ELVIN JONES

Elvin Ray Jones, 9 September 1927–18 May 2004 was one of the most influential jazz drummers of the post-bop era. He showed interest in drums at a young age, watching the circus bands march by his family's home in Pontiac, Michigan. He served in the United States Army from 1946 to 1949 and subsequently played in a Detroit houseband led by Billy Mitchell. He moved to New York in 1955 and worked as a sideman for Charles Mingus-Teddy Charles, Bud Powell and Miles Davis.

From 1960 to 1966 he was a member of the John Coltrane quartet, perhaps his most celebrated recording phase, appearing on such albums as A Love Supreme. Following his work with John Coltrane, Jones led several small groups, some under the name The Elvin Jones Jazz Machine. He recorded with both of his brothers during his career, jazz musicians Hank Jones and Thad Jones. His later career saw him working with many of the younger jazz artists of today, including Bill Frisell.

Biography

Early life

Elvin Jones was born in Pontiac, Michigan. By age two he said he knew he held a fascination for drums. He would watch the circus marching band parades go by his home as a boy, particularly fascinated by the drummers (sometimes wandering off for miles after the parade). Following his early passion, Elvin joined his high school's black marching band, where he developed his foundation in rudiments. Jones began service in the United States Army in 1946. He was discharged in 1949, and returned home penniless. Jones said he borrowed thirty-five dollars from his sister when he got back to buy his first drumset.[1]

1949-1960: Early career

Elvin began his professional career in 1949 with a short-lived gig in Detroit's Grand River Street club. Eventually he went on to play with artists such as Charlie Parker, Miles Davis, and Wardell Gray. In 1955, after a failed audition for the Benny Goodman band, he found work in New York, joining Charles Mingus's band, and releasing a record called J is for Jazz.

1960-1966: John Coltrane and Beyond

In 1960, he joined with the classic John Coltrane Quartet, which also included bassist Jimmy Garrison and pianist McCoy Tyner. Jones and Coltrane often played extended duet passages, both giving and taking energy through their instruments. This band is widely considered to have redefined "swing" (the rhythmic feel of jazz) in much the same way that Louis Armstrong, Charlie Parker, and others did during earlier stages of jazz's development. He stayed with Coltrane until 1966. By that time, Jones was not entirely comfortable with Coltrane's new direction and his polyrhythmic style clashed with the "multidirectional" approach of the group's second drummer, Rashied Ali.

Jones remained highly active after leaving the John Coltrane group, and led several bands in the late sixties and seventies that are considered highly influential groups. Notable among them was a trio formed with saxophonist and multi-instrumentalist Joe Farrell and (ex-Coltrane) bassist Jimmy Garrison, with whom he recorded the Blue Note album Puttin' It Together. Jones recorded extensively for Blue Note under his own name in the late sixties and early seventies, with groups that featured prominent as well as up and coming greats. The two volume Live at The Lighthouse showcases a 21- and 26-year-old Steve Grossman and Dave Liebman, respectively. Other musicians of note who made significant contributions to Elvin's music during this period were baritone saxophonist Pepper Adams, tenor saxophonists George Coleman and Frank Foster, trumpeter Lee Morgan, bassist Gene Perla, keyboardist Jan Hammer and Jazz - World Music group Oregon.

Late career
 
Elvin Jones' sense of timing, polyrhythms, dynamics, timbre, and legato phrasing - as well as the sheer mass of sound he produced - brought the drumset to the foreground. Jones was touted by Life Magazine as "the world's greatest rhythmic drummer", and his free-flowing style was a major influence on many leading rock drummers, including Mitch Mitchell (whom Jimi Hendrix called "my Elvin Jones") and Ginger Baker. He appeared as the villian Job Cain in the 1971 off-beat Western film Zachariah, in which he performed a drum solo after winning a saloon gunfight. In 1999, Jones worked with Our Lady Peace on their album Happiness...Is Not a Fish That You Can Catch. He was featured playing drums on the song "Stealing Babies".

