Elvin Jones and Richard Davis – Heavy Sounds

Description

Recorded for Impulse in 1967, Heavy Soundswas originally intended to be a trio date, with Jones, Davis, and guitaristLarry Coryell. However, Coryell did not appear, and producerBob Thielesuggested that Jones and Davis play something together in his absence. The result was a 11 minute duet version of “Summertime”. Davis recalled: “No discussion, no editing, no plan, I just started playing the melody, and there he was… and I just thought there was some very brotherly thing about that particular piece.”

Thiele then suggested that the two musicians return to the studio the following day, and Jones invited saxophonistFrank Fosterand pianist Billy Greene to join them. Together, they recorded a standard (“Here’s That Rainy Day”), a tune by Greene (“M.E.”), and two by Foster (“Raunchy Rita” and “Shiny Stockings”), as well as a version of “Take the ‘A’ Train” that was subsequently lost. An additional track, titled “Elvin’s Guitar Blues” was also recorded, with Jones on acoustic guitar. He explained: “I’m not a real guitarist, but it’s something that I love… It was one of these old blues tunes something an old man, his name was Red, taught me when I was a kid… I’ve always liked to play that because it was one of the first pieces I learned how to play. And I like to listen to these old guitar players: Muddy Waters, John Lee Hooker…” via Label

Originally conceived by Elvin Jones and bass virtuoso Richard Davis as a trio recording with guitarist Larry Coryell (who was swiftly replaced by Frank Foster and Billy Green when he didnt show), Heavy Sounds was Jones final release for Impulse! before he signed to Blue Note in 1968.

Given the albums title, those expecting the fire and brimstone of 1965s Live In Seattle from Jones final weeks with Coltrane, may be initially taken aback as Fosters lengthy opener Raunchy Rita slides into a strutting, soulful slice of hard bop. However, the saxophonists bold, Coltrane-tailored improvisation and Jones persistent polyrhythmic prodding soon elevates the tension with Fosters upper register acrobatics over a nagging ostinato bass and piano figure, which feels like a forerunner to McCoy Tyners glorious Walk Spirit, Talk Spirit.

Davis ever-imaginative bass and Jones crisp, animated brush work are as much a feature of Fosters Shiny Stockings as is his finely cut, late-night melody; Greens ME is a short sharp swinger giving space to the lesser known pianist, and Elvins Guitar Blues is 80 seconds of Jones finger picked blues guitar before Foster picks up the chorus for a purposeful solo.

The centrepiece in many ways is the surprising Jones/Davis 1135 duet on Gershwins Summertime, a spontaneous studio improvisation that unfolds out of Davis classical arco introduction. Joined by Jones whispering mallets on tom and cymbals, Davis draws deep on his classical and jazz pedigree, orchestrating the theme, contrasting melancholic layers and unexpected twists before his pizzicato solo entrances with dense lyrical clusters, swoops and double time abandon.

Jones switches from subtle circular brush strokes to a thundering Afro-centric mallet solo which subsides under Davis quivering tremolo bow coda. A startling illustration of the bassists wish that his instrument could be more of an inventive lead rather than its mainly accompanying role.

It is good to have this album back on heavyweight vinyl and in a replica gatefold sleeve; its excellently remastered, with superior sound over the long-deleted CD reissue. And the stark, atmospheric cover, depicting Jones and Davis puffing away heavily and wreathed in cigarette smoke, would no doubt carry a government health warning today! (via JazzWise)

Label: Impulse! / Verve
Format: Vinyl, LP, Album, Stereo
Reissued: 2024 / Original Release: 1968
Genre: Jazz
Style: Soul-Jazz, Post Bop

File under: Jazz // Soul-Jazz