Eddie 'Lockjaw' Davis - Goin' To The Meetin'

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:00
Size: 171,6 MB
Art: Front

(5:02)  1. I Wished On The Moon
(4:24)  2. From This Moment On
(5:44)  3. It's A Pity To Say Goodnight
(6:17)  4. Just Friends
(7:03)  5. The Moon Of Mankoora
(6:53)  6. Speak Low
(5:27)  7. Goin' To Meetin'
(3:05)  8. People Will Say We're In Love
(5:00)  9. Night And Day
(3:41) 10. Pass The Hat
(3:48) 11. Yes, Yes
(3:59) 12. Please Send Me Someone To Love
(2:40) 13. Our Love Is Here To Stay
(5:35) 14. Oh Babee
(4:15) 15. Little Cougar

The esthetic and visceral aspects of Eddie “Lockjaw” Davis’ music have been on my mind a lot lately. My regular AAJ column “Combing the Fantasy Catalog” allowed me the welcome chance to explore his Prestige label legacy at length, but much to my regret this recent reissue wasn’t in circulation until after I’d put the wrap on the articles. The generous clutch of material from three albums, Misty, Stompin’ and Goin’ to the Meetin’ gathered here is much in line with his other work circa this vintage. The disc’s first half revisits the classic Davis/Scott combo flying its full hard-swinging soul-hued regalia with the added bonus of conguero Ray Barretto in the ranks. Originally a Moodsville release the tunes are a surprising mix of up-tempo burners like “From This Moment On” and balladic fare such as “Just Friends.” Both vie to create a swirling batch of performances that bring out the band’s best side. Just drop in on the furious conga breaks on the former tune and tidal force of Scott’s sustain-saturated fills for a taste guaranteed to leave even the most sullenly jaded listener rapacious for more. Even the slice of pop exotica “The Moon of Manakoora,” a regular staple of the Bachelor pad orchestras bandleaders like Les Baxter and is successfully given a make-over in line with the Davis’ no-frills delivery.

The album from which the disc’s title is taken fills out the second half trading Scott’s soul organ for Parlan’s hard bop piano and convening a completely different rhythm section with conga presence intact. Catlett’s moody walking line on the title track (which strangely recalls the bass line to Gil Melle’s “Mars”- how’s that for an obscure reference?) is but one of the many indications of a different, but no less visceral vibe. Bobo’s skins are sparser and more staccato in sound, accenting rather than driving the group, and Taylor’s sticks deliver a crisper, more measured sound than Edgehill. Parlan steps to the solo podium almost as often as the leader, but tune lengths are significantly shorter. Highlights are numerous, but the Latin groove of “Night and Day” where Taylor and Bobo sculpt a living lattice of interlocking cross rhythms beneath Davis’ booting phrasings garners first prize by my estimation. Listener’s familiar with Davis won’t need much prodding when it comes to acquisition of this disc, but suffice it to say that those unfamiliar with his gruff charms are likely to find themselves pleased by the purchase as well.By Derek Taylor
https://www.allaboutjazz.com/goin-to-the-meetin-eddie-lockjaw-davis-review-by-derek-taylor.php

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Horace Parlan (piano); Shirley Scott (organ); George Duvivier (bass); Ray Barretto, Willie Bobo (congas).

Goin' To The Meetin'

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Count Basie - Basie Meets Bond

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 40:35
Size: 94,5 MB
Art: Front

(3:01)  1. 007
(3:45)  2. The Golden Horn
(3:37)  3. Girl Trouble
(2:26)  4. Kingston Calypso
(4:06)  5. Goldfinger
(4:02)  6. Thunderball
(4:15)  7. From Russia With Love
(3:58)  8. Dr. No's Fantasy
(3:38)  9. Underneath The Mango Tree
(3:49) 10. The James Bond Theme
(3:54) 11. Dr. No's Fantasy - First Version

Leave it to one of the most swinging big bands of its time to make a silk purse out of a cow’s ear. Visiting themes from James Bond movies, arrangers Chico O’Farrill and George Williams craft hip and bristling versions of what might appear to be less than complimentary pieces for jazz exploration. But then O’Farrill was a master writer and he proved that this Bond thing wasn’t just a fluke when a year later in 1966 he helped to develop the catchy Basie's Beatles Bag. With its low sputtering bones and lively cowbell taps, “Kingston Calypso” is typical of the transformation with strains of “Three Blind Mice” worked in just for fun. “Dr. No’s Fantasy” gets things blaring from the git-go as drummer Sonny Payne’s swaggering backbeat pushes further and further, Basie injecting those sparse few notes here and there with characteristic élan.