Jones performed and recorded with his own group, the Elvin Jones Jazz Machine, whose line up changed through the years. Sonny Fortune and Ravi Coltrane, John Coltrane's son, both played saxophone with the Jazz Machine in the early 1990s, appearing together with Jones on In Europe on Enja Records in 1991.

Educator

Jones, who taught regularly, often took part in clinics, played in schools, and gave free concerts in prisons. His lessons emphasized music history as well as drumming technique.

Death

Elvin Jones died of heart failure in Englewood, New Jersey on May 18, 2004. He is survived by his first wife Shirley and his second, albeit common-law, wife Keiko (Elvin married Keiko before divorcing Shirley, meaning that legally he and Keiko were not married). Elvin Jones is also survived by his son Elvin Nathan Jones of California and daughter Rose-Marie From of Sweden.

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NEW YORK (AP) May 18, 2004 - Elvin Jones died Tuesday. He was 76.

Jones died of heart failure in an Englewood, New Jersey, hospital, said his wife of 38 years, Keiko Jones.

"He's happy. No more suffering," said Keiko Jones. "He's been fighting for so long."

Jones, called by Life magazine "the world's greatest rhythmic drummer," was born in Pontiac, Michigan, one of ten children. He had two musician brothers: Hank, a jazz pianist, and Thad, a trumpet and flugelhorn player.

Elvin Jones, called by Life magazine "the world's greatest rhythmic drummer," was born in Pontiac, Michigan, one of ten children. He had two musician brothers: Hank, a jazz pianist, and Thad, a trumpet and flugelhorn player.

Jones entered the Detroit jazz scene in the late 1940s after touring as a stagehand with the Army Special Services show Operation Happiness.

After a brief gig at the Detroit club Grand River Street, he went to work at another club, backing up such jazz greats as Parker, Davis and Wardell Grey.

Jones came to New York in 1955 for an unsuccessful audition for the Benny Goodman band but stayed in the city, joining Charlie Mingus' band and making a record called "J is Jazz." In 1960, he became a member of John Coltrane's quartet.

Jones, with his rhythmic, innovative style, became one of jazz's most famous drummers under Coltrane. He can be heard on Coltrane's "A Love Supreme" and "Coltrane Live at the Village Vanguard."

After leaving the Coltrane quartet, Jones briefly played with Duke Ellington and formed the Elvin Jones' Jazz Machine. He put out several solo albums and continued to tour, including last month in Oakland, California, Keiko Jones said.
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Elvin Ray Jones was born September 9, 1927 in Pontiac, Michigan, the youngest of ten children. His father, originally from Vicksburg, Mississipi, was a lumber inspector for General Motors, a deacon in the Baptist church, and a bass in the church choir. "The greatest lady in the world", as Elvin describes his mother, encouraged him and above all taught him the value of self-sufficiency; the strenght to survive that "was especially valuable to me in the beginning as a musician". Music was in full flower in the Jones home. Brother Hank is known as one of the finest pianists in jazz, and brother Thad became a highly successful trumpet and flugelhorn player, arranger and band leader.

By age 13, determined to be a drummer, Elvin was practicing eight to ten hours a day. He went nowhere without drum sticks in his pocket, and would beat out rhythms on any available surface. Early influences Elvin likes to cite range from Kenny Clarke, Max Roach and Jo Jones to parade drummers and the American Legion Drum Corps! In 1946 Elvin enlisted in the Army, and toured with a Special Services show called Operation Happiness - as a stagehand. Unofficially, however, he was honing his own musical skills and gaining confidence, playing at post social affairs.

Jones was discharged in 1949, returning to a Detroit musical scene that was as vibrant as any outside New York. His first professional job was at Grand River Street, where things went well until the leader absconded with the receipts on Christmas Eve, Elvin began to frequent the Bluebird Inn, where he was sometimes asked to sit in. He always refused, thinking "it was presumptuous to sit in with these musicians, because... they were the greatest people I knew." In time, Jeader Billy Mitchell hired Elvin, and in three years at the club he backed up visiting stars including the legendary Charlie Parker, Sonny Stitt, Wardell Grey, and, for six months, Miles Davis. In Addition, Monday nights there were jam sessions Elvin organized at his home, Tuesdays a concert series near a local university, and Elvin and his brother Thad promoted Sunday festival-style concerts. The long list of musicians Elvin played with during this period includes Miles Davis, Sonny Stitt, Tommy Flanagan, Pepper Adams, Barry Harris, Kenny Burrell, Milt Jackson, Lou Hayes and Yusef Lateef.

