+1 I had the same thought. Both had the ability to forcefully/authoritatively propel the band and the music.
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The only one that I can think of that comes close is Blakey. Check out the title cut from "Free for All" https://www.youtube.com/watch?v=GJBLA39spc4&list=OLAK5uy_nJOp9u0pWGGTEbPU_rtQN35yOkuJ9WCd0&index=1
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Jafant: I happened to see Joey Barron a while back with Steve kuhn in nyc if memory serves me right and was very impressed. Kuhn was very gracious and thanked everyone for coming out and supporting live jazz music. Class act. I’m still, for better or worse, fixtated on older jazz artists. As I’m typing this I’m streaming an old album from Donald Byrd… |
russellrcncom here are a few more outstanding Jazz drummers; Bill Stewart Rudy Royston Brian Blade Nasheet Waits Tom Rainey Jeff Ballard Jeff Hamilton Eric McPkerson Joey Barron Antonio Sanchez Jorge Rossy Dannie Richmond as you wrap your mind around these guys, let me know your thoughts, impressions. Happy Listening! |
There are two that really stood out from the rest: 1. Stan Levy. https://www.youtube.com/watch?v=0aVkd_ZT95c https://www.youtube.com/watch?v=kPsFB49xUeY 2. Shelly Manne. https://www.youtube.com/watch?v=eWEdZxeR42U https://www.youtube.com/watch?v=Q0P9TBz8108 |
Elaborating on Frogman’s recommendation of Brecker’s "Time Is Of The Essence" (and emphasizing the " ’Trane" connection), see below comments by William Rhulmann about this recording (copied from Tidal)... Michael Brecker introduced a couple of new wrinkles to his sound on his sixth album, in the form of two new sidemen. Larry Goldings’ organ makes for an unusual quartet -- also including Brecker on tenor sax, frequent guest Pat Metheny on guitar, and one of three different drummers -- in that there is no bass. As a result, Metheny often fills in that role when he isn’ t soloing. Goldings’ touch is light, in contrast to the more intense playing of Brecker and Metheny. But it is the second new sideman who makes a difference: Elvin Jones guests on drums on three tracks. Brecker had never shied away from announcing his influences, and with Jones behind the traps, especially on the opening track, "Arc of the Pendulum," and the closer, "Outrance" (both Brecker originals), he indulges his affection for John Coltrane, playing freely and aggressively across the rhythm. Jones, who gets a showcase solo in "Outrance," is unmistakable, and his support often makes Brecker sound like Coltrane. With Bill Stewart behind the drums, the group performs "Renaissance Man," a tribute to another major Brecker influence, Eddie Harris, and Brecker unabashedly recalls Harris there. The tunes, five by Brecker, two by Metheny, and one each by Goldings and producer George Whitty, are loosely structured and run from six to ten minutes each, so that the disc runs 70 minutes. Clearly, they could have gone longer: Several of them fade out, sometimes during a Brecker or Metheny solo, an oddity on a jazz album. ~ William Ruhlmann |
You’re right, no one could swing LIKE Elvin. There were/are drummers who could swing AS MUCH AS Elvin, but different. No other drummer had his sound, unique feel and power which was the reason he was referred to as “the wave”; his sound would sometimes mimic a wave that would never break. More than most drummers he had the ability to generate a powerful sense of pulse while playing around the pulse with little actually on the beats, but often just implied. Amazing drummer! if you haven’t already, be sure to check out: - “Poly-currents” (a favorite) - ”At The Lighthouse” - “Dear John C” featuring probably the most overlooked great alto player Charlie Mariano - Pepper Adams “10 to 4 at the Five Spot” - Michael Brecker “Time Is Of The Essence” - And of course his work with Trane. As far as other drummers go that push similar buttons for me, check out the work of Carl Allen. I think you’ll like him. In a more conventional bag, Jo Jones gives me a somewhat similar feeling. |
