The Genius Of Elvin Jones
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Published 2022-09-16
Elvin Jones is one of the top jazz drummers of all time, and definitely one of the most influential. But why?
- His power and energy were unmatched.
- He took a unique polyrhythmic approach to timing, comping and soloing.
- He was one of the first jazz drummers to approach the drum set as a single voice, often playing linear patterns.
Elvin Jones influenced big names like Mitch Mitchell, John Bonham, Bill Bruford, John Densmore and Ginger Baker, even having a drum battle with the latter in the early 70s.
A professional drummer from the 1940s until his passing in 2004, Jones was a key member of John Coltrane’s classic quartet in the ’60s, appearing on legendary jazz records like A Love Supreme, My Favorite Things and Ascension.
Here are 5 reasons why Elvin Jones was a genius (and how he helped change the direction and future of jazz drumming):
0:00 - Intro
1:45 -- A Fresh Approach
Sonny Rollins’ “A Night At The Village Vanguard” (featuring the well-known tune “A Night In Tunisia”) is one of the first times people heard what was to become ‘the Elvin Jones sound’. But outside of that album, here are a few key tracks where you can hear his flavor at its finest.
- “Remembrance” by Elvin Jones – Dramatic dynamics
- The “Zachariah” film featuring Elvin Jones – Huge cymbal crashes
- “Acknowledgment” by John Coltrane – A washy, rivet-filled ride sound
- “My Favorite Things” by John McLaughlin – Hemiolas/polyrhythms
In the 1940s, most drummers would accent every quarter note or beats 2 and 4 while swinging on the ride. Listen to “Anthropology” by Elvin Jones or “Miles’ Mode” by John Coltrane and you’ll hear the difference.
Jones was also known for his triplets, particularly his focus on the middle triplet partial (which most drummers neglected). You can hear this on tracks like “Blues to Bechet” by John Coltrane.
8:26 -- Unique Sound & Gear
He was known for playing loudly with unprecedented energy and strength – so much strength that he’d sometimes nail the bass drum to the floor to keep it from sliding!
From felt mallets on tracks like “The Drum Thing” (John Coltrane) and timpani on “Psalm” (John Coltrane) to riveted cymbals and flipping his drumsticks around to use the butt end, Jones carefully chose gear to give him the sounds he wanted.
12:29 -- Polyrhythmic Drumming
How many jazz drummers can you name from Elvin Jones’ time who were playing polyrhythms? One of Jones’ favorites was to play 3 beat phrases in a 4 beat context (like in “Impressions” by John Coltrane). He also incorporated hemiolas into his drumming – rare for the time and style as well.
17:15 -- Timekeeping Mastery
It was once said that “Elvin loosened up the time and opened up the music,” and it’s this relaxed sense that set him apart.
Drummers still talk about his grooves to this day, especially his trademark ‘afro-waltz’, which can be heard on multiple songs Jones tracked with artists like John Coltrane and Wayne Shorter. His Latin and Afro-Cuban-inspired grooves set him apart in the jazz world.
23:50 -- Explosive Drum Solos
Elvin Jones built his rudimental chops in the U.S. Army band, and they made their way into his mind-blowing drum solos. Jones’ go-to rudiment was the paradiddle-diddle, moving between the ride and snare drum or around the toms (like on “Pursuance” by John Coltrane).
You could always tell when he was ending a drum solo because he’d play a buzz roll on the snare drum and vigorously nod his head (a great way to signal to the band when you’re about to wrap up).
31:16 -- Final thoughts
Elvin Jones was a captivating and creative force behind the drums. If you enjoyed this breakdown of his playing, Drumeo members get access to notation and practice tools (to loop/slow down sections) for all of the tracks mentioned here. Click here to try Drumeo free for 7 days: drumeo.com/trial-10008
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All Comments (21)
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Drumeo members get access to notation and practice tools (to loop/slow down sections) for all of the tracks mentioned above. Click here to try Drumeo free for 7 days: drumeo.com/trial-10008
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A true gentle giant.. the kindest man I've ever met.. It was mid-seventies when I met him at Frank Ippolito's drum shop in NYC.. He was signed to Vanguard Records as was I at the time.. He invited me to his session that evening which to this day remains the highlight of my life.. When I remember that evening I think of the man before his drumming.. He was a powerful sweet soul and in my heart I still feel him deeply.. Thank you for this video.. much appreciated.
