COUNT BASIE • JOE TURNER — The Bosses (1974-1994) RM | FLAC (tracks+.cue), lossless

Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." Scott Yanow
Tracklist :
1. Honeydripper 6:42
 Joe Liggins
2. Honey Hush 2:37
 Lou Willie Turner
3. Cherry Red 4:42
 Pete Johnson / Big Joe Turner
4. Night Time Is The Right Time 3:54
 Leroy Carr
5. Blues Around The Clock 4:58
 Willie Bryant
6. Since I Fell For You 3:55
 Buddy Johnson
7. Flip, Flop And Fly    3:28
 Charles E. Calhoun / Chuck Calhoun / Lou Willie Turner
8. Wee Baby Blues 5:37
 Pete Johnson / Big Joe Turner
9. Good Mornin' Blues 3:50
 Count Basie / Eddie Durham / Jimmy Rushing
10. Roll 'Em Pete 4:16
 Pete Johnson / Big Joe Turner
Credits :
Bass – Ray Brown
Drums – Louis Bellson
Guitar – Irving Ashby
Piano, Organ – Count Basie
Tenor Saxophone – Eddie Davis, Zoot Sims
Trombone – J.J. Johnson
Trumpet – Harry Edison
Vocals – Joe Turner

ARNETT COBB AND EDDIE "LOCKJAW" DAVIS — Blow Arnett Blow (1959-1993) RM | FLAC (tracks+.cue), lossless

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
Tracklist :
1    When I Grow Too Old To Dream 6:41
Written-By – Hammerstein, Romberg
2    Go Power 5:05
Written-By – Duvivier
3    Dutch Kitchen Bounce 7:00
Written-By – Cobb, Woods
4    Go Red, Go 5:39
Written-By – Arnett Cobb
5    The Eely One 8:16
Written By – Jordan / Cobb
6    The Fluke 5:30
Written-By – Strethen Davis
Credits :
Bass – George Duvivier
Drums – Arthur Edgehill
Organ – Wild Bill Davis
Recorded By – Rudy Van Gelder
Tenor Saxophone – Arnett Cobb, Eddie "Lockjaw" Davis

MILT JACKSON & RAY BROWN JAM — Montreux '77 (1977-1985) Serie Polydor Jazz CD Fair, Montreux '77 | FLAC (image+.cue), lossless

Tracklist & Credits :

THE RED GARLAND TRIO + EDDIE "LOCKJAW" DAVIS — The Moodsville, Vol. 1 (1960-1989) RM | FLAC (tracks+.cue), lossless

In the late 1950s, Prestige started a new subsidiary (Moodsville) that was designed to provide mood music for courting couples. The emphasis on this release, The Moodsville, Vol. 1, is on ballads, matching pianist Red Garland, bassist Sam Jones, and drummer Art Taylor with guest tenor Eddie "Lockjaw" Davis on three of the eight tunes. Due to the overly relaxed nature of much of this music and the lack of variety, this is not one of the more essential Red Garland sets, but it is still generally enjoyable. Highlights include "We'll Be Together Again," "When Your Lover Has Gone," and "Blue Room." Scott Yanow   Tracklist & Credits :

COUNT BASIE AND HIS ORCHESTRA – 1952 | The Classics Chronological Series – 1281 (2003) FLAC (tracks), lossless

This solid entry in the Classics Chronological Series contains all of the titles recorded by Count Basie and his orchestra between January 17 and July 25, 1952, a period during which this band was signed to Norman Granz's Clef record label. Basie, who had been forced to scale his group down to septet and octet dimensions for more than a year beginning in 1950, had begun recording with a powerful new 16-piece unit in April of 1951. Nine months on, this ensemble was well on the way to virtually redefining the art of big-band jazz. Input from arranger/composers Sy Oliver, Buster Harding, and Neal Hefti add a luster to the proceedings that cannot be diminished by the passage of time. Key participants include trumpeters Joe Newman and Charlie Shavers, trombonist Jimmy Wilkins, and reedmen Marshall Royal, Ernie Wilkins, Eddie "Lockjaw" Davis, and Paul Quinichette, whose Lester Young impersonations were positively uncanny. Small wonder that Pres suffered from an identity crisis on hearing his style replicated so deliberately right there in the reed section of an orchestra led by the same man in whose band he, Lester Young, had developed that style 15 years earlier. Quinichette sounds wonderful. He sounds like Lester Young.  arwulf arwulf   Tracklist :

