Steve
Griggs - Reviews
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!