Johnny Griffin & Eddie "Lockjaw" Davis: Pisces

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.

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