GERALD WILSON AND HIS ORCHESTRA – 1945-1946 | The Chronogical Classics – 976 (1997) FLAC (image+.cue), lossless

These are the first recordings to appear under the name of Gerald Wilson. Schooled at Cass Technical College in Detroit and seasoned on the road with Jimmie Lunceford, Wilson started leading his own excellent big band in 1944, employing many of the most promising young musicians in the Los Angeles area at that time. Wilson may be heard blowing his trumpet along with Hobart Dotson, Emmett Berry, Fred Trainor, and Snooky Young. During a lovely version of Duke Ellington's "Come Sunday," trombonist Melba Liston takes her very first solo on record. Saxophone soloists include Eddie Davis (not "Lockjaw"), Floyd Turnham, and beefy-toned tenor Vernon Slater. All nine instrumentals are exceptionally fine big-band swing performances. Note that "Puerto Rican Breakdown" is exciting but contains no discernible Caribbean characteristics. As for vocalists, Wilson made some interesting choices. Pat Kay, who sings "Moonrise," sounded substantial, as did Estelle Edson and Betty Roche. Dick Gray was at his best when he wasn't trying to out-vibrate Billy Eckstine. "I've Got a Right to Sing the Blues" contains his strongest moments. The Thrasher Sisters were a better act than a lot of other harmonizing vocal trios on the scene during the 1940s. They were without a doubt considerably hipper -- less corny -- than the Andrews Sisters. Even so, after all of those vocals the last four tracks -- instrumentals -- are especially satisfying. For here listeners get to enjoy the 1946 Gerald Wilson Orchestra at its very finest, swinging hard on themes borrowed from the Basie and Calloway bands, and glowing with the beauty of Melba Liston's original composition "Warm Mood." One cannot help but consider the impact of this band and the L.A. jazz scene of the mid-'40s upon two creative musicians who would so radically alter the course of modern music -- Charles Mingus and Eric Dolphy. arwulf arwulf  
Tracklist :

GENE KRUPA – 1953-1954 | The Chronogical Classics – 1433 (2007) FLAC (tracks+.cue), lossless

Released in 2007 as number 1433 in the Classics Chronological catalog, the 17th installment in the complete works of drummer and bandleader Gene Krupa consists of intimate trio and sextet recordings produced by Norman Granz and issued on his Clef and Verve labels. Tracks one through six amount to all but the first two titles from The Exciting Gene Krupa, an album recorded on September 10, 1953, with trumpeter Charlie Shavers, trombonist Bill Harris, tenor saxophonist Ben Webster, pianist Teddy Wilson, guitarist Herb Ellis, and bassist Ray Brown. Shavers, who composed four of the six tunes heard here, was almost certainly inspired to use the title "Midget" by Lester Young, who is known to have jokingly employed the word in reference to Shavers and fellow trumpeter Roy Eldridge (both men were short, rambunctious, and loved to tease Lester Young). Recorded on February 1, 1954, tracks seven through 14 comprised the trio album Sing, Sing, Sing. Here Krupa interacted with pianist Teddy Napoleon and versatile multi-instrumentalist Eddie Shu, who plays trumpet, clarinet, alto, and tenor saxes as well as a mouth organ on "Harmonica Shu Boogie." (Although Shu was also a trained ventriloquist, that skill does not seem to have been employed on this occasion.) This highly satisfying compilation closes with the first three titles from the sextet album The Driving Gene Krupa, recorded on February 2, 1954, with Charlie Shavers, Bill Harris, tenor saxophonist Eddie "Lockjaw" Davis, Teddy Wilson, and bassist Ray Brown. Like its immediate predecessor in the series, this core sample of Krupa's post-big-band career contains some of the very best mainstream jazz sessions that he ever got a chance to participate in. Highly recommended as accessible jazz suitable for almost any occasion. arwulf arwulf
Tracklist + Credits :

PEARL BAILEY – 1944-1947 | The Classics Chronological Series – 1213 (2001) FLAC (tracks), lossless

