Elvin Jones
Drums
Joe Farrell
Tenor Saxophone & Flute Frank Foster
Tenor and Soprano Saxophones Chick Corea
Piano Gene Perla
Double-bass
Shinjitu (Keiko Jones) 22:00
Elvin Jones Music (ASCAP) Simone (Frank Foster) 23:53
Frank Foster Music (ASCAP)
Elvin Jones Courtesy of Blue Note reccords
Joe Farrell Courtesy of CTI Records
Cover Design by Anne Maria Schnider
Produced by Gene Perla
P.M. Records
PMR-004
Copyright 1975 P. M. Records
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All Music
By Jim Todd
This 1975 date for the brilliant drummer, with Jan Hammer on keyboards and bassist Gene Perla, is a minor, if somewhat overlooked, classic from the tail-end of the early '70s to the mid-70s' run of great jazz fusion releases. Both Perla and Hammer worked with Elvin Jones between 1971 and 1973, in bands featuring saxophonists Frank Foster, Joe Farrell, Steve Grossman and Dave Liebman. Here, the smaller format allows for a tight group sound with openings for strong solos and fluid interplay throughout. Jones is well up in the mix, giving fans a front-row opportunity to enjoy the drummer, both in all-over-the-kit, rolling-thunder mode and in the subtler moments of his peerless brushwork. The trio perform a half-dozen originals by Perla and Hammer. The impressive writing has a definite jazz sensibility, but Hammer's Moog and electric piano work, Perla's alternating between electric and acoustic basses, and Jones' own fierce eruptions provide a satisfying, rock wallop in several spots.
Much as I love the sax players that were with Elvin I think
"On The Mountain" one of his best!
Mike Migliore
It sounds every bit as good now as it did when I first heard
it, and confirmed it as one of my favourite sessions from the
period.
Gary Allan
On the Mountain has made me impatient for the Elvin Jones Live
album with Corea, Foster, Farrell and Perla.
Michael Winston
Who said Elvin Jones is a very loud drummer? Well, what’s
wrong with being loud, and correct?
Clinton Scott, Disc and Data
Elvin Jones is On the Mountain, indeed, demonstrating his mastery
of subtlety in drumming, and he is in good company.
Nighthawk, The Gazette
Both albums [Live and On the Mountain] are guaranteed brain benders
and mind massagers.
Graham Carlton, Illinois Entertainer
These three develop good feelings throughout the album, one of
the most satisfying trio sessions in some time.
Radio Free Jazz
The real pleasure, however, is the discovery of Jones’s
work as drummer/leader with Perla and keyboardist Jan Hammer on
“Elvin Jones Is on the Mountain”… Three compositions
by the pianist and three by the bassist go to make up the album
– but the whole is greater than the sum of the parts. Instead
of the potential for nothing but drum work that drummer albums often
impose, this outing is a chance to hear innovations contributed
equally by Jones, Perla and Hammer in a fast-paced series of interchanges.
Chris Colombi Jr., Disc-ussion
All the cuts are very good – no waste on this LP –
the musicians are superb (as expected), the playing (both electronic
and acoustic) is excellent making On the Mountain a very fine album…
The musicians all work together really well and no egos are stepped
on, as all have a chance to show their playing. Very simply –
it’s an album of the highest quality.
Danny Kunsch, Community Radio
The freshness of this studio gig is apparent, from the top of
the opener to the leave-you-breathless finish.
New Review
Now here’s an album that combines three really great talents
in the jazz and jazz-rock industry. Elvin Jones, as a veteran of
the legendary John Coltrane group has always impressed me with his
fiery and explosive drumming. The multivariations in rhythm put
him in a class of his own. Hammer’s tenure with Jones and
later the Mahavishnu Orchestra gave him the ability to demonstrate
his acoustic and electric skills respectively. And Perla, his work
with artists like Jones, Dave Liebman, and Steve Grossman write
his own future. In any setting, he is able to maintain either a
smooth accompaniment, or his solos are beautifully melodic. All
of this comprises “On the Mountain.” The opener, “Thorn
of a White Rose,” shows the Mahavishnu shining through in
Hammer. Jones is a great drummer in an electric type situation.