And those are just two highlights among many, not to mention the boisterous and characteristic statements of tenor man Eddie “Lockjaw” Davis. Originally issued on the United Artists label, Basie Meets Bond can be recommended without reservation despite what might seem like the misguided intentions of some marketing exec. ~ C.Andrew Hovan https://www.allaboutjazz.com/basie-meets-bond-count-basie-capitol-records-review-by-c-andrew-hovan.php?width=1920

Personnel: Count Basie (piano); Al Aarons, Sonny Cohn, Wallace Davenport, Phil Guilbeau (trumpets); Henderson Chambers, Al Grey, Grover Mitchell (trombones); Bill Hughes (bass trombone); Marshall Royal (alto saxophone); Bobby Plater (alto saxophone & flute); Eric Dixon (tenor saxophone & flute); Eddie "Lockjaw" Davis (tenor saxophone);Charlie Fowlkes (baritone saxophone & bass clarinet); Freddie Green (guitar); Norman Keenen(bass); Sonny Page (drums) 

Basie Meets Bond

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Johnny Griffin & Eddie Lockjaw Davis - Ow! Live at the Penthouse

Styles: Saxophone Jazz
Year: 1962/ 2021
File: MP3@320k/s
Time: 58:38
Art: Front

1. Intermission Riff I.Introduction by Jim Wilke (Live)(0:53)
2. Blues Up and Down (Live) (6:48)
3. Ow! (Live) (8:20)
4. Spoken Outro I. (Live) (0:09)
5. Bahia (Live) (8:43)
6. Spoken Introduction I. (Live) (0:05)
7. Blue Lou (Live) (4:11)
8. Second Balcony Jump (Live) (7:14)
9. Spoken Outro II. (Live) (0:09)
10. How Am I to Know? (Live) (10:14)
11. Spoken Introduction II. (Live) (0:09)
12. Sophisticated Lady (Live) (4:03)
13. Spoken Introduction III. (Live) (0:09)
14. Tickle Toe (Live) (6:36)
15. Intermission Riff II. Outro by Jim Wilke (Live)(0:56)

In the 1960s a weekly radio show hosted by Jim Wilke was broadcast live from the Penthouse jazz club in Seattle, Washington. Over 200 performances there were recorded by the radio station KING-FM. In recent years several labels have tapped into this large, rich tape archive. OW! is the second Penthouse release by a new historical label, Reel to Real.

In the culture of hard-bop tenor saxophone, Johnny Griffin and Eddie “Lockjaw” Davis were keepers of the flame. From 1960 to 1962 they teamed up as the “Tough Tenors” and made nine LPs on the Prestige and Jazzland labels. The folklore of the “tenor battle” was in the air, and the debut “Tough Tenors” album was called Battle Stations.

But what Griffin and Davis did together was not a competition. It was collaboration, mutual inspiration and a special art form based on similarity and contrast.~ByThomas Conrad https://jazztimes.com/reviews/albums/johnny-griffin-eddie-lockjaw-davis-quintet-ow-live-at-the-penthouse-reel-to-real/

Featuring: Johnny Griffin & Eddie Lockjaw Davis: tenor saxophones, Horace Parlan piano, Buddy Catlett bass, Art Taylor drums

Retrospect

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Johnny Griffin, Eddie 'Lockjaw' Davis - Pisces

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 50:17
Size: 116,8 MB
Art: Front

(4:13)  1. Pisces
(4:36)  2. Midnight Sun
(4:32)  3. Willow Weep For Me
(3:44)  4. Bewitched, Bothered And Bewildered
(3:33)  5. What Is There To Say?
(4:32)  6. She's Funny That Way
(4:16)  7. Yesterdays
(4:09)  8. Sophisticated Lady
(4:46)  9. Willow Weep For Me (alternate)
(4:14) 10. She's Funny That Way (alternate)
(4:06) 11. Sophisticated Lady (alternate)
(3:31) 12. What Is There To Say (alternate)

The early '60s was a golden age for tenor tandems. Towering team-ups like Gene Ammons and Sonny Stitt, Zoot Sims and Al Cohn, and Eddie "Lockjaw" Davis and Johnny Griffin were illustrative of the Zeitgeist. Such a simple formula, joining the talents of two titans on that most popular of jazz horns, but it's one that consistently yielded both artistic and financial profit. For a time the partnership of Davis and Griffin stood at the front of the pack. The 1962 recording Pisces is unique in discography of Davis and Griffin for several reasons. Firstly, though the saxophonists share billing on the traycard as well as the same rhythm section, none of the tracks feature the pair together. Secondly, the set list is comprised almost completely of ballads. The only exception arises in the Griffin-penned title waltz that ambles along at a medium tempo. Thirdly, and perhaps most surprisingly, the tape reel sat sequestered on a shelf for the better part of forty years. The chosen schematic removes the possibility of sparks striking between the two men, but each is so versed at fronting an ensemble that it's worth paying attention to his interplay with the Parlan-led rhythm team that also employs supple bass of Buddy Catlett and the always ecumenical drumming of Art Taylor. 

