Elvin Jones Music Machine – 1982 - Elvin Jones Music Machine

Elvin Jones Music Machine

1982

Elvin Jones Music Machine

01. Shi-Tsu-Mon 7:22

02. Like Someone In Love 9:50

03. Dealin' 12:54

04. My One And Only Love 8:33

Bass – Andy McCloud

Drums – Elvin Jones

Guitar – Roland Prince

Soprano Saxophone – Pat La Barbera (tracks: A1)

Tenor Saxophone – Frank Foster (tracks: A1, A2, B1), Pat La Barbera (tracks: B1, B2)

Recording dates & place

March 22, 23 & 24, 1978 The Educational Center For The Arts, New Haven, Connecticut, U.S.A.

Elvin Ray Jones – the polyrhythmic thunder god who made John Coltrane's quartet sound like a divine storm – was born September 9, 1927, in Pontiac, Michigan, youngest of the powerhouse Jones brothers (pianist Hank and trumpeter Thad). Drum-obsessed from parade-watching childhood, he gigged in Detroit post-Army before storming New York in 1955. Sideman stints with Miles, Rollins, and Mingus followed, but his 1960-1966 tenure with Coltrane immortalized him: those swirling triplets and limb independence on A Love Supreme turned drumming into a cosmic conversation. Post-Trane (he wasn't thrilled sharing with Rashied Ali – Elvin preferred solo thunder), he joined Ellington briefly, then unleashed his own groups, evolving into the relentless Elvin Jones Jazz Machine. Touring like a man possessed into his 70s, he influenced everyone from rock drummers to jazz innovators until his 2004 passing. Humorously, Elvin's kit wasn't just instruments – it was a full weather system, capable of sunshine brushes or hurricane fills.

Elvin Jones Music Machine (1982) is a Japanese compilation that smartly combines two ultra-rare 1979 Japanese-only 45rpm mini-albums (Vol. 1 and Vol. 2), both pressed as high-end audiophile releases on the Mark Levinson label (yes, the hi-fi equipment guy – because nothing says "jazz thunder" like premium sound demos). Recorded live over three nights (March 22-24, 1978) at The Educational Center For The Arts in New Haven, Connecticut, this full LP clocks in at around 35-40 minutes, blending fiery post-bop with subtle swing. It's the Jazz Machine in intimate, straight-ahead mode – no electric excesses, just pure acoustic drive.

A killer quintet: Elvin Jones on drums (the unstoppable engine), Andy McCloud on bass (steady as a rock, locking in flawlessly), Roland Prince on guitar (that silky Antiguan touch adding melodic warmth and comping clarity – no piano to clutter things), Frank Foster on tenor saxophone (big-band veteran bringing soulful punch), and Pat LaBarbera on tenor and soprano sax (switching seamlessly for Coltrane-esque wails). Dual saxes for thick harmonies and blistering trades – it's lean, mean, and horn-heavy.

Tracks typically include originals like "Shi-Tsu-Mon" (soprano-led urgency), standards such as "Like Someone In Love" (brushes magic), and extended blowouts showcasing the band's interplay – think modal explorations with Elvin's signature propulsion.

This is audiophile heaven – originally direct-to-disc on Mark Levinson's setup (engineered by Dean Roumanis and Levinson himself), then compiled for the 1982 Nippon Phonogram/East Wind release. The 45rpm minis were limited, numbered editions in fancy packaging (gatefold plastic boxes, obis, seals), designed for ultimate fidelity: wide dynamics, crystal separation, and Elvin's kit captured with thunderous depth (toms booming, cymbals shimmering). The full 1982 LP retains that warmth – raw live energy without crowd noise overload, horns cutting sharp, guitar sparkling. Strengths: Intimate venue sound feels like you're in the room; weaknesses: Short runtime (those minis were teases), and '70s live quirks like occasional balance shifts. But for drum nerds, Elvin's nuances shine – every triplet audible.

Elvin Jones Music Machine is the Jazz Machine stripped down and sparkling: relaxed yet explosive, like Elvin decided to invite friends over for a casual blowout that accidentally summons Coltrane's spirit. Opener "Shi-Tsu-Mon" kicks with soprano fire, "Like Someone In Love" floats on brushes (Elvin's tender side – who knew thunder could whisper?), and the tenors duel with Foster's gritty soul clashing LaBarbera's intensity. Prince's guitar is the secret weapon – transparent comping opens space, letting Elvin weave polyrhythmic webs without overwhelming. It's straight-ahead post-bop with edge: subtle listening, flowing commentary, no wild avant-garde, but endlessly swinging. Humorously, this is Elvin in "demo mode" – proving his Machine runs smooth even on fancy hi-fi gear, like a sports car tuned for audiophiles. Not as epic as his Japan lives, but delightfully human and listenable. A crisp 4 out of 5 audiophile thunderbolts.

Niche audiophile darling in Japan (those 1979 minis were promo treasures for hi-fi enthusiasts), but obscure elsewhere – no big Western push, more for import hunters amid fusion's flash. Critics who caught it praised the fidelity and band's cohesion, though some purists yawned at the restraint compared to Elvin's wilder outings.

A cult gem for collectors – those original 45rpm minis fetch serious yen today, prized for sound quality and rarity. The 1982 compilation made it accessible, highlighting a prime '70s Jazz Machine lineup (Foster and Prince shining). In Elvin's canon, it's a bridge between Coltrane intensity and later explorations: proof he could groove intimately without losing fire. Drum students worship the clarity, sax fans dig the duels. Essential for understanding Elvin's post-'70s versatility – hunt a copy, spin it loud, and let the Machine rev up. Just don't blame the neighbors if your walls start vibrating – Elvin's triplets have that effect.