Elvin Jones Quintet/NY,USA 1971

A year before Lighthouse, an intense live performance with a double saxophone arrangement of Joe Farrell, who was considered the top of the post-Coltrane group at the time, and Frank Foster, a veteran but talented Coltrane-like person, appeared! ! The intense live performance by Elvin Quintet on June 24, 1971 at The Sculpture Gallery in New York’s Modern Art Museum has been recorded on a super high-quality stereo soundboard with the label’s own careful mastering. A 2-disc set completely recorded over an hour and a half has arrived! ! 5 months after this performance, he recorded a brilliant play on the almost Return to Forever masterpiece “Outback” with Elvin, Chick Corea, IArt and others on CTI (Return to Forever was recorded 3 months later) The album got off to a roaring start with “Sweet Mama,” which is over 40 minutes long and is a bold feature of Pharrell’s long solo that captured the hearts of many jazz fans. The overall atmosphere and style of Blow is similar to Coltrane, but the sound is rounder and the phrases are more romantic. Farrell has a solid technique and his high-speed phrases don’t fail at all, and his blows are very stable.Foster, who is a seasoned veteran and has an efficient blow, is second to none. Also, there’s the young Yan, who effectively uses electric piano mainly on acoustics and plays with an incredibly advanced technique, Parra, whose spiritual and heavy grooves are truly reliable, and Erwin, who has a unique personality and amazing drumming like a heavy tank, and 40. It’s inevitable that you will be fucked by the overwhelming performance that will keep your hands sweating for more than a minute! From the middle to the end, Farrell takes up the soprano and engages in a phantasmagoric battle with Foster’s tenor, giving free and aggressive improvisations reminiscent of “Fancy Free” and the Coltrane Quartet. The entire Usagi ni Kaku performance, such as “My Ship,” which makes you feel as if you are listening to the song, is a must-see. In any case, forming a quintet with a double saxophone at the front was the right choice, with Erwin showing his true potential in relatively free play, and Farrell and Foster playing in a space with a high degree of freedom, playing comfortably beyond their abilities. It’s a series of great plays, and the battle between the two is truly worth listening to. I was also impressed by Erwin’s ability to take strong leadership roles, focusing on bringing out the full potential of the two saxophonists rather than promoting his own drumming. Also, let’s not forget Yang’s aggressive play from beginning to end. You should definitely listen to this famous performance, which clearly proves that the true value of jazz is demonstrated live, and it is no exaggeration to say that it even surpasses “Live at Lighthouse” a year later! Live at The Sculpture Gallery Museum of Modern Art,New York City,NY Jun 24.1971 EX – SBD 2019 Original Remaster Disc 1 1. Sweet Mama Disc 2 1. Fancy Free 2. My Ship 3. Raunchy Rita – Band Intro Joe Farrel – Tenor Saxophone,Flute Frank Foster – Tenor and Soprano Saxophone Jan Hammer – Keyboards Gene Perla – Bass Elvin Jones – Drums