Aside from Griffin's jovial opener the remaining cuts predictably draw from the jazz standard songbook. For some inexplicable reason Davis is saddled with Parlan's decision to play celeste on his featured tracks and the cloying wind chime tonalities of the instrument quickly pall. Even Catlett and Taylor sound a bit stultified by the situation. Luckily the robust purr of Davis' horn acts as an effective antidote, gliding eloquently through choruses and offering a salty tang to the otherwise saccharine surroundings. Parlan's piano work is a different story, nimble and elegant and dulcetly supportive of Griff's mellifluous lines, particularly on pieces like the positively intoxicating reading of "Willow Weep For Me." Adding measurably to an already valuable trove are four alternate takes (three by Griff and one by Jaws) that bolster the running time to just over fifty fulsome minutes. According the liner notes, the pair cut the date at a New York studio and interest swiftly waned toward the results. Davis' topflight session at Rudy Van Gelder's taped two days earlier with the same rhythm section and conguero Willie Bobo added (released as Goin' to the Meeting ) may have also swayed opinions against releasing the material. Today's vantage point makes room for a different appraisal. Davis' catalog is now a finite commodity, making virtually any "new" work worth scrutiny. Griffin continues to record, but again anything of antique vintage unearthed in his oeuvre is cause for collectors and casual fans to take notice. Despite a minor complaint or two, this collection is certainly that, and one that any fan of either man should waste no time in checking it out. ~ Derek Taylor https://www.allaboutjazz.com/pisces-johnny-griffin-riverside-review-by-derek-taylor.php

Personnel: Johnny Griffin- tenor saxophone; Eddie 'Lockjaw' Davis- tenor saxophone; Horace Parlan- piano, celeste; Buddy Catlett- bass; Arthur Taylor- drums.

Pisces

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Eddie 'Lockjaw' Davis, Harry 'Sweets' Edison - Jawbreakers

Styles: Saxophone And Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 41:29
Size: 96,2 MB
Art: Front

(5:13)  1. OO-EE!
(5:18)  2. Broadway
(6:34)  3. Jawbreakers
(3:33)  4. Four
(4:38)  5. Moolah
(4:42)  6. A Gal In Calico
(5:54)  7. I've Got A Crush On You
(5:34)  8. Close Your Eyes

Harry "Sweets" Edison and Eddie "Lockjaw" Davis always made for a logical combination for both had immediately recognizable sounds and could say an awful lot with one note. This early collaboration (reissued on CD), their first joint recording, finds the pair joined by pianist Hugh Lawson, bassist Ike Isaacs and drummer Clarence Johnston. 

The repertoire (three basic Edison originals plus five jazz standards) serves as strong vehicles for swinging solos with highlights including "Broadway," "Four" and "A Gal in Calico." Easily recommended to straightahead jazz fans as are the later Sweets-Lockjaw recordings. 

~ Scott Yanow https://www.allmusic.com/album/jawbreakers-mw0000312066

Personnel:  Eddie "Lockjaw" Davis - tenor saxophone; Harry "Sweets" Edison - trumpet; Hugh Lawson - piano; Ike Isaacs - bass; Clarence Johnston - drums

Jawbreakers

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Eddie 'Lockjaw' Davis - Lockjaw's Jazz-A-Samba

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 38:54
Size: 90,1 MB
Art: Front

(4:53)  1. Wild Rice
(5:20)  2. Guanco Lament
(5:06)  3. Tin Tin Deo
(4:14)  4. Jazz-A-Samba
(5:21)  5. Alma Alegre
(6:21)  6. Star Eyes
(7:36)  7. Afro-Jaws

Eddie Lockjaw Davis was one musician who provided a link from the big band era through to the soul jazz phenomenon of the late 1950s and early 1960s. Davis developed one of the most unmistakable tenor sax sounds in post war jazz. With a full bodied yet reedy tone that was equally at home in rhythm & blues settings as more modern contexts, his playing always had a direct, singing quality that was a huge influence on the next generation of sax men. Davis began to make his mark on the jazz scene in New York when he worked at Clark Monroe's Uptown House in the late 30s. Despite this establishment's close ties with the emergence of bebop a few years later, Davis' tenor saxophone playing was rooted in swing and the blues, and early in his career he displayed a marked affinity with the tough school of Texas tenors. In the early 40s he worked with a number of big bands, including those of Cootie Williams, Lucky Millinder and Andy Kirk. He also led his own small group for club and record sessions. Eddie “Lockjaw” Davis was a pioneer of the tenor-and-organ combo, between 1955-60, he toured and recorded with a unit featuring Shirley Scott on the Hammond B3. In this long-running group, Davis realized his vision of what an organ/tenor combo could achieve. Miss Scott’s taste and light touch on the organ made it possible for Davis to avoid the battering-ram approach and produce music of restraint and taste without sacrificing drive and excitement. After Scott left the band, Davis never really returned to the organ/tenor sound, despite his success with it. 

In 1952 Davis made the first of several appearances with the Count Basie band, which extended through the 60s and into the 70s. He was a mainstay at Prestige, and released a long list of fine sessions for that label and for their subsidiary Moodsville. It was with Basie that he made his greatest impact, although in between these stints he continued to lead his own small groups, notably Tough Tenors with Johnny Griffin in the early 60s. As the 1960s came into focus, Chicago tenor saxophonist Johnny Griffin and his New York counterpart, Eddie “Lockjaw” Davis, hooked up for a series of tenor battle albums that were easily a cut above most such recordings. For one thing, both saxophonists were rock solid bop players who were at the peak of their powers. For another, the two tenor men were very compatible in their playing styles and had a lot of mutual respect. “Tough Tenors” is a November, 1960, date. This record delivers an unbeatable program of music delivered by two of the greatest jazz tenors in top form. After temporarily withdrawing from active music in 1963 to work as a booking agent, he returned as a soloist and road manager for the Count Basie band in 1964. He played in Europe with Mr. Basie, and participated in European tours as part of the Norman Granz troupe with Ella Fitzgerald. He also joined up with Sweets Edison in the 70’s, with which he did sessions and tours. Davis' playing style showed him to be at ease on both gutsy, hard-driving swingers and slow, tender ballads. The former are most evident in his partnership with Griffin and his showstoppers with Basie, while the softer facet of his musical character came to the fore on a fine album of ballads he made with Paul Gonsalves. Davis always confounded critics. Because he was an acknowledged star to the soul-jazz idiom, they expected him to create in a somewhat formulaic setting, taking few chances. Jaws always took chances, and he always did things his way. Eddie Lockjaw Davis was a hard hitting tenor player from the old school, and his legacy survives in his vast and prestigious recordings and memorable live performances when he would dominate the stage. He passed in Nov. 1986, at age of 65. https://musicians.allaboutjazz.com/eddielockjawdavis

