Suffice to say the entire experience changed the lives of Gene, Steve and myself from the career and experiential points of view forever. Elvin was a force of nature and to be around him, again both on and off the bandstand was a life-changing event.
Special thanks to Pat Dorian who was instrumental in organizing this release. - David Liebman
http://davidliebman.com/home/articles

 

PMR-045 "Live At Paris Olympia" © 2018
Recorded October 22, 1972
at Olympia Theater, Paris, France
One month
after "Live At The Lighthouse"

Elvin Jones
Leader, Drums
Steve Grossman
Tenor Saxophone
David Liebman

Tenor & Soprano Saxophones & Flute
Gene Perla
Double-bass
SPECIAL GUESTS:
Art Blakey

Drums
Roy Haynes
Drums

1. The Children's Merry-Go-Round March 15:22
    by Keiko Jones
    Elvin Jones Music (ASCAP)
2. Soultrane 9:42
    by Tadd Dameron
    Carbaby Music (ASCAP)
3. Shinjitu 11:25
    by Keiko Jones
    Elvin Jones Music (ASCAP)
4. The Children, Save The Children 24:25
    by Don Garcia
    Perla Works (ASCAP)
5. Night In Tunisia 17:22
    by Dizzy Gillespie & Frank Paparelli
    Universal Music (ASCAP)

Recorded live at Olympia Theater, Paris, France
October 22, 1972
Edited, Mixed, & Mastered at
The System, Easton, PA, US
by Nicholas de la Motte & Gene Perla
Cover Art by Toni Wirts
Graphic Design by Gene Perla
Produced by Gene Perla

P.M. Records
PMR-045
Copyright 2018 P. M. Records

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When an interviewer asks the stock question concerning notable gigs one might recall, a concert I will always remember was during my tenure with Elvin Jones at the L’Olympia Theater in Paris. The feature was a “drum battle” with Elvin, Art Blakey, and Roy Haynes. As you can hear, we (Elvin, Steve Grossman, and Gene Perla) played a few
tunes in front and then accompanied these masters on their journey that evening. I can recall that set clearly, remembering the vibes between these three masters, love, respect, and competition. Here are the top guys in their field and in their prime playing their butts off. When Art hits that “Night In Tunisia” bell of the cymbal beat that we
all know, I still remember the thrills going up and down my spine. This is spontaneous jazz at its best, mistakes and all. What a memorable night!! – David Liebman
http://davidliebman.com/home/articles
 

PMR-046 "Jamboree & Workshop" © 2021
*October 20, 1972 &
†January 16, 1973

Elvin Jones
Leader, Drums
Steve Grossman
Tenor & Soprano Saxophones
David Liebman

Tenor & Soprano Saxophones & Flute
Gene Perla
Double-bass

*1. Yesterdays 8:04
      by Otto A. Harbach & Jerome Kern
      Universal Polygram (ASCAP)
      International Publishing Inc (ASCAP)
*2. The Children, Save The Children 7:05
      by Don Garcia
      Perla Works (ASCAP)
†3. Sambra 19:00
      by Gene Perla
      Perla Works (ASCAP)
†4. I'm A Fool To Want You 10:25
      by Frank Sinatra, Jack Wolf, Joel Herron
      Warner Bros (ASCAP)
†5. New Moon 15:23
      by Steve Grossman
      Perla Works (ASCAP)
†6. Children's Merry-Go-Round March 7:29
       by Keiko Jones
       Elvin Jones Music (ASCAP)
†7. Announcement 1:04
      by Elvin Jones

*Recorded Live at Jazz Jamboree '72
  Warsaw, Poland ~ 20 Oct 1972
†Recorded Live at the Jazz Workshop
  Boston, MA, US ~ 16 Jan 1973

Edited, Mixed, & Mastered
    at The System, Easton, PA, US
    by Nicholas de la Motte
Liner Notes by James Gilheany
Graphic Design by Gene Perla
Produced by Gene Perla

PM Records
PMR-046
Copyright 2021 PM Records

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When we look back on the early 70’s we see a society in turbulence. None of what was considered “normal” was safe from being questioned. This is most evident in the culture of the time. A new generation took film, art, literature, and music in directions that a few years earlier wouldn’t have seemed possible. Change was the order of the day. In this spirit drum icon Elvin Jones enlisted 3 players half his age to stir up some change of their own.

These live recordings come from concerts at Jazz Jamboree ‘72 in Warsaw and the Jazz Workshop in Boston. At the time everyone was going electric. Bigger amps and advances in PA sound steered bands to play louder and head to larger venues. Elvin didn’t need his band to go electric to get the same intensity as the electric bands. He got more intense players.

It’s surprising that there’s no piano or guitar. Gene Perla’s bass fills the role that would usually go to those instruments and the effect is a vast openness in the songs that allows the soloist unlimited space to explore.

Dave Liebman and Steve Grossman take full advantage of this unlimited space exploring it with an endless flow of ideas. Even though they were only in their 20’s when they recorded these dates, they raised the bar to such a degree that sax players 50 years later view these recordings as essential study.

Elvin’s polyrhythmic technique is on full display here. His impact on the world of drumming and music in general can’t be overstated. There’s Before Elvin and there’s After Elvin. This band and CD are more proof he was one for the ages.

By James Gilheany

 

PMR-005 "On the Mountain" © 1977


Elvin Jones
Drums
Jan Hammer
Acoustic and electric pianos and Moog synthesizer
Gene Perla
Acoustic and electric basses

1. Thorn of a White Rose (Jan Hammer) 5:07
2. Namuh (Gene Perla) 7:47
3. On the Mountain (Gene Perla) 4:37
4. Smoke in the Sun (Jan Hammer) 4:00
5. London Air (Jan Hammer) 5:29
6. Destiny (Gene Perla) 7:28

Jan Hammer's compositions
Published by Country and Eastern Music (ASCAP)
Gene Perla's compositions
Published by Perla Works (ASCAP)

Jan Hammer Courtesy of Nemperor Records
Recorded in 1975
    at Red Gate Studio, Kent, New York
Engineered by Jan Hammer
Technician and Assistant Engineer: Andy Topeka
Cover Design by Anne M. Schnider
Produced by Gene Perla

P. M. Records
PMR-005
Copyright 1975 P. M. Records, Inc.

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All Music
By Jim Todd

This 1975 date for the brilliant drummer, with Jan Hammer on keyboards and bassist Gene Perla, is a minor, if somewhat overlooked, classic from the tail-end of the early '70s to the mid-70s' run of great jazz fusion releases. Both Perla and Hammer worked with Elvin Jones between 1971 and 1973, in bands featuring saxophonists Frank Foster, Joe Farrell, Steve Grossman and Dave Liebman. Here, the smaller format allows for a tight group sound with openings for strong solos and fluid interplay throughout. Jones is well up in the mix, giving fans a front-row opportunity to enjoy the drummer, both in all-over-the-kit, rolling-thunder mode and in the subtler moments of his peerless brushwork. The trio perform a half-dozen originals by Perla and Hammer. The impressive writing has a definite jazz sensibility, but Hammer's Moog and electric piano work, Perla's alternating between electric and acoustic basses, and Jones' own fierce eruptions provide a satisfying, rock wallop in several spots.

Much as I love the sax players that were with Elvin I think "On The Mountain" one of his best!
Mike Migliore


It sounds every bit as good now as it did when I first heard it, and confirmed it as one of my favourite sessions from the period.
Gary Allan


On the Mountain has made me impatient for the Elvin Jones Live album with Corea, Foster, Farrell and Perla.
Michael Winston


Who said Elvin Jones is a very loud drummer? Well, what’s wrong with being loud, and correct?
Clinton Scott, Disc and Data

Elvin Jones is On the Mountain, indeed, demonstrating his mastery of subtlety in drumming, and he is in good company.
Nighthawk, The Gazette

I think the magic on the record with Elvin was the combination of the electric instruments with his kind of groove which is something that he really hadn’t done before  Then again Jan is a  genius and of course the chemistry on that record was really amazing between the three of you....That’s why we’re still talking about it.
Jason Miles
29 Dec 2019


I acquired the "On The Mountain" album when I was 14 years old and fell in love with it right away. I've been listening to it since then! That's 33 years! I never get tired of that album. Also, I dig all the Stone Alliance LP's I have.

 

PMR-030 "Bill's Waltz" © 2008

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