Paul Kreibich | Thank You Elvin (Live)

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Dave Liebman Elvin Jones John Coltrane

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Jazz: Modern Creative Jazz Jazz: Bebop Moods: Featuring Saxophone
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Thank You Elvin (Live)

by Paul Kreibich

My name is Paul Kreibich. I'm a professional jazz drummer all my life. I heard Elvin Jones at the Lighthouse in 1972 and it was an inspiration. I've brought a similar band back to the Lighthouse to pay tribute.
Genre: Jazz: Modern Creative Jazz
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  Song Share Time Download
1. Fastrak (Live)
6:08 $0.99
2. Announcement (Live)
0:30 $0.99
3. Sabai Sabai (Live)
9:38 $0.99
4. Space Mistress (Live)
9:00 $0.99
5. Guess I'll Hang My Tears out to Dry (Live)
5:09 $0.99
6. Sambra (Live)
8:30 $0.99
7. Blues Trek (Live)
9:55 $0.99
8. Triple Play (Live)
9:35 $0.99
9. Naima (Live)
7:36 $0.99
10. Cookie's Calypso (Live)
8:04 $0.99
Downloads are available as MP3-320 files.


Album Notes
LINER NOTES TO: Thank You Elvin by Paul Kreibich (BluJazz) by Kirk Silsbee

The success of La La Land has turned the Lighthouse into a tourist destination. Of course, Hermosa Beach’s perennial nightclub was ground zero for West Coast jazz in the 1950s. The room subsequently became a favorite live recording destination, and a September 1972 engagement yielded a potent album: Elvin Jones Live at The Lighthouse (Blue Note).

Jones was magisterial behind his Gretsch drum set. Bassist Gene Perla was close by, while saxophonists Dave Liebman and Steve Grossman bracketed them like sentries. The gig drew the jazz faithful, among them a 17-year old SoCal drummer. Paul Kreibich was transfixed, watching his idol and transcribing drum patterns.

Long established as one of the best Los Angeles jazz drummers, Kreibich returned to the Lighthouse in this homage to Elvin’s band. Paul cast his band with horn players Doug Webb, Jeff Elwood, and Glenn Cashman, and bassist Chris Colangelo. Wisely, the tribute is not a recreation or an imitation; Kreibich and company play themselves. All but one of the tunes are Paul’s originals, save for Webb’s “Triple Play” and Perla’s “Sambra.”

Jones was a force of nature, known for his muscular drum fusillades in the Coltrane Quartet. But Kreibich saw a more dimensional drummer: “His explosive things happened in a context and for a reason.” Not surprisingly, Paul displays admirable command of touch and tone on “Sabai Sabai.” While his horns had freedom, Elvin’s band didn’t go into the uncharted galaxies; they played tunes. So too does Kreibich’s band.

The absence of piano or guitar not only gives harmonic freedom to the horns, but creates spaces ripe for drum accents. Kreibich’s playing on “Space Mistress” reminds us of Elvin’s command and range of dynamics.

The horns establish their tonal personalities immediately, and their harmonic ingenuity on the ensembles is rich. Colangelo acts as the band’s center with his strong, steady bass work. “Chris doesn’t use a pickup,” Kreibich notes, “but his sound came out great.”

Thank You Elvin revisits the scene of Elvin’s triumph and opens a new chapter. Victory begets victory.

May 2018



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