|
PMR-004 "Live" © 1975
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 |
| BUY CUSTOM CD | $20.00 | ||
| BUY ALL MP3s | $6.99 | ||
| Shinjitu |  |
$3.99 | |
| Simone | |
$3.99 | |
| "I have to thank you for "The John Coltrane Memorial Concert"
which has been inspiring me for a long, long, time!!!!" Allan Johnston "This was five strong individual artists giving exceptionally of themselves, bringing forth a record where the dynamics of the whole were equal to the sum of the parts, making for an exceptional and truly beautiful record." Bob Rusch, Cadence |
| "I just downloaded this and all I can say is WOW." David Langner |
 |
| BUY CD | $15.00 | ||
| BUY LP | $15.00 | ||
| BUY ALL MP3s | $5.99 | ||
| PURCHASE ELVIN JONES POSTER |
$15.00 | ||
| Thorn of a White Rose |
|
$1.01 | |
| Namuh | |
$1.04 | |
| $3.00 | |||
| On the Mountain | |
$.99 | |
| $3.00 | |||
| Smoke in the Sun | |
$.99 | |
| London Air | |
$1.01 | |
| Destiny | |
$1.04 | |
| $3.00 | |||
|
| LORD ELVIN… Elvin, Elvin, where’d you go… fierce Black Warrior, your Dobermans straining on a tight leash… ‘Don’t even think of fucking ELVIN, you made and ruined Couldn’t touch your majesty They wrote a song for these two… There will NEVER be another 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. |
|
|
|
