Bitrate: 320K/s
Time: 111:56
Size: 256.3 MB
Styles: Saxophone jazz, Organ jazz
Year: 2013
Art: Front
[ 5:13] 1. Pennies From Heaven
[ 5:17] 2. I Let A Song Go Out Of My Heart
[ 4:41] 3. I'll Never Be The Same
[ 6:13] 4. High Fry
[ 7:25] 5. I Can't Get Started
[ 4:35] 6. Willow Weep For Me
[ 4:23] 7. Old Devil Moon
[ 7:41] 8. But Beautiful
[ 9:55] 9. Light And Lovely
[ 4:16] 10. Too Close For Comfort
[ 4:29] 11. Body And Soul
[ 4:08] 12. But Not For Me
[ 5:25] 13. I Surrender, Dear
[ 6:13] 14. Lester Leaps In
[12:53] 15. In The Kitchen
[ 4:17] 16. You Stepped Out Of A Dream
[ 5:00] 17. It's A Blue World
[ 6:04] 18. Smoke This
[ 3:38] 19. Blue Lou
Sources vary regarding the way in which Eddie "Lockjaw" Davis earned his nickname. Some claim he adopted the moniker at an early recording session while creating titles for his compositions; "Lockjaw" consequently, became not only the name of a tune, but also an important part of his billing. Still others point to Davis's habit of clamping down on his tenor saxophone with his mouth as the reason his nickname came about, leading observers to call him "Lockjaw." But regardless of the cause, Davis became for many the quintessential straight-ahead jazz saxophonist. His sound--aggressive, big-toned, and bluesy yet also capable of great sensitivity--made him a much-emulated player. He was among a handful of players who developed an unmistakably personal sound. According to Derek Taylor on the All About Jazz website, Davis was the "bearer of a sound that could cleanly shift from coarse Rhythm and Blues infused wailing to beautifully textured, romantically voiced poetry. In either incarnation his signature sound, a full-bodied articulation that made ardent use of his instrument's rich tonal properties, always shone through as distinct and nonderivative."
An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~bio by Alex Henderson
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