Revival: Live at Pookie's Pub

エルヴィン・ジョーンズジョン・コルトレーンの死直後に自らのグループで残した完全未発表ライヴ音源がリリース!

ジョン・コルトレーンの「黄金カルテット」のドラマーとして活躍し、2004年の死後もジャズ史上最も偉大なドラマーの1人として熱い支持を集めるエルヴィン・ジョーンズ。そんな彼が1967年に自らのグループで残した完全未発表ライヴ音源を発表。

本作は、1967年7月28～30日、ジョン・コルトレーンの死後わずか2週間後にニューヨークのプーキーズ・パブという小さなクラブで行われたライヴをCD2枚に収録。ジョー・ファレル(ts, fl)、ビリー・グリーン(p)、ウィルバー・リトル(b)という名手たちとのカルテットで、白熱のプレイを繰り広げている。1968年にインパルスからリリースした名盤『ヘヴィ・サウンズ』の録音から1か月後という時期でもあり、「ラウンチー・リタ」や「M.E.」といった同アルバム収録曲をプレイしている点も注目だ。「ジンジャー・ブレッド・ボーイ」ではオルガニストのラリー・ヤングがゲスト参加し、ピアノをプレイしている点も見逃せない。ブックレットにはフランシス・ウルフによる写真や、アシュリー・カーン、ゼヴ・フェルドマン、ドン・ウォズ、当時レコーディング・エンジニアを担当したボブ・ファレシュによるエッセイなども掲載。

【パーソネル】Elvin Jones(ds) Joe Farrell(ts,fl) Billy Greene(p) Larry Young(p, on “Gingerbread Boy") Wilbur Little(b)

Recorded live at a small New York City venue, Revival: Live at Pookies Pub captures drummer Elvin Jones and his quartet in several sweaty, intensely delivered performances recorded over a three-day period in 1967. This was a year after Jones had left John Coltranes storied quartet and launched his own influential group with tenor saxophonist/flutist Joe Farrell, who is featured prominently here. Joining them are pianist Billy Greene and bassist Wilbur Little, both regular members of Jones ensembles in the late 60s. With his roiling, tidal wave-like drum style, Jones was easily one of the most distinctive and immediately recognizable players of his era. His playing was as much a defining aspect of the sound of 60s modal jazz and post-bop as Coltranes. Its that vibe he carried forward with his own group, bringing along the advanced harmonic devices and kinetic group interplay he championed with Coltrane, as well as a passion for lyrical jazz standards, and originals that prefigured the funk and blues explorations of the 70s. Farrell is an absolute monster here, tearing his way through a 16-minute version of his angular blues "13 Avenue B." The band throw more fire on their off-the-cuff rendition of Jimmy Heaths "Gingerbread Boy" featuring Larry Young; the organist clearly showed up at the gig and its fascinating to hear him apply his ringing organ chords to the piano. We also get a crackling takes on the Jones original "Keikos Birthday March" (dedicated to his wife), composer Ferde Grofes Western-themed "On the Trail" (the bar owners favorite as Jones says), and a delicately rendered "My Funny Valentine" (marked by Farrells luminous flute). While the late-60s post-bop aesthetic was often deeply intellectual, Jones could groove as he does on Frank Fosters "Raunchy Rita," a song he recorded a year prior with bassist Richard Davis on Heavy Sounds and which he pushes with a raw, dance club swagger here. ~ Matt Collar