Elvin Jones Music Machine - 1978 - Dear John C. - Live In Japan

Elvin Jones Music Machine

1978

Dear John C. - Live In Japan

101. E.J. Blues 15:29

102. House That Love Built 10:17

103. A Love Supreme 26:37

201. Keiko's Birthday March

202. Bessie's Blues

203. Antigua

204. E.J. Blues

Bass – Andy McCloud

Drums – Elvin Jones

Guitar – Roland Prince

Tenor Saxophone – Frank Foster

Tenor Saxophone, Soprano Saxophone – Pat LaBarbera

Elvin Jones Jazz Machine's Dear John C. - Live in Japan 1978 (1993 Compilation): A Thunderous Tribute That Combines Two Japanese Mini-Albums

Elvin Ray Jones, the polyrhythmic powerhouse who turned drumming into a spiritual force, was born September 9, 1927, in Pontiac, Michigan, the youngest of the legendary Jones brothers (pianist Hank and trumpeter/composer Thad). From circus parades to Army bands, Elvin was drum-obsessed early on, hitting New York in 1955 and quickly backing icons like Miles Davis and Sonny Rollins. But his legend was forged from 1960-1966 in John Coltrane's classic quartet, where his swirling triplets and explosive independence propelled masterpieces like A Love Supreme – making time feel optional. Leaving in '66 (not thrilled about drum-sharing with Rashied Ali – Elvin liked his thunder solo), he toured with Duke Ellington briefly before launching his own groups. The Elvin Jones Jazz Machine became his vehicle in the '70s and beyond: a hard-swinging, post-Coltrane beast that toured relentlessly, blending fiery improvisation with groove. Elvin led until his death in 2004, influencing generations – humorously, if jazz drummers have a patron saint of endless energy, it's Elvin, the guy who could play triplets in his sleep and still wake up swinging.

Now, Dear John C. - Live in Japan 1978 (often just called Live in Japan 1978: Dear John C.) – this 1993 compilation (and various reissues) smartly combines two original 1978 Japanese "mini-albums" released on Trio Records: the initial Live in Japan 1978 (PAP-9111) and Vol. 2 (PAP-9200). Recorded over two nights (April 8-9, 1978) at Yomiuri Hall in Tokyo, it's a blistering live document of the Jazz Machine paying homage to Coltrane (the title nods to Elvin's 1965 studio album Dear John C., a tribute to Trane). Clocking in at over 70 minutes in full form, it captures extended workouts, including a monumental 26-minute "A Love Supreme" – because why rush a spiritual epic?

This quintet was a killer post-Coltrane lineup: dual tenors from Pat LaBarbera (tenor/soprano sax, fiery and lyrical) and Frank Foster (tenor/soprano, bringing big-band punch and soul), Roland Prince on electric guitar (that smooth Antiguan adding chordal depth and melodic sparkle, no piano to crowd the space), Andy McCloud on steadfast bass (locking in like a human metronome), and Elvin thundering on drums. It's lean, mean, and horn-heavy – perfect for stretching Coltrane-inspired themes without aping the master.

Typical tracks across the two volumes/compilation: "Keiko’s Birthday March," "Bessie’s Blues," "Antigua," "E.J. Blues," "A Love Supreme," plus others like "House That Love Built" in some editions. Pure post-bop fire with modal explorations.

Raw live energy from Tokyo's Yomiuri Hall – no studio polish, just audience roar and analog warmth from Trio's engineering. Elvin's kit dominates: booming toms, crashing cymbals, those signature rolling triplets captured with punchy clarity. Horns soar over Prince's guitar comping (electric for a subtle '70s edge), bass grounds it all. Sound is dynamic and spacious, though bootleg-like in spots (crowd noise adds vibe). The 1993 and later reissues (Venus Records, Japanese paper sleeves, SHM-CD) clean it up nicely – remastered for better separation, letting Elvin's polyrhythms dance without mud.

Oh boy, this is the Jazz Machine in full beast mode: a direct descendant of the Coltrane quartet's intensity, but with Elvin front and center, unleashing waves of propulsion. The dual tenors trade blistering solos – LaBarbera channeling Trane's sheets of sound, Foster adding bluesy grit – while Prince's guitar provides airy harmony (a clever no-piano choice, opening space like Ornette's harmolodics but swingier). McCloud's bass walks tirelessly, and Elvin? He's the star, driving extended jams with relentless creativity – sensitive on ballads, volcanic on uptempos. Highlights: the epic "A Love Supreme" suite (Acknowledgment, Resolution, etc., stretched to ecstatic lengths) and swinging originals like "Keiko’s Birthday March" (nod to Elvin's wife). Humorously, it's like Elvin saying, "Miss me with Trane? Here's what I've been cooking – hold onto your seats!" Not wildly experimental, but pure joy: urgent, spiritual, groove-heavy. Critics call it a "direct outgrowth" of Coltrane without imitation – accessible yet deep. A rollicking 4.5 out of 5 thunderclaps.

The original 1978 Japanese volumes were niche hits in Japan (jazz fans there adored Elvin's tours), but flew under global radar amid fusion's dominance. No big Western push initially – more for import hunters. The combined/reissued versions in the '90s (and beyond) got warmer love from critics rediscovering Elvin's '70s output.

This compilation endures as a prime snapshot of Elvin's Jazz Machine era – raw, live Coltrane homage without nostalgia traps. It's a cult favorite for drum enthusiasts (transcribe at your peril) and post-bop lovers, often reissued (Venus, Japanese editions) for its energy. In Elvin's vast discography, it bridges his Impulse classics and later works, proving the thunder god could tribute Trane while forging ahead. Essential for understanding his post-1966 fire – grab the full combo, crank it, and feel the earth move. Just warn the neighbors: Elvin's triplets might cause spontaneous dancing... or earthquakes.