Perla’s “Namuh” is a flowing acoustical ditty
that even impresses me more. Each musician seems to hold their own
abilities to the heights. Special mention is made to the bass lead
during the song. But the real winner is “On the Mountain,”
I can’t describe what is good about it, I guess the old cliché
holds where it is “too good for words.” Side two deals
with the same amount of beauty. Out of the two electric compositions
on Side two, “Destiny” seems to be the better one in
fact that the complexity impressed me, also the idea of the synthesizer-drums
dueting. “Smoke in the Sun” moves in a lilting manner,
with the chord structure supplying a nice icing for the melody.
The somberness of “London Air” adds to the variety of
the album in a most beautiful manner. This only proves that in the
final analysis, this album will impress the jazz listener of all
preferences, whether smooth melodic jazz or moving jazz-rock.
Jeff Sion
Let the logic of the music heard remain secret – these unlimited
impressions of denseness, homogeneity of all sound occurrences here
are furnished with a unique richness of substance. Flexibility and
restraint are reconciled with the performers’ spontaneity
and infallibly they steer us to points of clarity in a wonderful
labyrinth which enables us to tell truth from falseness, sincerity
from deception… But let’s leave these two compositions
untouched. Listen for yourself!
Janusz Szprot, Jazz Forum
LORD ELVIN…
Elvin, Elvin, where’d you go…
fierce Black Warrior, your
Dobermans straining
on a tight leash…
‘Don’t even think of fucking
with ME’ you glowered, but we
knew you sweet as chocolate
“Hey baby, what you know?”
ELVIN, you made and ruined
the dreams of Drummers old
and young, still to be, even
Tony was no match…
Couldn’t touch your majesty
no more than catch that Trane,
doomed to imitation not even
remotely close…
They wrote a song for these two…
There will NEVER be another
YOU…
Shelly Rusten 4/6/07
NYC
Jonesin’
By Bill Meredith
If there were a Mount Rushmore of jazz drummers, one of the faces
on it would undoubtedly belong to Elvin Ray Jones, who succumbed
to heart failure last May at age 76. Jones secured his place in
jazz history by his tenure with John Coltrane (1960-1966), but the
drummer also made other bold statements during his 55-year recording
career. One such gem that fell between the cracks is Jones’
1975 album On the Mountain, initially released on bassist Gene Perla’s
P.M. Records. The recording — featuring Perla on acoustic and
electric basses and Jan Hammer on piano and multiple electric keyboards
— became relegated to bootleg status until Perla reissued it
recently on CD. The bassist remembers the one-day recording session
fondly.
“I picked Elvin up in New York,” says
Perla, 65, by cell phone near his home studio in Whitehouse Station,
New Jersey. “Jan and I were both living at Red Gate Farm, and
we had started Red Gate Studio [in Kent, New York] together. Jan
played just the piano parts — there were no overdubs during
the initial piano-trio recording — but we left holes for him
to overdub the other keyboards.”
After the Mahavishnu Orchestra’s 1975 demise, Hammer embarked
on a solo career, thus he took full advantage of this opportunity.
His opening “Thorn of a White Rose” features multiple
layers of Moog synthesizer in its two main sections, which alternate
after a thunderous Jones drum intro. The Czechoslovakian keyboardist’s
other two compositions are the electric-piano-driven “Smoke
in the Sun” and the pensive “London Air.” Hammer’s
acoustic-piano intro and Perla’s upright-bass accompaniment
segue into a signature theme from “Full Moon Boogie,”
a piece on one of Hammer’s later fusion albums. Here, Jones’
brushwork and accents drive one of the disc’s more straightahead
jazz tunes.
Perla composed the CD’s other three songs. The title track,
like most of the disc, straddles the fence between acoustic jazz
and electric fusion — all triggered by Jones’ subtle-to-slamming
playing. Perla chooses the acoustic bass for the lengthy, playful
“Namuh” and switches to electric for the muscular closer,
“Destiny.” Jones punctuates the trio’s final statement
with dizzying, signature solos. He may not have been known as a
fusion drummer, but this disc — which is unlike the remainder
of his catalog — proved that Jones could play any style. “
Elvin used to bring albums to the Blue Note to sell,” says
Jack Kreisberg. One of the reissue’s executive producers, Kreisberg
had a long working association with the New York City club, which
was among Jones’ favorite tour stops. “So I got my vinyl
copy there about eight years ago.”
