Elvin Jones Music Machine - 1978 - Remembrance

Elvin Jones Music Machine

1978

Remembrance

01. Giraffe 7:54

02. Section 8 4:25

03. Little Lady 6:27

04. Familiar Ground 3:32

05. Kalima 8:30

06. Beatrice 6:41

07. Rememberance 7:07

Bass – Andy McCloud III

Drums – Elvin Jones

Guitar – Roland Prince

Liner Notes – Frank Kofsky

Tenor Saxophone, Soprano Saxophone – Michael Stuart

Tenor Saxophone, Soprano Saxophone – Pat LaBarbera

Recorded February 3, 4 and 5, 1978 at Tonstudio Zuckerfabrik, Stuttgart, Germany

Elvin Jones Jazz Machine's Remembrance (1978): The Thunder God Goes Quintet and Still Shakes the Foundations

Elvin Ray Jones – the youngest of the legendary Jones brothers (with pianist Hank and trumpeter Thad), born September 9, 1927, in Pontiac, Michigan – was the drummer who turned the kit into a full orchestra of polyrhythmic fury. Growing up in a musical household, he was hooked on drums early, practicing like a man possessed and serving in the Army band before hitting Detroit's vibrant scene in the early '50s. By 1955, he was in New York, gigging with Miles Davis, Sonny Rollins, and Charles Mingus, but his eternal fame came from 1960-1966 as the explosive heartbeat of John Coltrane's classic quartet. On albums like A Love Supreme, Elvin's swirling triplets and independent limb wizardry redefined jazz drumming – no longer just timekeeping, but a tidal wave propelling Trane's spiritual quests.

He left Coltrane in '66 (not thrilled about sharing the throne with Rashied Ali – Elvin wasn't big on drum duets that cramped his style), briefly joined Duke Ellington, then launched his own groups. The '70s saw him fronting various ensembles under his name, evolving into the Elvin Jones Jazz Machine – a powerhouse that toured relentlessly and featured killer sax talent. Elvin kept pushing boundaries until his death in 2004, influencing drummers from rock (Ginger Baker) to jazz icons. Humorously, if Coltrane was searching for God, Elvin was the guy providing the thunderous soundtrack – and occasionally elbowing the cymbals for emphasis.

Remembrance, recorded February 3-5, 1978, and released on the prestigious German MPS label, captures the Jazz Machine in peak form – a tight, energetic quintet delivering post-bop with serious drive. Clocking in at around 44 minutes across seven tracks, it's mostly originals (four by Pat LaBarbera, one each by Michael Stuart and Andy McCloud, plus Sam Rivers' "Beatrice"), blending hard-swinging grooves with Coltrane-esque intensity and a touch of soul-jazz warmth.

No piano here – an unusual lineup of two tenor/soprano saxes (Pat LaBarbera and Michael Stuart, both blowing with fiery post-Trane passion), Roland Prince on guitar (that smooth Antiguan tone adding melodic clarity and lighter comping, a fresh contrast to McCoy Tyner's dense chords), Andy McCloud III on rock-solid bass, and Elvin himself thundering away. It's a lean, mean machine: dual saxes for thick harmonies and blistering solos, guitar for transparency, bass locking in, and Elvin... well, being Elvin.

Tracks highlight the vibe: opener "Giraffe" (LaBarbera) stretches out with urgent energy, "Section 8" swings hard, "Little Lady" brings lyrical grace, "Familiar Ground" grooves mid-tempo, "Kalima" dives into soulful Coltrane territory, "Beatrice" is a tender ballad showcase, and the title closer "Remembrance" features Elvin's epic drum statements – because why not end with a bang?

Technical Specifications: Classic MPS analog excellence – recorded at Tonstudio Zuckerfabrik in Stuttgart by Gibbs Platen, produced by the legendary Joachim-Ernst Berendt. The sound is dynamic, spacious, and crystal-clear: Elvin's kit roars with depth (those toms booming like distant thunder), saxes cut through sharply, guitar sparkles without mud, and bass anchors everything. No overdubs; it feels live-in-the-studio, raw yet polished. Strengths: Immac impeccable separation and warmth that lets polyrhythms dance. Minor quibble: In the fusion-heavy '70s, the guitar-sax setup might feel a tad restrained compared to electric excesses elsewhere, but that's the charm – pure acoustic fire.

Remembrance is the Jazz Machine in full roar: urgent, in-your-face, and groove-heavy, like if rock had jazz's soul (one reviewer nailed it – groove to "Giraffe" and "Kalima," and you'll nod along like it's arena-ready). The dual tenors wail with Coltrane influence without copying, Prince's guitar weaves elegant solos and comps transparently (a smart pivot from piano-driven groups), McCloud's bass is the unsung hero providing Elvin's perfect foil, and Jones? He's the star – propulsive, melodic, explosive yet sensitive. It's post-bop with edge: straightforward excellence, diverse moods from ballad tenderness ("Beatrice") to drum showcases ("Remembrance"). Humorously, this is Elvin proving he didn't need Trane to levitate – just a killer band and his endless energy. Not wildly avant-garde, but relentlessly swinging and human. A solid 4.5 out of 5 polyrhythmic thunderstorms.

In 1978, amid fusion and disco, it flew under mainstream radar – no blockbuster sales, but jazz circles dug it. One critic (Globe and Mail) griped about lacking "energy and originality," blaming Elvin for not stoking enough fire (harsh – the man's a volcano!). Others praised the tight band and sparkling originals. European audiences (thanks to MPS) embraced it more warmly.

Today, Remembrance is a reissue darling – remastered CDs keep it alive for crate-diggers and drum students transcribing Elvin's magic. It's a prime example of his '70s Jazz Machine era: versatile, hard-hitting, bridging Coltrane intensity with accessible post-bop. Not his most famous (that stays with Impulse classics), but a cult favorite showcasing unsung gems like LaBarbera and Prince. In Elvin's vast canon, it's proof the master could lead a lean quintet to greatness well into his career. Essential for fans of swinging, sax-driven jazz – crank it, feel the pulse, and remember: Elvin was the beat of life itself. Just don't try keeping up with his triplets unless you're ready for a workout.