Pearl Bailey was a magnificent jazz singer and comedienne. Check her out in front of the Cootie Williams Orchestra! That's Bud Powell back there behind the piano. Cleanhead Vinson and Lockjaw Davis are in the reed section. Pearl seems perfectly at home with this early modern-sounding big band, and Cootie puts extra sass in his horn to complement the lady's personality. Herman Chittison leads a much smaller and more intimate ensemble for "He Didn't Ask Me," a subtly soft-spoken lament with wistful incidental whistling. Pearl attracted a lot of attention by being unusually tough, candid, and outspoken in ways that few pop vocalists had ever dared to pursue. For a black woman to assert herself in this way anywhere near the mainstream was particularly refreshing during the late '40s. Pearl's high-stepping improvisations on "St. Louis Blues" are spectacular, but her relaxed conversational musings on "Tired" are perfectly timed theater, naturally hip and funny as hell. "I Ain't Talkin'" has a similar easy perfection about it. Some of this material is pure entertainment. "Personality" turns out to be a metaphor for booty. "That's Good Enough for Me," "Say It Simple," and "Get It Off Your Mind" are clever routines. Some of this stuff seems like it was inspired by Cole Porter's high camp. The Mitchell Ayres Orchestra likes to pour on a little extra glitz, and low-tech reverb makes it seem like Pearl is performing in a gymnasium. Finally, there's a two-part duet with Frank Sinatra. They sound at ease with each other: two actors with seasoned pipes who enjoy tearing apart a slow song note for note and phrase by phrase. arwulf arwulf
Tracklist + Credits :

COOTIE WILLIAMS AND HIS ORCHESTRA – 1941-1944 | The Classics Chronological Series – 827 (1995) FLAC (tracks+.cue), lossless

Tracklist + Credits :

LUCKY MILLINDER AND HIS ORCHESTRA – 1943-1947 | The Classics Chronological Series – 1026 (1998) FLAC (tracks+.cue), lossless

The Lucky Millinder Orchestra's best-known recordings are from 1941-42, making this Classics CD of great interest due to the many rarities and a lot of variety. First there are four V-discs from 1943 that showcase with Millinder (for the last time) the singing and guitar playing of Sister Rosetta Tharpe, who does remakes of four of her hits (including "That's All" and "Rock Daniel"). "Savoy," from the same period, is highlighted by one of trumpeter Joe Guy's best-recorded solos, and "Shipyard Social Junction" was one of the band's final top-notch instrumentals. Of the four numbers from 1944, two songs have the recording debut of singer Wynonie Harris, and on "Hurry, Hurry," the legendary trumpeter Freddy Webster can be heard briefly. There are also two okay numbers from 1945, six from 1946 (including singer Annisteen Allen on "There's Good Blues Tonight" and some good spots for the tenor of Sam "The Man" Taylor) and four vocal cuts from the following year. Many of the very interesting sidemen actually have no real solo space (including tenors Lucky Thompson and Eddie "Lockjaw" Davis), but most of the vocals are easy to take and the Millinder Orchestra was adjusting well to the rise of R&B. An interesting and often historic set. Scott Yanow  
Tracklist :

WYNONIE HARRIS – 1944-1945 | The Classics Chronological Series – 885 (1996) FLAC (tracks+.cue), lossless

Blues shouter Wynonie Harris made his biggest impact while on the King label between 1948-1952. Alongside contemporary jump blues singer Roy Brown, Harris helped lay the foundations of rock & roll at the Cincinnati-based company, scoring such smashes as "Good Rockin' Tonight" (a Brown composition), "Bloodshot Eyes," and "All She Wants to Do Is Rock." Although Harris' beginnings were less auspicious, his talent was certainly in full view from the start; this first of three Classics discs makes the case with 22 of the finest slices of early R&B from the mid-'40s. In addition to such early hits as "Playful Baby" and "Wynonie's Blues," the mix contains lower-profile gems like the bop-infused "Everybody's Boogie" and the sonorous "Papa Tree Top." Harris' first recordings with bandleader Lucky Millinder, "Hurry, Hurry" and "Who Threw the Whiskey in the Well," are also included. And besides Millinder, the collection features the likes of Illinois Jacquet, a young Charles Mingus, and a combo comprised of drummer Johnny Otis, trumpeter Howard McGhee, and tenor saxophonist Teddy Edwards. A perfect disc for fans wanting to dig deeper into the Harris catalog. Stephen Cook
All Tracks & Credits :

ANDY KIRK AND HIS ORCHESTRA – 1943-1949 | The Classics Chronological Series – 1075 (1999) FLAC (tracks+.cue), lossless

