“Within this type of art form, jazz in particular has its history and foundation and roots in embracing community and learning from each other.
….“He and Betty Carter come from the same school of nurturing future musicians and passing on wisdom to younger musicians,” Shim said to me. Four years later Keiko got in contact with me and asked if I was the one who played ‘Body and Soul’ at the Blue Note!” The next thing he knew, Mark found himself performing with Elvin. ’ Elvin shook my hand and told me that I sounded good. ….Mark Shim, a tenor saxophonist who performed with Elvin for approximately two years told me “Elvin first saw me play with Betty Carter in 1997 at the Blue Note. The things he played technically were fascinating, but it was more the spirit with which he played.” Elvin is absolutely one of my heroes and what he’s done for the instrument and the drum set is incredibly inspiring to drummers every day. ….Acclaimed drummer Mark Guiliana once told me, “I think about him every time I sit down and play. He had great influence on all the jazz musicians he played with, but more importantly, they influenced him. He became one of the most famous drummers, making vast contributions to the hard bop and post-bop jazz movements. His style is unique, expressive, bombastic, heavy and rolling. He was the go-to drummer on many of the great jazz recordings that helped change the face of music, including John Coltrane’s A Love Supreme, Wayne Shorter’s Juju, and McCoy Tyner’s The Real McCoy. ….Elvin Ray Jones (September 9, 1927–September 9, 2004) was drawn to the drums at just two years of age, performing and recording up until the last few years of his life.
Elvin Jones at Keystone Korner, San Francisco CA 4/22/80
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