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Eddie "Lockjaw" Davis
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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
Cory Weeds: Cory Weeds Meets Jerry Weldon
by Jack Bowers
A proper response to the statement Cory Weeds Meets Jerry Weldon could well be “it's about time!" Although widely separated geographically--Weeds is Canadian, Weldon a native New Yorker--these masters of the tenor saxophone have been brightening stages and delighting audiences at venues in the U.S. and around the world for decades. And even though they have ...
Corey Weeds: Cory Weeds Meets Jerry Weldon
by Pierre Giroux
Tenor saxophone battles are a rich tradition in jazz, dating back to the vibrant days of Gene Ammons and Dexter Gordon and especially the fiery partnership of Eddie Davis and Johnny Griffin. With Cory Weeds Meets Jerry Weldon, the torch is passed with style, swagger, and an infectious swing. Weeds, the Canadian impresario and saxophonist, teams ...
Ten Terrific Sax Plus Organ Combinations
by Artur Moral
OK, maybe the electric guitar was its first and most celebrated love affair, but the organ's alliances with the saxophone's family members are undoubtedly among the richest musical combinations, both in terms of sound and the intense interrelationships that typically develop in such encounters. Whether it be a tenor with a Hammond, a soprano with an ...
Belgrade Jazz Festival 2024
by Thomas Conrad
Belgrade Jazz Festival 2024 Dom Omladine Beograda, MTS Dvorana Belgrade, Serbia October 24-28, 2024 It is possible that, of all the major cities of Europe, the least understood in the Western world is Belgrade, Serbia. In the 1990's, when the wars in the former Yugoslavia were raging, Serbia was a major ...
Jazz on Soul, Pop, Rock, Folk, and other intangible territories - Part 2
by Artur Moral
Part 1 | Part 2 James Carter soloing on a song by Sting? A prolific French guitarist and producer, approaching his thousandth album, deconstructing one of Billy Joel's most candid love songs? A Spanish trumpeter translating the Bee Gees into the jazz language? Yes, all this will happen in this second installment of a ...
Gary Smulyan: Boss Baritones
by David A. Orthmann
The once-popular pairings of such incisive hard-blowing saxophonists as Johnny Griffin with Eddie “Lockjaw" Davis and Gene Ammons with Sonny Stitt constitute some of the inspiration behind the making of Boss Baritones. Incorporating material penned by Griffin, Davis, Illinois Jacquet, Don Byas and J.R. Monterose indicates a healthy respect for giants who may no longer be ...
Hadley Caliman / Pete Christlieb: Reunion
by Thomas Conrad
At the end of the first decade of the new millennium, one of the most gratifying developments in jazz is the late blossoming of Hadley Caliman. In 2008, at 76, he released Gratitude, his first recording as a leader in 31 years. It was followed in 2010 by Straight Ahead. They created a buzz on the ...
Two-Trumpet Cacophony
by AAJ Staff
This article was first published at All About Jazz in February 2002. Miles had it figured out: never record with another trumpeter in a small group setting--it just don't work. Or was it his ego? Two, three, and multi-trumpet small group ensembles represent an obscure configuration in modern jazz. This position contrasts sharply ...
Reeds and Deeds: Cookin'
by C. Andrew Hovan
Chances are that if you're reading these notes right now you're more than a bit familiar with the talents of tenor saxophonists Eric Alexander and Grant Stewart and might even have picked up Wailin' (Criss 1258), their first effort together leading a quintet billed as Reeds and Deeds. As such, it would probably be redundant to ...