This compilation presents selections from the last several recording sessions (mostly for Decca) of bandleader Andy Kirk. 1943-1949 opens with three late 1943 songs from Andy Kirk and His Clouds of Joy, which included trumpeters Fats Navarro and Howard McGhee, tenor saxophonist Jimmy Forrest, and vocalist June Richmond. Next comes "Hippy-Dippy," one of the few surviving songs from the only visit Kirk's band made to the studios in 1944. This number is followed by two very popular sellers, "Get Together With the Lord" and "I Know," representing the 1945 period of Andy Kirk and His Orchestra (this time including Eddie "Lockjaw" Davis) and featuring vocals by the Jubalaires, who return to sing on the 1946 recordings of "I Don't Know What I'd Do Without You" and "I'm So Lonesome I Could Cry." Other vocalists heard on 1943-1949 include Bea Booze, the Four Knights, Joe Williams, and Kenny White. Joslyn Layne
Tracklist :
1    Andy Kirk And His Clouds Of Joy–    Shorty Boo 2:59
Vocals – Unknown Artist
Written-By – Unknown Artist
2    Andy Kirk And His Clouds Of Joy–    Fare Thee Honey Fare Thee Well 2:59
Vocals – June Richmond
Written-By – Alston
3    Andy Kirk And His Clouds Of Joy–    Baby Don't You Tell Me No Lie 3:08
Vocals – June Richmond
Written By – Coleman
4    Andy Kirk And His Orchestra–    Hippy-Dippy 2:32
Written-By – Unknown Artist
5    Andy Kirk And His Orchestra And The Jubalaires–    Get Together With The Lord 2:49
Vocals – The Jubalaires
Written-By – Reichner, Jaffe
6    Andy Kirk And His Orchestra And The Jubalaires–    I Know 3:17
Vocals – The Jubalaires
Written-By – Jennings, Brooks
7    Andy Kirk And His Orchestra–    He's My Baby 3:21
Vocals – Beverley White
Written-By – Kirk, White
8    Andy Kirk And His Orchestra–    Alabama Bound 2:56
Vocals – Bea Booze
Written-By – Williams, Jackson
9    Andy Kirk And His Orchestra–    Soothe Me 2:55
Vocals – Billy Daniels
Written-By – Greene
10    Andy Kirk And His Orchestra–    Doggin' Man Blues 3:04
Vocals – Bea Booze
Written-By – Moore, Jordan
11    Andy Kirk And His Orchestra–    I Don't Know What I'd Do Without You 2:59
Vocals – The Jubalaires
Written-By – Kuhn
12    Andy Kirk And His Orchestra–    I'm So Lonesome I Could Cry 3:00
Vocals – The Jubalaires
Written-By – Kuhn
13    Andy Kirk And His Orchestra–    Now You Tell Me 2:54
Vocals – Joe Williams
Written-By – Roberts, Fisher
14    Andy Kirk And His Orchestra–    Louella 3:05
Vocals – Joe Williams
Written-By – Stone, Marks
15    Andy Kirk And His Orchestra–    So Soon 3:10
Vocals – The Four Knights
Written-By – Razaf, Luce
16    Andy Kirk And His Orchestra–    I'm Falling For You 3:04
Vocals – The Four Knights
Written-By – Williams, Hubert
17    Andy Kirk And His Clouds Of Joy–    Little Girl, Don't Cry 2:35
Orchestra – Unknown Artist
Vocals – Jimmy Anderson
Written-By – Davis, Millinder
18    Andy Kirk And His Clouds Of Joy–    Drinking Wine, Spo-Dee-O-Dee, Drinking Wine 3:07
Orchestra – Unknown Artist
Vocals – Kenny White
Written-By – Williams, McGhee
Credits :    
Alto Saxophone – Ben Smith (tracks: 1 to 4), Joe Evans (tracks: 5 to 16), Reuben Phillips (tracks: 1 to 16)
Baritone Saxophone – Ed Loving (tracks: 1 to 4), John Porter (tracks: 7 to 16), John Taylor  (tracks: 5 , 6)
Bass – Al Hall (tracks: 7 to 16), Booker Collins (tracks: 1 to 3), Lavern Baker (tracks: 4 to 6)
Directed By – Andy Kirk
Drums – Ben Thigpen (tracks: 1 to 16)
Guitar – Floyd Smith (tracks: 5 to 16)
Piano – Hank Jones (tracks: 5 to 16), Johnny Young (tracks: 1 to 4)
Tenor Saxophone – Eddie "Lockjaw" Davis (tracks: 5 to 16), J.D. King (tracks: 1 to 4), Jimmy Forrest (tracks: 1 to 16), John Harrington (tracks: 1 to 4)
Trombone – Bob Murray (tracks: 1 to 16), Henry Wells (tracks: 7 to 16), Milton Robinson (tracks: 5 to 16), Joe Baird (tracks: 1 to 4), Wayman Richardson (tracks: 1 to 16)
Trumpet – Art Capehart (tracks: 1 to 4), Clarence Trice (tracks: 13 to 16), Claude Dunson (tracks: 5 to 12), Fats Navarro (tracks: 1 to 4, 7 to 10), Fip Ricard (tracks: 13 to 16), Harry Lawson (tracks: 1 to 12), Howard McGhee (tracks: 1 to 3), John Lynch (tracks: 5 to 16), Talib Daawood (tracks: 5, 6), Unknown Artist (tracks: 4, 11 to 16)

