Elvin Jones master of his Machine

Sometimes it pays to go back to the source, even in jazz, an art that tends to emphasize newness and innovation.

And the performance of Elvin Jones’ Jazz Machine at the Jazz Bakery on Wednesday night provided a particularly valuable opportunity to experience one of the fountainhead sources of contemporary jazz percussion in action.

Most young (and even not-so-young) drummers would be quick to acknowledge the debt they owe to Jones, at 75 still a rhythmically vital, technically proficient player.

His electrifying percussion work with the John Coltrane Quartet of the ‘60s, along with the similarly dynamic playing of the late Tony Williams, have become the primary jazz drumming influences of the last few decades.

Seated in a magisterial center-stage position at the Bakery, Jones was surrounded by a surprisingly modest-looking drum kit, at least in comparison to the massive batteries of percussion and cymbals favored by many of his younger musical disciples.

And it was equally fascinating to note that, once the virtually nonstop set began, his drumming, despite its multilayered rhythms and enormous sense of power, never overwhelmed the other players or -- particularly important in the Jazz Bakery -- the acoustics of the room.

Like all gifted jazz artists, Jones made difficult tasks seem simple and logical: keeping different levels of rhythmic time functioning simultaneously; filling open spaces with sudden, subtly complex bursts of sound; shifting to brushes on several numbers to deliver surging waves of sparkling rhythm; supporting and energizing his soloists without overpowering them with expressions of his own ego.

Jones’ current installment of the Jazz Machine is first rate, with trombonist Delfeayo Marsalis (a longtime associate), tenor saxophonist Pat La Barbera, pianist Anthony Wonsey and bassist Gerald Cannon.

Each had ample opportunity to solo. Marsalis continued his exploration of the seemingly limitless expressive potential of his instrument via slips and slides, rapidly articulated runs and, especially on “It’s a Wonderful World,” a warm and fuzzy sound.

La Barbera was mostly focused on high-voltage shots into musical outer space, his affection for Coltrane apparent in most of his solos.

Wonsey brought a briskly swinging taste of mainstream to many of his solos, emphasizing catchy melodic improvising underscored by a foot-tapping sense of swing.

And Cannon laid down the sort of solid foundation required by each of these individual stylistic ventures.

At the heart of it all: Jones and his magical playing.

And every young percussionist who thinks that contemporary drumming is all about storm and bluster would do well to stop by the Bakery this weekend to experience Jones’ master-class seminar in how to be powerful without being overbearing.

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Elvin Jones

Where: Jazz Bakery, 3233 Helms Ave., Los Angeles.

When: Tonight through Sunday, 8 and 9:30 p.m.

Price: $30

Contact: (310) 271-9039.