Lockjaw's Jazz-A-Samba

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Tadd Dameron - The Compositions Of Tadd Dameron

Styles: Bop, Post Bop, Hard Bop, Cool Jazz 
Year: 2011
File: MP3@320K/s
Time: 42:15
Size: 98,0 MB
Art: Front

(4:09)  1. Fontainebleau
(3:10)  2. The Dream Is You
(6:30)  3. If You Could See Me Now
(7:42)  4. Good Bait
(5:13)  5. Smooth As The Wind
(4:43)  6. Our Delight
(4:09)  7. Hot House
(6:36)  8. Lady Bird

The definitive arranger/composer of the bop era, Tadd Dameron wrote such standards as "Good Bait," "Our Delight," "Hot House," "Lady Bird," and "If You Could See Me Now." Not only did he write melody lines, but full arrangements, and he was an influential force from the mid-'40s on even though he never financially prospered. Dameron started out in the swing era touring with the Zack Whyte and Blanche Calloway bands, he wrote for Vido Musso in New York and most importantly, contributed arrangements for Harlan Leonard's Kansas City Orchestra, some of which were recorded. Soon Dameron was writing charts for such bands as Jimmie Lunceford, Count Basie, Billy Eckstine, and Dizzy Gillespie (1945-1947) in addition to Sarah Vaughan. Dameron was always very modest about his own piano playing but he did gig with Babs Gonzales' Three Bips & a Bop in 1947 and led a sextet featuring Fats Navarro (and later Miles Davis) at the Royal Roost during 1948-1949. Dameron co-led a group with Davis at the 1949 Paris Jazz Festival, stayed in Europe for a few months (writing for Ted Heath), and then returned to New York. He wrote for Artie Shaw's last orchestra that year, played and arranged R&B for Bull Moose Jackson (1951-1952) and in 1953 led a nonet featuring Clifford Brown and Philly Joe Jones. Drug problems, however, started to get in the way of his music. After recording a couple of albums (including 1958's Mating Call with John Coltrane) he spent much of 1959-1961 in jail. After he was released, Dameron wrote for Sonny Stitt, Blue Mitchell, Milt Jackson, Benny Goodman and his last record but was less active in the years before his death from cancer. Tadd Dameron's classic Blue Note recordings of 1947-48, his 1949 Capitol sides and Prestige/Riverside sets of 1953, 1956, 1958, and 1962 are all currently in print on CD. ~ Scott Yanow https://www.allmusic.com/artist/tadd-dameron-mn0000016759/biography

Personnel:  Arranged By, Conductor [Orchestra] – Tadd Dameron; Vibraphone [Soloist] – Milt Jackson; Bass – Larry Gales, Sam Jones, Buddy Clark; Drums – Ben Riley, Jimmy Cobb, Mel Lewis; Piano – Junior Mance, Bobby Timmons, Bill Evans, Jimmy Rowles; Tenor Saxophone – Eddie "Lockjaw" Davis, Johnny Griffin; Trumpet [Soloist] – Blue Mitchell, Jack Sheldon; Vibraphone – Dave Pike: Bass Clarinet – Herbie Mann; Bass Clarinet – Herbie Mann;

The Compositions Of Tadd Dameron

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Mildred Anderson - Person to Person

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 30:43
Size: 70,5 MB
Art: Front

(2:44)  1. I'm Gettin' 'Long Alright
(4:57)  2. I'm Free
(4:33)  3. Don't Deceive Me (Please Don't Go)
(3:47)  4. Hello Little Boy
(3:07)  5. Person to Person
(2:57)  6. Cool Kind of Poppa
(3:50)  7. Kidney Stew Blues
(4:45)  8. I Didn't Have a Chance

Mildred Anderson, who recorded with organist Bill Doggett as early as 1953, only made two albums as a leader and, although thought of as as being in the R&B/blues field, both records have some notable jazz players supporting her. For this CD reissue, Anderson is joined by tenor-saxophonist Eddie "Lockjaw" Davis, organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill for such songs as "Hello Little Boy," "Person to Person" and "Kidney Stew Blues" (the latter two tunes were associated with Eddie "Cleanhead" Vinson). Despite being rather brief (just 31 minutes), this set is worth checking out if quite obscure. ~ Scott Yanow https://www.allmusic.com/album/person-to-person-mw0000108898