THE BENNY CARTER GROUP - Wonderland (1986) lp | 32bits-96hz | FLAC (image+.cue), lossless

For this 1976 LP, the veteran altoist Benny Carter (who was then nearing age 70) was teamed with tenor saxophonist Eddie "Lockjaw" Davis, trumpeter Harry "Sweets" Edison and a strong rhythm section headed by Ray Bryant on a vintage Pablo session. Although it often has the feeling of a jam session, the fact that, in addition to two standards, there are five obscure Carter compositions makes one realize that more planning than usual went into this date, and it shows. Scott Yanow
Side A
1     Stroll 7:18
Benny Carter    
2     Johnny 4:38
Benny Carter    
3     Alta Vista 5:40
Benny Carter
4     Misty 5:38
Johnny Burke / Erroll Garner    
Side B
1     Wonderland 6:40
Benny Carter    
2     Three Little Words 5:14
Bert Kalmar / Harry Ruby    
3     Editation 3:36
Benny Carter
Credits :    
Alto Saxophone – Benny Carter
Bass – Milt Hinton
Drums – Grady Tate
Piano – Ray Bryant
Producer – Norman Granz
Tenor Saxophone – Eddie "Lockjaw" Davis
Trumpet – Harry "Sweets" Edison

COLEMAN HAWKINS with EDDIE 'LOCKJAW' DAVIS - Night Hawk (1961-1989) RM | FLAC (tracks+.cue), lossless

Hawkins was one of the main inspirations of his fellow tenor Eddie "Lockjaw" Davis, so it was logical that they would one day meet up in the recording studio. This CD has many fine moments from these two highly competitive jazzmen, particularly the lengthy title cut and a heated tradeoff on "In a Mellow Tone," on which Davis goes higher but Hawkins wins on ideas. Scott Yanow
Tracklist :
1     Night Hawk 10'30
Coleman Hawkins
2     There Is No Greater Love 8:15
Isham Jones / Marty Symes
3     In a Mellow Tone 6:45
Duke Ellington / Milt Gabler    
4     Don't Take Your Love from Me 8:35
Henry Nemo
5     Pedalin' 6:35
Ken McIntyre
Credits :
Bass – Ron Carter
Drums – Gus Johnson
Piano – Tommy Flanagan
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Tenor Saxophone – Coleman Hawkins, Eddie "Lockjaw" Davis

COLEMAN HAWKINS - In a Mellow Tone (1962-1998) RM | FLAC (tracks+.cue), lossless

A superior session with Hawkins, Eddie "Lockjaw" Davis (ts), and others.
Tracklist :
1     You Blew Out the Flame in My Heart 6:00
Ervin Drake / Johnny Hodges / Jimmy Shirl    
2     I Want to Be Loved 5:57
Savannah Churchill
3     In a Mellow Tone 6:48
Duke Ellington / Milt Gabler    
4     Greensleeves 3:15
Traditional
5     Through for the Night 5:14
Trummy Young    
6     Until the Real Thing Comes Along 4:44
Sammy Cahn / Saul Chaplin / L.E. Freeman / Mann Holiner / Alberta Nichols
7     The Sweetest Sounds 4:20
Richard Rodgers
8     Then I'll Be Tired of You 5:12
E.Y. "Yip" Harburg / Arthur Schwartz
9     Jammin' in Swingville 9:30
Vivian Hamilton

