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But despite its popularity, the group divided the jazz world. John Tynan of Down Beat magazine dismissed its music as "anti-jazz," and others agreed. Mr. Jones's drumming, a revelation to some listeners, was dismissed by others as overly busy and distractingly loud.
Mr. Jones left the group in March 1966, shortly after Coltrane, as part of his constant quest for new sounds, began adding musicians. Although he never publicly explained why he left, he was widely believed to have been insulted by Coltrane's decision to hire a second drummer.
Mr. Jones spent two weeks with Duke Ellington's big band and briefly worked in Paris before returning to the United States, where he formed a trio with Garrison, who had also recently left Coltrane, and the saxophonist Joe Farrell. That group was short-lived, but Mr. Jones continued to lead small groups for the rest of his life. Over the years many exceptional musicians passed in and out of the Elvin Jones Jazz Machine, as the ensemble came to be known in all its various incarnations, and the group performed regularly all over the world and recorded prolifically.
Mr. Jones's survivors include his wife, Keiko, who also managed his career and composed several of the pieces in his band's repertory, and his brother Hank.
Mr. Jones came to see it as his mission to offer training and experience to promising young musicians, and in recent years he gave early exposure to budding jazz stars like the saxophonist Joshua Redman, the trumpeter Nicholas Payton and the trombonist Delfeayo Marsalis. A particularly noteworthy addition to the Jazz Machine lineup in the 1990's was the saxophonist Ravi Coltrane, John's son.
Mr. Jones was also a tireless proselytizer for an instrument that he believed was too often maligned and misunderstood. "I played a job in a bar once as a young man," he told his fellow drummer Lewis Nash in a 1997 interview for Down Beat. "One of the customers came up to me and said, `Hey, make some noise.' What he really meant was that he wanted me to play a drum solo. So that is a general perception, and that way of thinking still exists."
"People never understood," he continued, "that the drum is a musical instrument."
Here's page 2
But despite its popularity, the group divided the jazz world. John Tynan of Down Beat magazine dismissed its music as "anti-jazz," and others agreed. Mr. Jones's drumming, a revelation to some listeners, was dismissed by others as overly busy and distractingly loud.
Mr. Jones left the group in March 1966, shortly after Coltrane, as part of his constant quest for new sounds, began adding musicians. Although he never publicly explained why he left, he was widely believed to have been insulted by Coltrane's decision to hire a second drummer.
Mr. Jones spent two weeks with Duke Ellington's big band and briefly worked in Paris before returning to the United States, where he formed a trio with Garrison, who had also recently left Coltrane, and the saxophonist Joe Farrell. That group was short-lived, but Mr. Jones continued to lead small groups for the rest of his life. Over the years many exceptional musicians passed in and out of the Elvin Jones Jazz Machine, as the ensemble came to be known in all its various incarnations, and the group performed regularly all over the world and recorded prolifically.
Mr. Jones's survivors include his wife, Keiko, who also managed his career and composed several of the pieces in his band's repertory, and his brother Hank.
Mr. Jones came to see it as his mission to offer training and experience to promising young musicians, and in recent years he gave early exposure to budding jazz stars like the saxophonist Joshua Redman, the trumpeter Nicholas Payton and the trombonist Delfeayo Marsalis. A particularly noteworthy addition to the Jazz Machine lineup in the 1990's was the saxophonist Ravi Coltrane, John's son.
Mr. Jones was also a tireless proselytizer for an instrument that he believed was too often maligned and misunderstood. "I played a job in a bar once as a young man," he told his fellow drummer Lewis Nash in a 1997 interview for Down Beat. "One of the customers came up to me and said, `Hey, make some noise.' What he really meant was that he wanted me to play a drum solo. So that is a general perception, and that way of thinking still exists."
"People never understood," he continued, "that the drum is a musical instrument."