No, this is an ALL Elvin Jones site. I think we have to earn it if we're going to talk about him, put in some work, have some humility, don't be a leech. I imagine at D*umeo they refer to him as a “premium name”, with the monetary impact every time they use him all mapped out. Optimizing the Elvin Jones product to attract high-value consumers and suck off the most credibility and appearance of soul algorithmically.
It's not cool, Elvin Jones is special.
Anyway, following up on that post about that Haskell Harr march he played, I've transcribed exactly what he plays, more or less. There were some minor variations on the different recordings. The main difference from the original version is the added bass drum, the fp rolls at the beginning of the second half, and the roll off at the end:
The rolls are all multiple-bounce. The 5 an d 7 stroke markings are from the original piece, I didn't check to see if he did them that way. On the fp rolls he sometimes does that Elvin thing of putting putting in an extra bass drum note before the downbeat.
A scholarly cat could dedicate some study to just how he handled the roll off solo break off on all the different recordings. He played it pretty loose. My scholarly instructions would be to vibe it, and don't be too exact about it. Make them come in on the 1 where you put it, not where it would be if there was a metronome running.
In fact I think the study of Elvin Jones requires a serious commitment to figuring things out by vibe. It can't all be done analytically. Let's talk about that sometime.
Get the pdf
Here it is on the new bootleg recording they just put out:
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