Personnel:  Mildred Anderson - vocals;  Eddie "Lockjaw" Davis - tenor saxophone;  Shirley Scott - organ;  George Duvivier - bass;  Arthur Edgehill - drums

Person to Person

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Eddie 'Lockjaw' Davis - Jaws Strikes Again

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 63:53
Size: 147,5 MB
Art: Front

(5:38)  1. Don't Worry About Me
(5:17)  2. The Man I Love
(8:45)  3. Light And Lovely
(4:30)  4. Stompin' At The Savoy
(4:09)  5. When Sunny Gets Blue
(3:26)  6. Blue And Sentimental
(6:09)  7. Jumpin' With Symphony Sid
(5:31)  8. When Your Lover Has Gone
(7:00)  9. Pennies From Heaven
(6:03) 10. After You've Gone
(7:20) 11. Candy

Possessor of a cutting and immediately identifiable tough tenor tone, Eddie "Lockjaw" Davis could hold his own in a saxophone battle with anyone. Early on, he picked up experience playing with the bands of Cootie Williams (1942-1944), Lucky Millinder, Andy Kirk (1945-1946), and Louis Armstrong. He began heading his own groups from 1946 and Davis' earliest recordings as a leader tended to be explosive R&B affairs with plenty of screaming from his horn; he matched wits successfully with Fats Navarro on one session. Davis was with Count Basie's Orchestra on several occasional (including 1952-1953, 1957, and 1964-1973) and teamed up with Shirley Scott's trio during 1955-1960. During 1960-1962, he collaborated in some exciting performances and recordings with Johnny Griffin, a fellow tenor who was just as combative as Davis. After temporarily retiring to become a booking agent (1963-1964), Davis rejoined Basie. In his later years, Lockjaw often recorded with Harry "Sweets" Edison and he remained a busy soloist up until his death. Through the decades, he recorded as a leader for many labels, including Savoy, Apollo, Roost, King, Roulette, Prestige/Jazzland/Moodsville, RCA, Storyville, MPS, Black & Blue, Spotlite, SteepleChase, Pablo, Muse, and Enja. ~ Scott Yanow https://www.allmusic.com/artist/eddie-lockjaw-davis-mn0000166025/biography

Personnel:  Eddie "Lockjaw" Davis – tenor saxophone;  Wild Bill Davis – organ;  Billy Butler – guitar;  Oliver Jackson – drums

Jaws Strikes Again

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Eddie 'Lockjaw' Davis With Paul Gonsalves - Love Calls

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:53
Size: 84,7 MB
Art: Front

(2:09)  1. Love Is Here To Stay
(2:55)  2. When Sunny Gets Blue
(3:06)  3. If I Ruled The World
(2:23)  4. Time After Time
(5:11)  5. Just Friends
(2:35)  6. Don't Blame Me
(2:10)  7. I Should Care
(5:00)  8. The Man With The Horn
(4:06)  9. We'll Be Together Again
(3:14) 10. A Weaver Of Dreams
(2:59) 11. If I Should Lose You

Love Calls is an album by saxophonist Eddie "Lockjaw" Davis with Paul Gonsalves recorded in 1968 for the RCA Victor label. Think of "Lockjaw" Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity. If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Dimuendo and Crescendo In Blue at Newport 1956. It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.  

Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded. The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.

Personnel:  Eddie "Lockjaw" Davis, tenor sax;  Paul Gonsalves, tenor sax;  Roland Hanna, piano;  Ben Tucker, bass;  Grady Tate, drums;  Everett Barksdale, guitar

Love Calls

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Wild Bill Davis - All Right, Ok, You Win

Bitrate: MP3@320K/s
Time: 59:11
Size: 135.5 MB
Styles: B3 Organ Jazz-blues
Year: 1976/1998
Art: Front

[4:03] 1. On The Green Dolphin Street
[5:26] 2. When Your Lover Has Gone
[5:41] 3. Whispering
[4:17] 4. All Right, Ok, You Win
[7:15] 5. Exactly Like You
[6:54] 6. Pennies From Heaven
[5:58] 7. After You've Gone
[5:43] 8. Blues For Joe (Take 2)
[4:02] 9. Exactly Like You (Take 1)
[4:57] 10. All Right, Ok, You Win (Take 1)
[4:50] 11. When Your Lover Is Gone (Take 1)

Wild Bill Davis (hammond organ), Billy Butler (guitar), Oliver Jackson (drums), Eddie "Lockjaw" Davis (tenor sax). Recorded in Paris, France, on January 21 & 22, 1976.