EDDIE 'LOCKJAW' DAVIS - 1946-1947 {CC, 1012} (1998) FLAC (tracks+.cue), lossless

Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove. As Gene Ramey rarely took bass solos, it's good to hear him grab a few bars during "Athlete's Foot." By December of 1946 Lockjaw was ready for two full-blown Savoy bebop sessions in the company of Theodore "Fats" Navarro. This pair of characters maintained a stimulating balance as Fats blew long bop lines of exquisite ingenuity while Jaws wrestled with his own funky textural dynamics. Wildly titled, each of these three-minute records hits you hard, right between the ears. "Hollerin' and Screaming" is the most outrageous example of this band's explosive chemistry. The record starts with a hoarse shriek from the tenor sax. The melody erupts like two cans of Sterno knocking around on the hood of an overheated bright red Chevy convertible. A sudden outburst from the trumpet is repeated verbatim on the drums. Fats and Lockjaw bark back and forth, jostling each other in cycles of friendly aggression. It's like listening in on a casual exchange of good-natured insults and creative cussing, the benevolent sort of everyday rudeness that enables trust and cooperation between individuals who exist outside of the dominant social group. In April of 1947, Jaws baked four sides for the Apollo label, sharing the melodic line with guitarist John Collins and blowing an exceptionally extroverted tenor. The extreme grooviness of both the Savoy and Apollo sessions were aided and abetted by the combination of Al Haig, Gene Ramey and Denzil Best. Now for the really rare stuff -- eight sides issued on the Lenox, Plymouth and Remington labels. "Real Gone Guy," a tasty hunk of rhythm and blues, was written by Nellie Lutcher. Lockjaw puts it to the torch, and Butch Ballard's drumming fans the flames. "But Beautiful" is the earliest example we have of Lockjaw Davis the interpreter of slow ballads. He smokes the melody with long puffs, savoring every breath. "Leapin' on Lenox," to use what would have been the correct spelling, is a strut by anybody's definition. Jaws bites his tenor until it begs for mercy. The rowdy "Minton's Madhouse" includes a long sax testimonial accompanied only by handclapping. "Ravin' at the Haven" is largely composed of frantic bop lines. The saxophone howls without restraint. "Music Goes Down Around" is recognizable as a quaint Tin Pan Alley pop tune, fitted with a new set of fangs as this gang of young toughs put new meaning on an old refrain. Gripping the mouthpiece between his chops, Lockjaw squeezes extra hard "and it comes out here." arwulf arwulf  
Tracklist :
1    Surgery    2:58
2    Lockjaw    2:40
3    Afternoon In A Doghouse    3:03
4    Athlete's Foot    2:51
5    Callin' Dr. Jazz    2:47
6    Fracture    2:50
7    Hollerin And Screaming    2:38
8    Stealin' Trash    2:45
9    Just A Mystery    2:12
10    Red Pepper    3:02
11    Spinal    2:29
12    Maternity    3:00
13    Lover    2:28
14    Licks A Plenty    2:40
15    Foxy    2:49
16    Sheila    3:05
17    Real Gone Guy    3:01
18    But Beautiful    3:05
19    Leapin' On Lenox    3:10
20    Ravin' At The Haven    2:23
21    Minton's Madhouse    2:21
22    Huckle Bug    3:07
23    Music Goes Down Around    2:55
24    Lockjaw's Bounce    2:37

EDDIE 'LOCKJAW' DAVIS – 1948-1952 | The Classics Chronological Series – 1382 (2005) FLAC (tracks), lossless