Elvin made his move to New York ostensibly to audition for a new Benny Goodman band. Instead, he ended up with Charles Mingus, and in subsequent years he developed his style with Bud Powell, Miles Davis, the Pepper Adams-Donald Byrd Quintet, Art Farmer and J.J. Johnson. He also had his first experiences playing with Miles' tenor man and the increasingly celebrated recording artist John Coltrane. After leaving Miles in 1960, Coltrane was touring in San Francisco with his new group when he flew back to New York to seek out Elvin. Elvin joined one of jazz' most celebrated alliances in, of all places, Denver, Colorado. Through 1966, Elvin contributed to some of the most controversial, influential, and ultimately important music in jazz. Among the triumphant recordings from his great association are "A love Supreme" and "Coltrane 'Live' at the Village Vanguard". About this experience, Elvin comments: "Right from the beginning to the last time we played together it was something pure. The most impressive thing was a feeling of steady, collective learning... If there is anything like perfect harmony in human relationships, that band was as close as you can come".

In March 1966, Elvin left Coltrane. After a brief European tour with Duke Ellington's band he returned to New York to begin his distinguished career as leader, with a series of innovative piano-less trios featuring Joe Farrell on tenor alto and flute, and one of several bassists including Jimmy Garrison, Bill Wood, Charlie Haden and Wilbur Little. Also in 1966 Elvin married Keiko, whom he met in Nagasaki, Japan. Keiko has become Elvin's partner in every sense: besides providing inspiration, she is also his personal and business manager. Keiko is involved creatively as composer and arranger; Elvin has performed and recorded many of her works, including "Mr. Jones", "Shinjitsu" and "Zange". Elvin has been heard on nearly 500 recordings, with no end in sight. He also made a temporary detour to Hollywood in 1971 to appear as the character Job Cain in the ABC Paramount film "Zachariah". Reflecting his deep commitment to the music ("Playing is not something I do at night" he said, "It's my function in life").

Correction Appended 

Elvin Jones, whose explosive drumming powered the John Coltrane Quartet, the most influential and controversial jazz ensemble of the 1960's, died yesterday in Manhattan. He was 76 and lived in Manhattan and Nagasaki, Japan. 

Mr. Jones's death, which came after several months of failing health, was announced by John DeChristopher, director of artist relations for the Avedis Zildjian Company, maker of Mr. Jones's cymbals. Mr. Jones continued to perform until a few weeks ago, often taking an oxygen tank onto the bandstand. 

Mr. Jones, a fixture of the Coltrane group from late 1960 to early 1966 and for more than three decades the leader of several noteworthy groups of his own, was the first great post-bebop percussionist. Building on the innovations of the jazz modernists Kenny Clarke and Max Roach, who liberated the drum kit from a purely time-keeping function in the 1940's, he paved the way for a later generation of drummers who dispensed with a steady rhythmic pulse altogether in the interest of greater improvisational freedom. But he never lost that pulse: the beat was always palpable when he played, even as he embellished it with layer upon layer of interlocking polyrhythms. 

The critic and historian Leonard Feather explained Mr. Jones's significance this way: ''His main achievement was the creation of what might be called a circle of sound, a continuum in which no beat of the bar was necessarily indicated by any specific accent, yet the overall feeling became a tremendously dynamic and rhythmically important part of the whole group.'' 

But if the self-taught Mr. Jones had a profound influence on other drummers, not many of them directly emulated his style, at least in part because few had the stamina for it. None of the images that the critics invoked to describe his playing -- volcano, thunderstorm, perpetual-motion machine -- quite did justice to the strength of his attack, the complexity of his ideas or the originality of his approach. 

