Elvin Jones Poly Currents Rar
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However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Although Mosaic’s methods for rediscovering neglected artists have always been informed, this package of diverse material seems to be especially constructive in giving us a better picture of one of the jazz world’s most innovative and important artists of the 20th century. While Jones had made a few of his own recordings as a leader during his tenure with the John Coltrane Quartet (most notably Elvin! For Riverside and Illumination! For Impulse), it wasn’t until he broke rank with the saxophonist and signed a deal with Blue Note that the fine points of his own musical sensibilities would come to light.
That’s exactly where this 8-CD set comes into play, containing as an added bonus several albums that are just now making their first appearance on compact disc. The late 1960s were a heady period in American history and by the time that Elvin Jones would be cutting his first trio session for Blue Note in 1968, founder Alfred Lion had already departed the scene and changes in the art department and with recording technology would usher in a new Blue Note period wrought with its own share of woes and grandeur. That Jones was able to prosper during what would prove to be a period of decline for Blue Note not only testifies to his resilience as an artist but also as a committed and passionate human being. A change of direction brings about the next phase of development as documented on these two sessions from 1970 and 1971 respectively. Farrell sits it out on Coalition with Frank Foster and George Coleman packing a strong two-tenor punch on four originals, another number finding Foster utilizing the seldom heard alto clarinet. The divergent styles work well, with Foster’s “boss” horn strutting alongside the Lestorian strains of Coleman. Proving to be a bit more varied, Genesis brings Farrell back on board along with adding youngsters Gene Perla on bass and Dave Liebman on tenor and soprano saxophones.