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When I was a teenager my dad took me to see elvin jones at the blue note in nyc. It was a magical and pivotal moment in my life and it forever cemented my love for drums and was instrumental in me wanting to becoming a professional musician. After the show he shook my hand and it was a moment I will never forget. I knew he was just a man with all of the faults of a human being but it also felt as if I were in the presence of something outside of ourselves and timeless. Just to note he had an extremely firm handshake.
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My dad was a jazz drummer and Elvin Jones was his hero. About twenty five years ago, my dad had the opportunity to hear Elvin give a masterclass in Montreal at the Salle Gesu concert hall and actually got to play with him. My dad told me that besides marrying my mom and my birth, that day with Elvin was happiest day of his life.
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Ive realized over the years that Elvin Jones was a big reason for me loving Tranes great quartet. He opened up the sound of the band with his melodic drumming for Trane to improvise and at the same time propelled it rhythmically along with Tyner. John Coltranes urgency set the table. What a great jazz drummer!
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The level of intelligence and seriousness that Elvin Jones was on is something to behold!
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After watching this I realized that much of my teacher's lessons had its origins in Elvin Jones' playing.
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One of the greatest drummers of all time. Rest in Peace to a legend.
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i was fortunate enough to see elvin play at jazz alley in seattle just before he passed away. one of the best musical experiences of my life
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Even the people who have never heard of Elvin Jones have been listening to him coming through when they hear their favorite bands.
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Back in ‘67, when I first discovered Elvin Jones and Tony Williams, I also discovered accidentally I guess, that a 6 stroke roll (RLRRLL) played as triplets, Right hand on ride, Left hand on snare, once it was played fairly up-tempo, was a key that cracked open a doorway to Mr. Jones’ basic style… Just the START of a long, long, process!
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When I started drumming many decades ago a friend introduced me to Elvin's playing. I thought it was horrible. I couldn't understand it. Decades later I finally got it. A whole new rhythmic world opened up!
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Holy shit the timing of this video couldn't be more perfect. I just listened to A Love Supreme last night and was blown away by the drumming. throughout the whole day I was watching his videos and searching around the internet for his albums. And then boom, Drumeo releases this video. I guess it's all meant to be.
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I forget who said if but it was put best like this-- "If you want to understand Elvin's impact on drumming, listen to jazz before Elvin, and after"
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This man is a monster . Guitarist John McLaughlin wrote a song for him called tones for elvin jones its a great jazz tribute to this incredible drummer
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I fortunate enough to see Elvin many times in lower Manhattan in the late 80’s…I loved how explosive he could … and how you also had a gentle touch. None were like him before and no one after… He was that unique…!!
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Very nice. In 1984 I studied with Elvin, 3 weeks, amazing. There were a couple things he showed me and demonstrated that are interesting. A different way he practiced and actually played his signature triplet ride pattern. Your playing demos were good. Elvin used a red wood bass drum beater when I was with him. His touch was really light but explosive. He was a genius.
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Elvin taught me how to “talk” to people behind my kit. He taught me the language of drumming and fueled my love for post-bop.
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I was fortunate enough to see The Elvin Jones Jazz Machine in the 90s in São Paulo, Brazil. Such a powerful act.
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Great! I'll never forget seeing him at the Blue Note in NYC shortly before he passed. Cecil Taylor was guesting with The Jazz Machine. I was really curious to hear Elvin in this context. As I waited on line outside, occasionally music could heard from the band's first set. It was great. When I got in for the 2nd set, the lights dimmed and an announcement was made on the P.A.: "Ladies and Gentlemen, we now have a special presentation. A duet between Ceil Taylor and Elvin Jones." For about a 1/2 hour, it was 100% Cecil-style free jazz improv. Throughout the entirety, Elvin used only mallets on the kit. It was powerful to say the least.