“From what
Elvin told me,” Perla says, “of all the albums he made
as a leader, the ones that the fans asked him about the most were
Live at the Lighthouse [Blue Note, 1972] and On the Mountain.”
Can't say exactly why, but "Namuh" has become a favorite.
Touching, swinging tune, reaching for something... as every good
endeavor should.
I just wanted to say that I'm a huge fan of your work and the
"On The Mountain" album you did with Elvin and Jan is
one of my top ten of all time...so much I that I borrowed the concept
for my first solo album (Acoustic Bass/Fender Rhodes/Acoustic Piano/Mini
Moog/Drums-trio).
Jason Harrison Smith
Elvin Jones
Drums Jan Hammer
Acoustic and electric pianos and moog synthesizer Gene Perla
Acoustic and electric basses
Thorn of a White Rose (Jan
Hammer) 5:07 Namuh (Gene Perla) 7:47 On the Mountain (Gene Perla) 4:37 Smoke in the Sun (Jan Hammer) 4:00 London Air (Jan Hammer) 5:29 Destiny (Gene Perla) 7:28
Jan Hammer's compositions
Published by Country and Eastern Music (ASCAP)
Gene Perla's compositions
Published by Perla Music (ASCAP)
Jan Hammer Courtesy of Nemperor Records
Recorded in 1975
at Red Gate Studio, Kent, New York
Engineered by Jan Hammer
Technician and Assistant Engineer: Andy Topeka
Cover Design by Anne M. Schnider
Produced by Gene Perla
P. M. Records
PMR-005
Copyright 1975 P. M. Records, Inc.
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All Music
By Jim Todd
This 1975 date for the brilliant drummer, with Jan Hammer on keyboards and bassist Gene Perla, is a minor, if somewhat overlooked, classic from the tail-end of the early '70s to the mid-70s' run of great jazz fusion releases. Both Perla and Hammer worked with Elvin Jones between 1971 and 1973, in bands featuring saxophonists Frank Foster, Joe Farrell, Steve Grossman and Dave Liebman. Here, the smaller format allows for a tight group sound with openings for strong solos and fluid interplay throughout. Jones is well up in the mix, giving fans a front-row opportunity to enjoy the drummer, both in all-over-the-kit, rolling-thunder mode and in the subtler moments of his peerless brushwork. The trio perform a half-dozen originals by Perla and Hammer. The impressive writing has a definite jazz sensibility, but Hammer's Moog and electric piano work, Perla's alternating between electric and acoustic basses, and Jones' own fierce eruptions provide a satisfying, rock wallop in several spots.
Much as I love the sax players that were with Elvin I think
"On The Mountain" one of his best!
Mike Migliore
It sounds every bit as good now as it did when I first heard
it, and confirmed it as one of my favourite sessions from the
period.
Gary Allan
On the Mountain has made me impatient for the Elvin Jones Live
album with Corea, Foster, Farrell and Perla.
Michael Winston
Who said Elvin Jones is a very loud drummer? Well, what’s
wrong with being loud, and correct?
Clinton Scott, Disc and Data
Elvin Jones is On the Mountain, indeed, demonstrating his mastery
of subtlety in drumming, and he is in good company.
Nighthawk, The Gazette
I think the magic on the record with Elvin was the combination of the electric instruments with his kind of groove which is something that he really hadn’t done before Then again Jan is a genius and of course the chemistry on that record was really amazing between the three of you....That’s why we’re still talking about it.
