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.