I have a couple of larger transcriptions going right now, from a couple of Elvin Jones live albums, but don't have time to complete them, so here are the major grooves from them.
The first one is an Afro 6/8, on Tin Tin Deo on the album Very R.A.R.E.:
He is using three tom toms there, but it barely matters.
Note on the word feel, here: you see it's written in 4/4 as 8th note triplets— because the tune is in 4/4, if you were looking at a lead sheet. The 6/8 or 12/8 groove is being played as a feel within the 4/4 time, with the beat in the same place, which makes the 6/8 rhythm into triplets. Calling it 6/8 or whatever refers to the normal meter of the groove, not the meter of this setting.
The other is on A Love Supreme, from Elvin Jones Jazz Machine Live in Japan— a Latin groove with a Mozambique rhythm on the cymbal bell— very timely as we've been working on an “Elvinized” Mozambique lately. Here's the groove as he plays it with one note on the tom tom, and with two:
Again, he's playing this in 16th notes as a double time feel— the feet are stating the underlying 4/4, and they're in half time compared to what we would normally expect with this groove.
Here's the groove written out as a two measure, 8th note based rhythm, which is how I would normally write it. Obviously the feet are in half time there, with the bass drum on 1 and the hihat on 3:
He plays the repeating rhythm without a lot of major variations or fills, but he does a lot with it dynamically. At times he'll lean into these accents in the bell part:
The groove comes in after the opening rubato section— it takes a few bars before it develops into the grooves we see here:
