Steve
Griggs - Reviews
Jones
for Elvin - Volume 1
CD review
by Michael Allison from Earshot Jazz (December 1999)
Steve Griggs did
what most saxophonists only dream of. He hired Elvin Jones for a recording
session with three other strong local jazz artists. So what happens
when a group of consummate Seattle musicians record with on e of the
most legendary master jazz drummers in history? The result here is a
surprisingly relaxed and lyrical post-bop session.
There is no doubt
who the drummer is, and the drumming is superb, to be certain. But neither
is there any doubt who the leader of the session is. Mr. Griggs may
not be as well-known as some of his band-mates, but his voice comes
through with great strength and sincerity in his solos. And while at
moments one can hear the obvious influence of John Coltrane in his phrasing
and tone, Griggs conjures that particular spirit eloquently without
allowing it to dominate his sound.
The arrangements
swing intelligently and naturally, and feature some dynamic ensemble
playing. Phil Sparks' bass effortlessly strolls over and dances with
Elvin's shifting earthy rhythms. One sonic step up finds Milo Petersen's
guitar singing brightly in the mid-range. The rhythm section's syncopation
on a tune like "Sparks" made me wonder (with all due respect to McCoy
Tyner) if guitar might not be better suited to Elvin's playing than
piano. Milo's rhythm gives Elvin's cymbals the space they need and deserve
while laying a sweet foundation for the soulful interplay of Jay Thomas'
always lyrical trumpet and Griggs' sinewy saxophone.
The compositions
are all Steve Griggs originals save John Scott's "You're the Berries"
(check out the signature Jones groan at the end!), and a lovely version
of Ellington's "In a Sentimental Mood." Of particular note is the beautiful
mid-tempo ballad "Healing" and the hip groove of "Sparks."
The overall production
is subtle and perfectly balanced, with great work form Joe Hadlock at
Bear Creek Studios and Ross Nyberg at Studio X, it is somewhat reminiscent
of mid '60s Blue Note recordings.
The strength of
the release may come more from the excitement of the Seattle players
in the presence of Mr. Jones than from the master himself. That excitement
shows through with strong playing and moments of inspiration by all
present.