The Classics Chronological Series presents the second installment in the complete recordings of Eddie "Lockjaw" Davis. This grab bag of historical rarities opens with a slightly giddy jump version of "Happy Birthday," punctuated with periodic birthday wishes shrieked by the band. Lockjaw prefaces the tune with a bit of nonchalant patter and ends it with a kiss! This rowdy novelty and three subsequent blowing tracks from the same 1948 session were originally released on the Sittin' in With record label. Supported by a solid ensemble including trumpet, trombone, and alto and baritone saxophones, Jaws turns in some of his best toothy playing, most satisfyingly on the gutsy "Randy's Boogie." The next four tracks, recorded March 17, 1949, for the Regent record label, feature somewhat sloppy rasping R&B vocals by "Chicago" Carl Davis, billed here as King Karl. Two gutbucket King recordings made six months later have ensemble vocals praising the virtues of boogie-woogie and braised hog testicles. This hot little group had Bill Doggett at the piano and Kansas City Jo Jones behind the drums. Four sides recorded for the Domino label before the end of 1949 signal a welcome return to honest early modern jazz. Although the enclosed discography fails to identify the composer, there's little doubt that "Intermission Riff" was written by trumpeter Ray Wetzel. The version heard here is extraordinarily solid and groovy. It is followed with a gorgeous ballad, a spicy Caribbean jam, and a soaring version of "How High the Moon" with a very funny vocal by an unidentified singer who sounds a lot like Babs Gonzales. Husky-voiced Carl Davis returns to the Lockjaw Davis discography on two of four titles cut for the Birdland record label in February of 1950. The two instrumentals, "Little Rock" and especially "The Lock," are marvelous examples of this saxophonist's early maturity. And get this: the backing band had guitarist Al Casey and 18-year-old Wynton Kelly at the piano. The rest of the material reissued here consists of eight Royal Roost recordings made in New York during the year 1952. Both of these Roost sessions were early examples of the organ combo, a configuration that Lockjaw Davis would help to establish over the years. These tracks are prime examples of early organ groove music with either Bill Doggett or Billy Taylor at the keyboard, Freddie Green sitting in on guitar, and the combined genius of Oscar Pettiford and Shadow Wilson. arwulf arwulf  
Tracklist :
1    Eddie Davis And His Orchestra–    Happy Birthday    2:28
2    Eddie Davis And His Orchestra–    Black Pepper    2:36
3    Eddie Davis And His Orchestra–    Jumpin' With Maxie-Waxie    2:44
4    Eddie Davis And His Orchestra–    Randy's Boogie    2:29
5    King Karl With Eddie Davis And His Orchestra–    In The Dozens    2:41
6    King Karl With Eddie Davis And His Orchestra–    Sure Like To Run    2:24
7    King Karl With Eddie Davis And His Orchestra–    She's My Baby    2:34
8    King Karl With Eddie Davis And His Orchestra–    Notoriety Woman    2:22
9    Eddie "Lockjaw" Davis–    Mountain Oysters    2:37
10    Eddie "Lockjaw" Davis–    Huckle Boogie    2:43
11    Eddie "Lockjaw" Davis And His Band*–    Intermission Riff    3:12
12    Eddie "Lockjaw" Davis And His Band*–    This Is Always    3:11
13    Eddie "Lockjaw" Davis And His Band*–    Lockjaw Goes Latin    2:38
14    Eddie "Lockjaw" Davis And His Band*–    How High The Moon    3:01
15    Chicago Carl Davis With Eddie Davis And His Band–    I'm Gonna Eat You With A Spoon    2:39
16    Eddie "Lockjaw" Davis–    Little Rock (Sweet And Lovely)    3:17
17    Chicago Carl Davis With Eddie Davis And His Band–    If The Motif Is Right    3:25
18    Eddie "Lockjaw" Davis–    The Lock (Squattin')    3:22
19    Eddie "Lockjaw" Davis–    My Blue Heaven    2:30
20    Eddie "Lockjaw" Davis–    Please Don't Talk About Me When I'm Gone    2:43
21    Eddie "Lockjaw" Davis–    Bewitched    2:47
22    Eddie "Lockjaw" Davis–    Blues In My Heart    2:40
23    Eddie Davis–    There's No You    2:41
24    Eddie Davis–    Slow Squat    2:34
25    Eddie Davis–    Hey Lock    3:08
26    Eddie Davis–    I'm And Old Cowhand From The Rio Grande    3:09

