Elvin Jones - 1975 - New Agenda

Elvin Jones

1975

New Agenda

01. Someone's Rocking My Jazzboat 6:49

02. Naima 6:10

03. Haresah 8:09

04. Anti-Calypso 5:18

05. Stefanie 4:39

06. My Lover 3:36

07. Agenda 7:55

Bass – Dave Williams

Drums – Elvin Jones

Guitar – Roland Prince

Percussion – Candido (tracks: B2, B4), Frank Ippolito (tracks: A1, A2, B1, B2, B4), Guillermo Franco* (tracks: A3, B1)

Piano – Gene Perla (tracks: B2, B4), Kenny Barron (tracks: A1)

Reeds – Azar Lawrence (tracks: A3, B1), Frank Foster (tracks: A1, A2, B2), Steve Grossman

Saxophone – Joe Farrell (tracks: B2, B4)

When the Thunderous Drummer Tries a Little Tenderness (and Percussion Overload)

Elvin Ray Jones – the human polyrhythmic volcano who made John Coltrane's quartet sound like a spiritual earthquake – was born on September 9, 1927, in Pontiac, Michigan, the baby of a ridiculously talented musical family (big brothers Hank on piano and Thad on trumpet weren't exactly slouches). Young Elvin was obsessed with drums from toddlerhood, mesmerized by circus parades and practicing rudiments like his life depended on it. After a stint in the Army (where he honed his marching chops), he gigged around Detroit before hitting New York in 1955. He quickly became the go-to sideman for heavyweights like Miles Davis, Sonny Rollins, and Bud Powell.

But immortality came in 1960 when he joined Coltrane's classic quartet alongside McCoy Tyner and Jimmy Garrison. For six explosive years, Jones redefined jazz drumming: no longer just keeping time, but weaving independent rhythms across the kit – triplets swirling like storm clouds, accents shifting unpredictably, propelling Trane's sheets of sound into the cosmos on masterpieces like A Love Supreme and Crescent. He left in 1966 (rumor has it, miffed by the addition of second drummer Rashied Ali – Elvin wasn't one for sharing the thunder). Post-Coltrane, he briefly joined Duke Ellington, then formed his own groups, eventually dubbing them the Elvin Jones Jazz Machine. He led relentlessly until his death in 2004 at age 76, influencing everyone from Ginger Baker to Mitch Mitchell with his relentless energy and innovative flow. Humorously, if drums could talk, Elvin's would say: "Why play four-on-the-floor when you can play everything at once?"

New Agenda, his 1975 debut for Vanguard Records, is peak mid-'70s Elvin: a eclectic grab-bag where post-bop meets funky fusion, Latin grooves, and a nod to his Coltrane past. Clocking in at about 43 minutes across seven tracks, it's like Elvin invited a party of percussionists over and said, "Let's see how many rhythms we can stack before someone complains." Produced by Ed Bland and recorded in New York, it features a revolving door of talent – no fixed band, just Elvin as the gravitational center.

The core is Elvin on drums (duh), Dave Williams on solid bass, and the ever-smooth Roland Prince on guitar – that Antiguan jazz wizard adding crisp, melodic lines with a Caribbean lilt (fresh off gigs with Don Pullen and his own Color Visions). Reeds are a sax smorgasbord: Steve Grossman (tenor/soprano/flute, bringing fiery post-Trane energy), Frank Foster (tenor/soprano on several, with big-band swagger), Azar Lawrence (tenor/soprano, Coltrane-esque wails), and Joe Farrell (tenor/soprano on closers). Piano: Kenny Barron (electric and acoustic sparkle on the opener) and Gene Perla (on others, doubling from his usual bass role). Then the percussion avalanche: Candido Camero (congas on two), Guillermo Franco (on two more), and Frank Ippolito (sprinkled across most). It's like Elvin couldn't decide on one conga player, so he hired three – because why have a groove when you can have a percussion orchestra?

Tracks include the upbeat "Someone's Rocking My Jazzboat" (Foster), a tender "Naima" (Coltrane tribute), Grossman's intense "Haresah," Prince's quirky "Anti-Calypso," the breezy "Stefanie," short-and-sweet "My Lover," and Elvin's own swinging title closer "Agenda."

Pure analog '70s warmth – engineered by David Baker, mixed with John Kilgore. The sound is punchy and live-feeling, capturing Elvin's signature roar: thunderous toms, swirling cymbals, those famous Elvin triplets dancing independently. Guitar and horns cut through cleanly, bass locks tight, but the percussion layers add delicious density (sometimes bordering on chaos – in a good way). It's post-bop with fusion edges: electric piano hints, funky rhythms, Latin inflections. Strengths: Dynamic range that lets Elvin explode or whisper; weaknesses: occasional overcrowding from all those shakers and congas, making it feel like a jam session that forgot to edit.

Ah, New Agenda – the album where Elvin proves he can groove without Trane's cosmic pull, but occasionally overdoes the spice rack. It kicks off swinging with "Someone's Rocking My Jazzboat," Barron's keys and Foster's sax setting a joyful tone over Elvin's skipping pulse. "Naima" is heartfelt beauty, Elvin caressing the ballad like an old friend. "Haresah" lets Grossman and Lawrence stretch out fiercely, while "Anti-Calypso" (Prince's tune) brings island funk that's downright danceable – imagine calypso's evil twin. The percussion-heavy tracks pulse with global flair, and the closer "Agenda" is pure Elvin propulsion.

Humorously, this is Elvin in "accessible mode": still polyrhythmic mayhem, but with melodies you can hum and grooves that won't scare the neighbors (much). It's eclectic, energetic, and endlessly listenable – a party where post-bop meets world music without pretension. Not his most revolutionary (that crown stays with Coltrane-era stuff), but delightfully human. I'd rate it 4 out of 5 conga lines: essential for drum nerds, fun for everyone else.

Reception Upon Release: Mixed, to put it mildly. DownBeat in 1975 called it "strangely uninspired even tepid," griping about weak reeds and lack of fire – purists annoyed that Elvin was exploring beyond avant-garde purity amid the fusion era. It didn't set charts ablaze but found fans among those digging his evolving Jazz Machine sound.

Today, New Agenda is a beloved cult classic – reissued on CD, prized by crate-diggers for showcasing Elvin's versatility in the '70s wilderness. It bridges his Impulse/Blue Note intensity with later global experiments, highlighting unsung heroes like Roland Prince. In the grand Elvin canon, it's not A Love Supreme, but a reminder that the master could swing, funk, and innovate into his later years. Drum students still transcribe his rides here, and it endures as proof that even thunder gods like to chill sometimes. Grab a copy, crank the percussion, and let Elvin rock your jazzboat – just watch out for the waves.