Before Jimmy Smith and the seemingly thousands of Hammond B-3 organ players who sprang up in his wake there was Wild Bill Davis, who gently grafted a little touch of blues to swing and gave credence to the idea of the organ trio. This session, recorded in Paris on January 21 and 22, 1976, features Davis with a souped-up ensemble of Billy Butler on guitar, Oliver Jackson on drums, and on four tracks, Eddie "Lockjaw" Davis on tenor sax. It's a pleasant, flowing set highlighted by the title tune, "All Right, OK, You Win," and a sturdy version of "Blues for Joe." ~Steve Leggett

All Right, Ok, You Win mc
All Right, Ok, You Win zippy

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Miles Davis - Birdland 1951

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Trumpet jazz
Year: 2004
Art: Front

[ 6:11] 1. Move
[ 7:31] 2. Half Nelson
[ 7:11] 3. Down
[ 5:51] 4. Out Of The Blue
[ 7:40] 5. Half Nelson
[ 6:42] 6. Tempus Fugit
[12:08] 7. Move
[ 8:36] 8. The Squirrel
[ 5:29] 9. Lady Bird

Bass – Charles Mingus, Tommy Potter; Drums – Art Blakey; Piano – Billy Taylor, Kenny Drew; Tenor Saxophone – Big Nick Nicholas, Eddie "Lockjaw" Davis, Sonny Rollins; Trombone – J.J. Johnson; Trumpet – Miles Davis.

These nine tracks, taken from radio broadcasts from the legendary Birdland in 1951, represent a particularly fruitful period in Miles Davis' development as a bandleader. There are three different broadcasts included here; two comprising six cuts in total were from June and September and have been issued in various forms on bootlegs over the decades. Four cuts, however, taken from a broadcast on February 17, have never been available in any form and it is these as well the marginally better fidelity of the entire set that makes this worth owning for Miles freaks -- and only Miles freaks. The sextet on the February and June dates included J.J. Johnson, Sonny Rollins, Art Blakey, Tommy Potter, and Kenny Drew. In September, Charles Mingus, Eddie "Lockjaw" Davis, Billy Taylor, and Big Nick Nicholas joined Davis and Blakey. The fidelity here is listed on the sleeve as "primitive." That's a nice way to say it sucks bad. These are better than Charlie Parker's Dean Benedetti recordings, but not by much. Soundwise, the best that can be said is that one can hear all of the instruments. The performances, however, particularly as delineated in the three different versions of the cut "Move," are stellar. They are inspired, furious, and cutting. Rollins outdoes himself in the June performance of the cut, and the latter band transforms it entirely. For the record, it is the only duplicate selection. Also, the live version of "Tempus Fugit," with its knotty head and punched-up rhythm, is revelatory in the manner of arrangement for those days and points a solid direction for the immediate future -- check the tempos and structure of the solo breaks on the September session for evidence. While this set is exclusively for those Miles fans who have to have absolutely everything, it is nonetheless worth it for those who have the bootlegs because of the heightened fidelity and the new session. ~Thom Jurek

Birdland 1951

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Milt Jackson - Night Mist

Styles: Vibraphone Jazz
Year: 1980
File: MP3@320K/s
Time: 47:06
Size: 110,9 MB
Art: Front

(5:36)  1. Blues In My Heart
(5:45)  2. Double B
(5:26)  3. Blues For Clyde
(7:13)  4. A Matter Of Adjustment
(9:17)  5. Night Mist Blues
(7:53)  6. Other Bag Blues
(5:53)  7. D.B. Blues

Most of vibraphonist Milt Jackson's recordings as a leader have been at the head of a quartet or quintet. This spirited set has a variety of "near blues" material being interpreted by an all-star septet featuring such unique voices as trumpeter Harry "Sweets" Edison, the tenor of Eddie "Lockjaw" Davis and altoist Eddie "Cleanhead" Vinson in addition to Jackson, pianist Art Hillery, bassist Ray Brown and drummer Larance Marable. There are plenty of magical moments created on this set by these classic jazzmen. ~ Scott Yanow https://www.allmusic.com/album/night-mist-mw0000192023   

Personnel: Milt Jackson (vibraphone); Eddie "Cleanhead" Vinson (alto saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Harry "Sweets" Edison (trumpet); Art Hillery (piano); Ray Brown (bass); Larance Marable (drums)

Night Mist

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Arnett Cobb & Eddie 'LockJaw' Davis - Blow Arnett Cobb

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:34
Size: 89,2 MB
Art: Front

(6:44)  1. When I Grow Too Old To Dream
(5:11)  2. Go Power
(7:02)  3. Dutch Kitchen Bounce
(5:42)  4. Go Red, Go
(8:20)  5. The Eely One
(5:32)  6. The Fluke

Arnett Cobb's debut for Prestige and his first recording as a leader in three years (due to a serious car accident in 1956) is an explosive affair. Cobb is matched up with fellow tough tenor Eddie "Lockjaw" Davis, and there are plenty of sparks set off by their encounter. With organist Wild Bill Davis, bassist George Duvivier, and drummer Arthur Edgehill keeping the proceedings heated, Cobb and Davis tangle on a variety of basic material, alternating uptempo romps such as "Go Power" and "Go Red Go" with slightly more sober pieces highlighted by "When I Grow Too Old to Dream." 

This is a great matchup (reissued on CD through the OJC imprint) that lives up to its potential. ~ Scott Yanow https://www.allmusic.com/album/blow-arnett-blow-mw0000110414

Personnel: Arnett Cobb (tenor saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Strethen Davis, Wild Bill Davis (organ); Arthur Edgehill (drums).

