Time: 57:51
Size: 132.4 MB
Styles: Saxophone jazz
Year: 2002/2008
Art: Front
[7:03] 1. On Green Dolphin Street
[4:10] 2. Body And Soul
[5:02] 3. Leapin' On Lenox
[3:20] 4. Quiet Nights
[4:24] 5. Just Friends
[4:35] 6. I Can't Get Started
[6:22] 7. The Shadow Of Your Smile
[4:38] 8. Mean To Me
[4:31] 9. Comin' Home Baby
[7:00] 10. Love Is Here To Stay
[6:41] 11. Double Eddie
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.”
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.”
Leapin' On Lenox
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