5727 33rd Avenue NE, Seattle, WA 98105
Jones for Elvin - Volume 1
CD review by John Barrett from Jazz Improv Magazine (Vol 2 No 3)
It's better than a dream project -- this one came true. Steve Griggs is a bop tenor with Coltrane leanings; one of his bandmates introduced him to Gregg Keplinger, whose album Tribute recalls the Trane duets with Elvin Jones. Through Gregg he contacted Elvin himself, who was soon in Seattle recording with Steve's group. And don't expect hero-worship: this is rock-hard bop straight from the 'Fifties, with Jones providing the power. He plays as a man among equals; there are no contests, and everyone wins, mostly the listener.
Thse horns are aggressive, tearing into "Jones" with headstrong delight. Behind them, a glow that sounds like vibes; that is Milo's guitar, ringing like gold. Griggs has a sharp growl, like late-'50s Trane; he wisely avoids out-and-out copying. Jay Thamas is more relaxed: his trumpet moves slowly, landing on pure notes. Through this grace Elvin pounces, a restless storm with plenty of thunder. On "Berries" he's gentler, a rhythm like Coltrane's "Out of This World." Take it away, Milo: his comps are bright splashes, his solo careful steps. (Like Billy Bauer with the Konitz group, and just as nice.) "Healing," a rainy-day waltz, matches soft cymbals to a gentle reed. Steve flutters fast, in a cute muffled tone; Milo's is elegant, and very tender. Appropriate name for this tune: if you were hurting before, you aren't now.
"Sparks" fly with the bassline, then builds to a theme reminiscent of Joe Henderson. Steve's solo is a model of order; Thomas is similar, slowly growing a fire toward the end. "Milieu is a smooth course where the track is fast; the work "Mellifluous" does apply! In a spot for the rhythm, Elvin sparkles through a shimmer of notes. And as they closed the first day of recording, a ballad was called for. It's hard to top "Sentimental": a steady whisk from Elvin, the reed's sweet vibrato, and mellow licks from Jay. This is a cold night under the twinkling stars; the sax is lonely but the sound is hopeful. Proof that last-minute decisions are sometimes the best.
The drums take a pounding on the Latinesque "Claudia"; the tune's a bit plain but the solos explode. Steve, on soprano for the only time, swirls in manic ferocity, getting off some mad squawks. There's even some Montgomery from Milo! Then the other horn takes a bow: "Jay's Maze" shows a proud Thomas, backed mostly by Elvin. He's stately as normal, and flurries nicely at the end. (Milo does likewise.) You expect a hard-bop finish, but wait a minute: there's Steve's at his most Tranelike, having his own duet with Elvin. The drums compound, the sax more forceful -- and then the bop's back. It's a world of surprises, and so is this album.
It's a very strong effort, with good tunes and very good times. The best part is the "Volume One" on the cover; I can't wait for the rest!