Blow Arnett Cobb

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Harry 'Sweets' Edison, Eddie 'Lockjaw' Davis - Harry 'Sweets' Edison, Eddie 'Lockjaw' Davis

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.2 MB
Styles: Saxophone jazz, Trumpet jazz
Year: 1976/1997
Art: Front

[9:18] 1. Opus Funk
[9:32] 2. Robbin's Nest
[8:04] 3. Candy
[5:28] 4. C Jam Blues
[7:25] 5. Lullaby For Dancers
[7:45] 6. Lester Leaps In
[6:08] 7. Spotlite
[7:59] 8. Blues Walk

Bass – Hugo Rasmussen; Drums – Svend-Erik Nørregaard; Piano – Kenny Drew; Tenor Saxophone – Eddie Davis; Trombone – John Darvill; Trumpet – Harry Edison. Recorded July, 1976 - Rosenberg Sound Technic, Denmark.

Although trumpeter Harry "Sweets" Edison gets top billing on this Storyville LP, he is only on half of the selections and none of the ones that feature tenor saxophonist Eddie "Lockjaw" Davis and vocalist Richard Boone (who mostly sings his three features straight). Leonardo Pedersen's Jazzkapel (a Danish 11-piece group) is a small big band that sometimes bows in the direction of Count Basie and backs the three guests. Actually nothing all that essential occurs but Edison and Davis completists and fans of mainstream jazz may want to get this set. ~Scott Yanow

Harry 'Sweets' Edison, Eddie 'Lockjaw' Davis mc
Harry 'Sweets' Edison, Eddie 'Lockjaw' Davis zippy

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Eddie 'Lockjaw' Davis - Trane Whistle

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:03
Size: 76,8 MB
Art: Front

(6:19)  1. Trane Whistle
(3:35)  2. Whole Nelson
(5:11)  3. You Are Too Beautiful
(7:54)  4. The Stolen Moment
(5:27)  5. Walk Away
(4:36)  6. Jaws

This CD reissue brings back an Eddie "Lockjaw" Davis session in which the distinctive tenor saxophonist is joined by a 13-piece big band arranged by Oliver Nelson. Most significant is the inclusion of the original version of "Stolen Moments" (here called "The Stolen Moment" and predating the more famous Oliver Nelson recording by several months). Eric Dolphy is in the backup group but is not heard from in a solo capacity. There are some spots for trumpeters Richard Williams, Clark Terry and Bobby Bryant along with Nelson on alto but this is primarily Davis' showcase. On a set comprised of four Oliver Nelson originals, the ballad "You Are Too Beautiful" and the leader's "Jaws," Lockjaw as usual shows plenty of emotion during his driving solos. ~ Scott Yanow http://www.allmusic.com/album/trane-whistle-mw0000207360

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Clark Terry, Richard Williams, Bob Bryant (trumpet); Melba Liston, Jimmy Cleveland (trombone); Jerome Richardson, Oliver Nelson, Eric Dolphy, George Barrow, Bob Ashton (reeds); Richard Wyands (piano); Wendell Marshall (bass); Roy Haynes (drums).

Trane Whistle

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Eddie 'Lockjaw' Davis, Harry 'Sweets' Edison, Al Grey - Jazz At The Philharmonic (Remastered)

Bitrate: MP3@320K/s
Time: 48:44
Size: 111.6 MB
Styles: Bop, Soul-jazz
Year: 1983/1995
Art: Front

[10:15] 1. I'm Just A Lucky So And So
[ 5:16] 2. I May Be Wrong
[ 4:16] 3. Smoke Gets In Your Eyes
[ 4:35] 4. Stompin' At The Savoy
[ 3:58] 5. EdTime After Time
[ 5:56] 6. Secret Love
[ 4:05] 7. It Could Happen To You
[10:19] 8. Slow Drag

Despite its title, this Pablo album is not a reunion of Norman Granz's Jazz at the Philharmonic although it does seek to recreate some of the original spirit of the 1950s organized jam sessions. Tenor saxophonist Eddie "Lockjaw" Davis heads the swinging sextet which also includes trumpeter Harry "Sweets" Edison, trombonist Al Grey, Art Hillery on piano and organ, bassist John Heard and drummer Roy McCurdy. "I'm Just a Lucky So and So" and "Slow Drag" are given lengthy interpretations (both are around ten minutes apiece) while six other familiar standards are more concise. Nothing all that unusual occurs but there are some fiery moments from the classic swing stylists. ~Scott Yanow

Jazz At The Philharmonic (Remastered)

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Fats Navarro - Goin' to Minton's

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 72:07
Size: 165,6 MB
Art: Front

(5:32)  1. Boppin' A Riff
(5:45)  2. Fat Boy
(5:52)  3. Everything's Cool
(5:38)  4. Webb City
(2:50)  5. Calling Dr. Jazz
(2:53)  6. Fracture
(2:42)  7. Hollerin' & Screamin'
(2:49)  8. Stealing Trash
(2:16)  9. Just A Mystery
(3:06) 10. Red Pepper
(2:33) 11. Spinal
(3:03) 12. Maternity
(2:21) 13. Fat Girl
(2:41) 14. Ice Freezes Red
(2:25) 15. Eb Pob
(2:52) 16. Goin' to Minton's
(3:00) 17. A Be Bop Carroll
(2:53) 18. The Tadd Walk
(2:44) 19. Nostalgia
(2:40) 20. Barry's Bop
(2:37) 21. Be Bop Romp
(2:48) 22. Fats Blows