EDDIE 'LOCKJAW' DAVIS - 1953-1955 {CC, 1443} (2007) FLAC (tracks), lossless

This is volume three in the complete recordings of tenor saxophonist Eddie "Lockjaw" Davis as compiled and reissued in 2007 by the producers of the Classics Chronological Series. A bracingly expressive performer who began making records under his own name in 1946, Lockjaw was ripening into a marvelous state of early maturity by the time these sides were cut for the Royal Roost and King labels in 1953, 1954, and 1955. Some may place this compilation among the more highly regarded titles in the Lockjaw Davis discography, mainly because of its friendly and gregarious demeanor. The Roost sessions (tracks one through six) showcase Jaws with a bop rhythm section composed of pianist Eddie Bonnemere, bassist John Simmons, trap drummer Charlie Rice and an unidentified bongo player who added cumin, garlic and cayenne to the mix. During April 1955 Lockjaw Davis and drummer Rice teamed up with organist Doc Bagby (and guitarist Clifford Bush, who can be heard on tracks 22-25) to generate a wicked series of 19 sensuous grooves for the popular King label. While some of this material was released on LP, much of it was clearly designed for the 45 rpm jukebox market. This might explain the relative brevity of some of the cuts; fifteen of them clock in at less than three minutes, and Bagby's "Hay Ride" knocks off at two-minutes-and-fifteen-seconds. This was in some ways the ideal setup for Lockjaw's sensibilities at that point in time. He clearly enjoyed making accessible music for casual enjoyment, and the pleasures of extended soloing could be saved up for other, perhaps live occasions. Along with his two previous volumes in the Classics chronology, the 1953-1955 recordings may serve as a healthy prelude to the creative intensity of his triumphant collaborations with Johnny Griffin and Shirley Scott, and to all of the excellent records he made during the remaining 30 years of his life. What you get here is music that just about anybody could enjoy under any circumstances. Warm, uplifting, reassuring, relaxing, accessible, solid and sweet. arwulf arwulf  
Tracklist :
1    I Only Have Eyes For You    3:09
2    Chihuahua    2:35
3    This Can't Be Love    2:23
4    Nightingale    2:37
5    Bingo Domingo    2:58
6    Secret Love    2:34
7    There's A Small Hotel    2:45
8    Bean-O    2:43
9    This Is Always    2:52
10    Leaping On Lenox    3:34
11    Tenderly    3:45
12    I'll Remember April    2:57
13    Moonlight In Vermont    3:29
14    Yesterdays    2:21
15    Little White Lies    2:48
16    You Got To My Head    3:14
17    What Is This Thing Called Love    2:34
18    Holler    2:33
19    Tickle Joe    2:22
20    Punch    2:27
21    Fireball    2:38
22    I Want A Little Girl    2:24
23    Hay Ride    2:15
24    Soft One    2:52
25    Grinding    2:26

EDDIE 'LOCKJAW' DAVIS WITH SHIRLEY SCOTT - The Complete Cookbook Sessions (2010) 3CD | FLAC (tracks+.cue), lossless

Tracklist CD1 :
1    The Chef    5:57
2    Have Horn Will Blow    5:13
3    In The Kitchen    12:51
4    But Beautiful    7:40
5    But Beautiful (Alt. Take)    7:26
6    Three Deuces    4:57
7    Tangerine    4:53
8    Pots And Pans    3:28
9    Old Devil Moon    4:24
10    I'll Never Be The Same    4:43
11    I Let A Song Go Out Of My Heart    5:18
12    You Stepped Out Of A Dream    4:18
13    It's A Blue World    5:02
Tracklist CD2 :
1    Blue Lou     3:39
2    Avalon    3:34
3    Too Close For Comfort     4:17
4    Willow, Weep For Me    4:39
5    But Not For Me     4:09
6    Strike Up The Band     3:59
7    I'm Just A Lucky So And So     6:14
8    Body And Soul     4:30
9    Pennies From Heaven     5:14
10    The Broilers     4:56
11    The Goose Hangs High     5:55
12    Simmerin'     9:27
13    Heat 'N' Serve    7:23
14    My Old Flame    6:01
15    Serenade In Blue    4:14
Tracklist CD3 :
1    Stardust     6:42
2    High Fry     6:14
3    Skillet    8:40
4    Smoke This     6:05
5    I Surrender Dear    5:26
6    Jaws     5:29
7    The Rev     9:01
8    It Could Happen To You     5:42
9    What's New     3:56
10    The Very Thought Of You     6:23
11    The Man I Love     4:20
12    Smoke Gets In Your Eyes    4:31
13    I Cover The Waterfront     5:35
Nota.
These compliation contains all of the tracks from 5 Prestige albums:
1958 - The Eddie "Lockjaw" Davis Cookbook
1958 - The Eddie "Lockjaw" Davis Cookbook Vol. 2
1958 - The Eddie "Lockjaw" Davis Cookbook Vol. 3
1958 - Jaws
1958 - Smokin'
All Credits

EDDIE 'LOCKJAW' DAVIS | BUDDY TATE | COLEMAN HAWKINS | ARNETT COBB - Very Saxy (1959-1991) RM | FLAC (tracks+.cue), lossless

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
Tracklist :
1     Very Saxy 8'18
Eddie "Lockjaw" Davis / George Duvivier
2     Lester Leaps In 6'15
Lester Young    
3     Fourmost 5'22
Shirley Scott
4     Foot Pattin' 8'53
George Duvivier
5     Light and Lovely 9'55
Eddie "Lockjaw" Davis / George Duvivier
Credits:
Bass – George Duvivier
Drums – Arthur Edgehill
Organ – Shirley Scott
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Tenor Saxophone – Arnett Cobb, Buddy Tate, Coleman Hawkins, Eddie "Lockjaw" Davis