In 1968, drummer Elvin Jones, who had recently left the legendary John Coltrane quartet, formed a pianoless trio to record a classic date for Blue Note records called “Puttin’ It Together.” Jones, a master of polyrhythms, unleashed a powerful statement of fertile improvisation along with saxophonist Joe Farrell and bassist Jimmy Garrison. A decade earlier, saxophone colossus Sonny Rollins, along with Jones, explored the same paired down trio format live at The Village Vanguard.
Sacramento drummer Alex Jenkins was so inspired by both these classic recordings, he decided to explore recording several albums in this same sparse format.
“In leading his own groups, Elvin Jones had a very tribal and spiritual sound which really appealed to me,” says Jenkins with a broad smile.
On his latest release, “Blackbird,” Jenkins’ trio reimagines jazz standards and presents some challenging original material. Alex prefers working in a chord-less trio (no guitar or piano) because it frees up the soloists to explore fertile improvisation. Saxophonist Levi Saelua and bassist Alex Reiff really stretch out in this format.
Jenkins has traveled to India twice, where he studied the tabla.
“Sometimes, I’ll take rhythms from the tabla and play them on the drum set,” says Jenkins. “The rhythms in India are so advanced, complex, and difficult to learn. It’s really transformed the way I think about rhythm.”
On Saturday, Sept. 21, at 5 p.m. the trio will host an album release party at Twin Lotus Thai in Sacramento.
Interview Highlights
On working with saxophonist Levi Saelua
He has the ability to listen to what other players are doing when he solos. He doesn’t just play notes for the sake of playing them. He really listens to Alex Reiff on bass and myself on drums and it becomes a conversation versus just him going in any direction and expecting us to follow.
On composing “Raven’s Ascent”
It’s an interesting tune because the rhythm that I’m playing on drums is an Afro-Cuban 6/8 rhythm. It’s got a floating melody that Levi plays. The reason I wrote it that way is because I wanted maximum freedom for all the musicians. I wanted all three of us to be able to express ourselves and not to have to worry so much about chord changes and really be able to focus on the melody and rhythm.
On Indian classical music
North Indian classical music is actually an oral tradition. It’s not written down. The thing about an oral tradition is once you learn to sing the rhythm or the melody, it’s in you forever. That’s a powerful thing. It’s something you can draw from no matter what.