There are many tragic figures in bebop history, but Fats Navarro's story is even sadder than most. Considered by some to be a better trumpeter than Dizzy Gillespie (Lennie Tristano is reported to have said of Gillespie, "He's a nice trumpet player, but he's no Fats"), Navarro was killed by his heroin addiction at age 26. This disc includes material from five sessions recorded between September of 1946 and December of 1947, when bop was at the height of its popularity and its most important and influential practitioners were still alive. Some of them, in addition to Navarro, are present on these sessions: Bud Powell plays piano on "Boppin' a Riff," "Fat Boy," "Everything's Cool," and his own "Webb City," tracks which also feature Sonny Stitt on alto and Kenny Clarke on drums. Other sessions feature Eddie "Lockjaw" Davis on tenor, frequent Charlie Parker sideman Curley Russell on bass, Charlie Rouse on tenor, and Art Blakey on drums. While the sound quality isn't always great, the performances themselves rarely fall short of greatness, and Navarro's sweet tone and effortlessly beautiful phrasing are a constant pleasure throughout. ~ Rick Anderson http://www.allmusic.com/album/goin-to-mintons-mw0000252304

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Sonny Stitt, Ernie Henry (alto saxophone); Eddie "Lockjaw" Davis, Charlie Rouse, Morris Lane (tenor saxophone); Ed DeVerteuill (baritone saxophone); Kenny Dorham (trumpet); Bud Powell, Tadd Dameron, Al Haig (piano); Huey Long (guitar); Al Hall, Gene Ramey, Curley Russell, Nelson Boyd (bass); Kenny Clarke, Denzil Best, Art Blakey (drums).

Goin' to Minton's

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Eddie “Lockjaw” Davis, Buddy Tate, Coleman Hawkins, Arnett Cobb - Very Saxy

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:47
Size: 90,9 MB
Art: Front

(8:19)  1. Very Saxy
(6:15)  2. Lester Leaps In
(5:22)  3. Fourmost
(8:53)  4. Foot Pattin'
(9:55)  5. Light And Lovely

Tenor saxophonist Eddie "Lockjaw" Davis and his quartet (which includes organist Shirley Scott, bassist George Duvivier and drummer Arthur Edgehill) welcome three immortal tenors (Coleman Hawkins, Arnett Cobb and Buddy Tate) to what became a historic and hard-swinging jam session. On three blues, an original based on the chord changes of "Sweet Georgia Brown" and "Lester Leaps In," the four tenors battle it out and the results are quite exciting. The spirited music on this memorable LP will hopefully be reissued on CD eventually, for the performances live up to their great potential. ~ Scott Yanow http://www.allmusic.com/album/very-saxy-mw0000310467

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Buddy Tate (tenor saxophone); Coleman Hawkins (tenor saxophone); Arnett Cobb (tenor saxophone); Shirley Scott (Hammond b-3 organ); George Duvivier (bass instrument); Arthur Edgehill (drum).

Very Saxy

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Kenny Burrell - Guitar Soul

Styles: Guitar Jazz
Year: 1965
File: MP3@320K/s
Time: 34:29
Size: 80,2 MB
Art: Front

( 3:03)  1. Billie's Bounce
( 7:05)  2. Prelude To A Kiss
( 4:13)  3. It Don't Mean A Thing
( 3:50)  4. It's Alvin Again
(10:53)  5. Lost Weekend
( 5:23)  6. Dood I Did

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir, while his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others. In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava, and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing in gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, and recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late '50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957's The Cats featuring Coltrane, 1963's Midnight Blue featuring saxophonist Stanley Turrentine, 1965's Guitar Forms with arrangements by Gil Evans, and 1968's Blues -- The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the '80s and '90s, releasing several albums including 1989's Guiding Spirit, 1991's Sunup to Sundown, 1994's Collaboration with pianist LaMont Johnson, 1995's Primal Blue, and 1998's church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released the live album Be Yourself: Live at Dizzy's Club Coca-Cola, recorded at Lincoln Center's smaller club-like venue, followed two years later by Special Requests (And Other Favorites): Live at Catalina's. In 2015, Burrell released The Road to Love, recorded live at Catalina's Jazz Club in Hollywood. Another Catalina's live date, Unlimited 1, appeared in 2016 and featured Burrell backed by the Los Angeles Jazz Orchestra. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA, as well as president emeritus of the Jazz Heritage Foundation. ~ Matt Collar http://www.allmusic.com/artist/kenny-burrell-mn0000068780/biography

Personnel:  Kenny Burrell – Guitar;  Barry Galbraith – Guitar;  Leonard Gaskin – Bass;  Bobby Donaldson – Drums;  Bill Jennings – Guitar;  Jack McDuff – Organ;  Wendell Marshall – Bass;  Tiny Grimes – Guitar;  Eddie "Lockjaw" Davis - Tenor Sax;  J.C. Higginbotham – Trombone;  Ray Bryant – Piano;  Osie Johnson - Drums

Guitar Soul

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