Elvin Ray Jones was born in Pontiac, Mich., on Sept. 9, 1927. The youngest of 10 children, he was the third Jones brother to become a professional musician, following Hank, a respected jazz pianist who is still active, and Thad, a cornetist, composer, arranger and bandleader, who died in 1986. 

He began teaching himself to play drums at 13, but he had lost his heart to the instrument long before then. ''I never wanted to play anything else since I was 2,'' he told one interviewer. ''I would get these wooden spoons from my mother and beat on the pots and pans in the kitchen.'' 

After spending three years in the Army he joined his brothers as a fixture on the busy Detroit jazz scene of the early 1950's. As the house drummer at a local nightclub, the Bluebird Inn, he worked with local musicians like Tommy Flanagan and Kenny Burrell as well as visiting jazz stars like Charlie Parker and Miles Davis. 

In 1956 after briefly touring with the bassist Charles Mingus and the pianist Bud Powell, Mr. Jones moved to New York, where he was soon in great demand as an accompanist. He occasionally sat in with Miles Davis, and he later recalled that Coltrane, who was then Davis's saxophonist, promised to hire Mr. Jones whenever he formed his own group. In the fall of 1960 Coltrane made good on that promise. 

Working with Coltrane, a relentless musical explorer, emboldened Mr. Jones to expand the expressive range of his instrument. ''My experience with Coltrane,'' he told the writer James Isaacs in 1973, ''was that John was a catalyst in my finding the way that drums could be played most musically.'' He in turn influenced Coltrane, Mr. Jones's ferocious rhythms goading Coltrane to ecstatic heights in performance and on recordings like ''A Love Supreme'' and ''Ascension.'' 

Coltrane's quartet helped redefine the concept of the jazz combo. Mr. Jones and the other members of the rhythm section, the pianist McCoy Tyner and the bassist Jimmy Garrison, did not accompany Coltrane so much as engage him in an open-ended four-way conversation. Audiences found the group's intensity galvanizing, and many critics shared their enthusiasm.

Correction Appended 

But despite its popularity, the group divided the jazz world. John Tynan of Down Beat magazine dismissed its music as ''anti-jazz,'' and others agreed. Mr. Jones's drumming, a revelation to some listeners, was dismissed by others as overly busy and distractingly loud. 

Mr. Jones left the group in March 1966, shortly after Coltrane, as part of his constant quest for new sounds, began adding musicians. Although he never publicly explained why he left, he was widely believed to have been insulted by Coltrane's decision to hire a second drummer. 

Mr. Jones spent two weeks with Duke Ellington's big band and briefly worked in Paris before returning to the United States, where he formed a trio with Garrison, who had also recently left Coltrane, and the saxophonist Joe Farrell. That group was short-lived, but Mr. Jones continued to lead small groups for the rest of his life. Over the years many exceptional musicians passed in and out of the Elvin Jones Jazz Machine, as the ensemble came to be known in all its various incarnations, and the group performed regularly all over the world and recorded prolifically. 

Mr. Jones's survivors include his wife, Keiko, who also managed his career and composed several of the pieces in his band's repertory, and his brother Hank. 

Mr. Jones came to see it as his mission to offer training and experience to promising young musicians, and in recent years he gave early exposure to budding jazz stars like the saxophonist Joshua Redman, the trumpeter Nicholas Payton and the trombonist Delfeayo Marsalis. A particularly noteworthy addition to the Jazz Machine lineup in the 1990's was the saxophonist Ravi Coltrane, John's son. 

Mr. Jones was also a tireless proselytizer for an instrument that he believed was too often maligned and misunderstood. ''I played a job in a bar once as a young man,'' he told his fellow drummer Lewis Nash in a 1997 interview for Down Beat. ''One of the customers came up to me and said, 'Hey, make some noise.' What he really meant was that he wanted me to play a drum solo. So that is a general perception, and that way of thinking still exists.'' 

''People never understood,'' he continued, ''that the drum is a musical instrument.'' 

Correction: May 20, 2004, Thursday Because of an editing error, an obituary of the jazz drummer Elvin Jones yesterday misstated the place of his death. It was Englewood, N.J., not Manhattan.