Elvin Jones' Drum Solo From Summertime

By Steve Korn

Elvin Jones' solo, from John Coltrane's 1960 arrangement of Summertime, provides a glimpse into the mind of one of jazz history's greatest drummers. It stands as an illustration of Elvin's technical, formal, rhythmic, and melodic abilities as well as the dichotomy that characterizes Elvin's drumming legacy. This is his natural primacy and expression of raw emotion, balanced by an intellect that is organizing highly sophisticated musical concepts.

In the tradition of those who preceded him, such as; Kenny Clarke, Sid Catlett, Philly Joe Jones and Max Roach, Elvin Jones derives his technical abilities from rudimental, military drumming. Although, his military influences are not always as explicitly stated as the fore mentioned drummers, Elvin combined this vocabulary with his own unique musical aesthetic.

The form of Coltrane's Summertime is altered from the original. It consists of an A, A, B form. Yet, the eight measure A section is only repeated up to its sixth measure before entering eight measures of a two bar vamp (section B). Therefore, the from consists of one eight measure phrase, followed by a six measure phrase, followed by an eight measure phrase.

To our advantage, the solo is accompanied by bassist Steve Davis, clearly stating each section as well as providing a foundation upon which Elvin can solo. The first four bars of each A section is propelled by Davis' rhythmic pedal point. Following each of these sections is a traditional "walking" bass line. Elvin's solo completes the form three times. Interestingly, he performs in a more "time-like" style during the bass pedal (the first four measures of each A section), and in a more traditional solo style when the bass is walking, trading time-keeping roles with Davis when the bassist's line changes.

The next point of interest is the material he uses in the last four bars and last two bars of the A sections (depending on first and second appearance of the A section in the form). This material fits into the previously mentioned "traditional" drum solo material. Elvin consistently plays non-melodic sixteenth or triplet eighth notes patterns that serve to increase textural density. This is where he falls into rhythmic patterns that are commonly associated with his playing. Some of his trademark phrases are found in these sections such as measures 13 and 14, and measures 49-52.

Elvin plays more melodically during the B sections, where he is neither functioning as a "time-keeping" soloist nor trying to generate tension and energy through rhythmic density and texture. Rather, his drumming becomes more spacious. He repeats patterns, re-voicing them for melodic effect and thematic coherence (m.61 and 63). When he does use continuous sixteenth notes, they are surrounding points of melodic and phrasing interest such as displaced tom tom notes (m.43-44, 65-66).

During Elvin's recent visit I questioned him as to the nature of his solos. He replied that his approach is very much "in the moment". I think this is evident when listening to him perform, because as a listener, there is a sensation of being recklessly propelled down a river of rapids, never knowing what dangers await around the next turn. Yet, it is clear that Elvin is always thinking about the "big picture", organizing the events of his solo as he creates it, managing to mold his "momentary" inspirations into a coherent sense of form and unity.