Elvin Jones: Question & Answer Session on Audio, 1998, 1 of 3
On February 9, 1998, Elvin Jones (September 9, 1927 – May 18, 2004), then 70 years old, was a guest artist at the Manhattan School of Music. It was an open-ended session, a chance for jazz students to ask him whatever they wanted to know. Drummer Eddie Locke was in the audience as well, and Jones calls out to him at 2:38. It ran for about 90 minutes, so we’ll hear it in three segments.
Jones says at the beginning that he’ll do his best to answer the questions. The first, as one might expect, is about what it was like to be in the Coltrane quartet. His response is not about musical techniques—he emphasizes the emotional intensity and dedication of the four musicians. At 7:30, the second question is about his early influences. Elvin responds with a long and informative reminiscence about the music of the Baptist church, the junior high school band led by Fred Wiest, and musicians in the Army band, especially his friend Ray Lancaster. He ends by saying that the first jazz drummers he became aware of were Sid Catlett, Kenny Clarke, and especially Max Roach.
The next question, at 18:30, is about developing a unique style. Jones begins by saying that as a youth he didn’t see his style as being different, which I think is the case for most young artists. It’s hard to see yourself from the outside, as others hear you. But then he does give one detail that is revealing, about how he tried to keep the cymbal going during breaks (short solos). At 24:53 he is asked about hiring young artists in his groups, and he tells how he met saxophonist Steve Grossman. To end this segment, at 28:55 he declines to say why he left Coltrane at the beginning of 1966, but denies that it had anything to do with the new directions in Coltrane’s music, and he emphasizes that John gave him his blessing.
Don’t be discouraged by the low volume at the beginning. It gets gradually louder until by around 7:00 it’s quite strong. Let’s listen:
About the last point, I’m not surprised that Coltrane was graceful about Jones leaving. But that doesn’t mean that he was happy about it. Coltrane made it clear to sociologist Frank Kofsky in August 1966 that he wished Jones had stayed:
I figured I could do two things: I could have a band that played like the way we used to play, and a band that was goin' in the direction that this, the one I have now, is going. I could combine these two, with the, you know, with these two concepts, going. And, it could have been done…I believe it would've worked, but, you know Elvin and McCoy they couldn't hold the, it was time for them to go.
There is much more to come!
All the best,
Lewis
P.S. Thanks for help with this post to bassist David Perrott, my former grad student and now a bass repair expert/luthier in the N.Y.C. area.
Did he talk about his relationship with his brothers Hank and Thad?
I had the good fortune to meet Elvin Jones, as I was introduced to him by a friend of his a great drummer named George Brown who played with Wes Montgomery very early on recording on Riverside and George was heavily influenced by Elvin’s style, and he helped me in many ways. I believe I first saw Elvin Jones with the trio in Los Angeles probably around 1969 maybe earlier I’m not quite sure but I just had met Jimmy Garrison before I actually saw Elvin and Coltrane just passed and I actually visited Jimmy at his apartment with George Brown and Jimmy related to us being with Coltrane at the hospital and he talked about John and how he checked out. Elvin was very kind to me over the years and I would have to say that of all the great drummers that I have met in my life,(I am now approaching 81) Elvin and Billy Higgins and Donald Duck Bailey took the time to set me down and show me stuff.. basically not to try so hard and let the music come through you and try to make the drums talk have a conversation with your other musicians on the band stand and listen most of all let the music breathe and swing. If It doesn’t have that feeling,It’s really in so many ways irrelevant it’s gotta have that feel and Elvin talked about the church experience the old rugged cross, and people singing …as a child in church is where I believe Melvin got the great feel that he had from the church. I’m so thankful to have met Elvin as his sound was not only unique, but it was very powerful and he uplifted not only his bandmates with the entire audience …he did not need 15 microphones. He was so strong. I remember watching his wife KEIKO she would set up his drums and she actually would take a hammer and two nails and pound them in front of the Bass drum as Elvin hit so hard that the Drums would move forward. I saw her do this at Yoshis in Oakland . in summary, Mr. Jones was larger than life and he was the epitome of what a band leader is all about. He encouraged the next generation coming up and he gave 100% every time he played. I feel blessed to have been able to spend time with him.