Jason Miles
29 Dec 2019
Elvin Jones
Leader, Drums Steve Grossman
Tenor Saxophone
David Liebman
Tenor & Soprano Saxophones & Flute Gene Perla
Double-bass
A Brite Piece (David Liebman) 10:33
Liebstone Music (BMI) Announcement (Elvin Jones) 1:08 A Time For Love (Mandel & Webster) 6:50
Warner Bros (ASCAP) Children's Merry Go Round March (Keiko Jones) 13:53
Elvin Jones Music (ASCAP) Fancy Free (Donald Byrd & Frank Foster) 12:33
Swing That Music (ASCAP) I'm A Fool To Want You (Sinatra, Wolf, Herron) 9:25 Barton, MPCA Lehsem, Warner Bros (ASCAP)
Three Card Molly (Elvin Jones) 15:49
Elvin Jones Music (ASCAP)
Recorded live at Carnegie Hall, New York City
For the Newport Jazz Festival, July 3, 1972
Edited, Mixed, & Mastered at
The System, Easton, PA, US
By Nicholas de la Motte & Gene Perla
Cover Art & Design by Gene Perla
Patrick Dorian, Associate Producer
Produced by Gene Perla
P.M. Records
PMR-043
Copyright 2018 P. M. Records
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I'm A Fool To Want You
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By the time of this recording, July 3 1972, the Elvin Jones Group was tight. In the jazz sense, this means obvious familiarity with the music itself, but more than that it translates to recognizing the basic
parameters of each individual’s style and how it all blends together in the mix. At this point in the group’s evolution Steve and I could communicate telapathetically while Gene and Elvin were completely locked in rhythmically. Time spent together on and off the bandstand is the only way this can be achieved (which unfortunately is not the norm in our time). The overall result is clearly heard on this recording… a sense of heightened intensity and commitment. The three of us were young and green, but realized that this was the greatest of gifts a young musician could experience, to play with one of the all time greats.
This concert (part of the Newport Festival) is a very good example of the group in full throttle and can be construed as an accompaniment to the iconic “Live At The Lighthouse” recording from later that year,
coincidentally done on Elvin’s birthday, September 9 1972. These two recordings represent two sides of the coin… a club atmosphere in contrast to the concert stage of Carnegie Hall, an intimidating venue to
say the least!! The tunes heard here represented the core of the group’s repertoire.
The link listed below consists of my extensive liner notes for the Mosaic boxed set of Elvin’s recordings on Blue Note Records during the late ‘60s into the ‘70s. Organized beautifully by Chip Stern with photos, everything about the “Jones” experience is described. Suffice to say the entire experience changed the lives of Gene, Steve and myself from the career and experiential points of view forever. Elvin was a force of nature and to be around him, again both on and off the bandstand was a life-changing event.
Special thanks to Pat Dorian who was instrumental in organizing this release. - David Liebman http://davidliebman.com/home/articles
Elvin Jones
Leader, Drums Steve Grossman
Tenor Saxophone
David Liebman
Tenor & Soprano Saxophones & Flute Gene Perla
Double-bass SPECIAL GUESTS:
Art Blakey
Drums Roy Haynes
Drums
The Children's
Merry-Go-Round March 15:22 By Keiko Jones, Elvin Jones Music (ASCAP)
Soultrane 9:42 By Tadd Dameron,
Carbaby Music (ASCAP) Shinjitu 11:25
By Keiko Jones, Elvin Jones Music (ASCAP) The Children, Save The Children 24:25 By Don Garcia, Perla Music (ASCAP)
Night In Tunisia 17:22 By Dizzy Gillespie & Frank Paparelli
Universal Music (ASCAP)
Recorded live at Olympia Theater, Paris, France
October 22, 1972
Edited, Mixed, & Mastered at
The System, Easton, PA, US
By Nicholas de la Motte & Gene Perla
Cover Art by Toni Wirts
Graphic Design by Gene Perla
Produced by Gene Perla
P.M. Records
PMR-045
Copyright 2018 P. M. Records
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Night In Tunisia
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When an interviewer asks the stock question concerning notable gigs one might recall, a concert I will always remember was during my tenure with Elvin Jones at the L’Olympia Theater in Paris. The feature was a “drum battle” with Elvin, Art Blakey, and Roy Haynes. As you can hear, we (Elvin, Steve Grossman, and Gene Perla) played a few
tunes in front and then accompanied these masters on their journey that evening. I can recall that set clearly, remembering the vibes between these three masters, love, respect, and competition. Here are the top guys in their field and in their prime playing their butts off. When Art hits that “Night In Tunisia” bell of the cymbal beat that we
all know, I still remember the thrills going up and down my spine. This is spontaneous jazz at its best, mistakes and all. What a memorable night!! – David Liebman http://davidliebman.com/home/articles
