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EDDIE “LOCKJAW” DAVIS tenor saxophone JEROME RICHARDSON flute (except #7), tenor saxophone (#5 only) SHIRLEY SCOTT organ GEORGE DUVIVIER bass ARTHUR EDGEHILL drums 1 2 3 4


5 THREE DEUCES 4:58 *6 BUT BEAUTIFUL (previously unissued alternate take)



TENOR SAXOPHONIST EDDIE “LOCKJAW” DAVIS had been a pioneer of the organ/tenor format for nearly a decade, and had featured the talented Shirley Scott in person and on record since 1955, but the present album (his first for Prestige) was truly something else. By adding woodwind wizard Jerome Richardson as a guest artist and featuring him primarily on flute, an unusual and instantly popular ensemble texture was born that would lead to two further volumes of Davis’s soulful musical recipes. Everyone plays with the deepest feeling throughout, and Richardson switches to tenor for a brief bit of battling with the leader on “Three Deuces.” Thanks to the recent discovery of the stereo master tapes, this RVG reissue marks the first appearance of the classic album in true stereo, and also includes a previously unissued alternate take of “But Beautiful” as well as the bonus track “Avalon.”

I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger. —RUDY VAN GELDER Recorded by RUDY VAN GELDER at Van Gelder Studio, Hackensack, NJ; June 20, 1958. Supervision by BOB WEINSTOCK Remastering, 2006—Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, NJ) All transfers were made from the analog master tapes to digital at 24-bit resolution. Notes by IRA GITLER • Total Time 40:36 FIRST STEREO RELEASE • Prestige/Moodsville Records, Tenth and Parker, Berkeley, CA 94710. π & © 2006, Concord Music Group, Inc., 100 North Crescent Drive, Beverly Hills, CA 90210. All rights reserved. Unauthorized duplication is a violation of applicable laws.


Since the Swing Era, when Harlem was a real hotbed of jazz, there has been present a certain kind of music, a type of popular jazz compounded from the large Swing bands, the “jump” bands, and the fly, little combos which formed the best of what later became known as rhythm and blues. Actually, rhythm and blues was a new title that replaced the offensive labels of “race records” or “sepia series.” All three names designated a music which was the popular one with the general Negro public, especially the urban portion. I might add that rock ’n’ roll contains the worst characteristics of rhythm and blues combined with synthetic hillbilly music and the worst syrup of Tin Pan Alley. The best of rhythm and blues, however, has always been within the mainstream of jazz and is a happy, swinging, bluesy kind of music which contains both humor and warmth. Although Harlem is no longer a hotbed of jazz in the true sense of that term, there are still things happening uptown. Count Basie’s (132nd and 7th) has been the recent home of the Eddie Davis group featuring Shirley Scott at the organ. With drummer Arthur Edgehill they have brightened Basie’s casements on a regular basis since January of 1958. For this first culinary session, the first chapter of the Eddie “Lockjaw” Davis Cookbook, two additional chefs, Jerome Richardson and George Duvivier, have been added to the kitchen staff. In the case of this broth, the cooks are not too many. Eddie Davis is what you could call a natural musician for he never took a lesson in his life; not one that he didn’t administer himself, anyway. When Eddie decided he wanted to play the saxophone, he bought one secondhand and with it an instruction book which he studied from diligently for eight months. At the

end of this period, he played his first job at Clark Monroe’s Uptown House, one of the first bastions of modern jazz. Starting in 1942, when he joined Cootie Williams, Eddie was with several bands including Lucky Millinder, Andy Kirk, and Louis Armstrong and also worked with his own combo at Minton’s, the other incubator of modern jazz in Harlem. Later in the Forties, he was heard on 52nd Street and similar clubs in other Eastern cities with his own groups. It remained for a year as featured tenorman with Count Basie’s orchestra (1952-1953) to really establish him. Afterwards, he worked as a single with various local rhythm sections until February of 1955 when he formed an alliance with Shirley Scott. Outside of a European trip and Birdland engagement with Basie (October 1957 to New Year’s Day 1958) by Eddie, the group has stayed intact. Eddie feels that the organ is not a novelty instrument when in the right hands and that it can be utilized in jazz. The girl who is helping him prove this is a native Philadelphian, age 24, named Shirley Scott. Scottie, as she is known, started on piano at the age of six and studied at the Germantown Settlement House and later at the Ornstein School. Her organ career began in 1955, the same year she became allied with Eddie. Together, they have appeared at Birdland, Basie’s, theaters like the Apollo and the Howard, and clubs in Philadelphia and Washington. When I asked her who her favorites on organ and piano were, she responded with Jimmy Smith and Jackie Davis on the former; Erroll Garner, Red Garland, and Thelonious Monk on the latter. I believe you will hear the affinity for Garner quite strongly in several places. Of the group, Scottie says, “Playing with Eddie is a pleasure and not a job at all.” Jerome Richardson is one of the most talented and versatile reedmen in jazz. Born in Oakland, California, he started in music, as



a professional, at the age of 14. In the Navy, from 1942 to 1945, he played in a band under the direction of Marshall Royal. After his discharge, he worked around the San Francisco area but left with Lionel Hampton (1949-1951) and again with Earl Hines (1954-1955). Then he migrated to New York where he worked with two of the bands Eddie Davis had been with ten years earlier, Cootie Williams and Lucky Millinder. Like Eddie, he also had his own group at Minton’s. From 1956, until the new screen ousted the stage shows, he was in the pit band at the Roxy Theatre. Jerome, who plays clarinet, alto sax, tenor sax, and flute, has become well known on the silvered cylinder. He names Parker, Stitt, and Getz as his favorite saxophonists and Frank Wess as his preference on flute. Bassist George Duvivier is a musicians’ musician who is also a talented arranger. He studied violin first at the Conservatory of Music and Art in his native New York and composing and arranging at New York University. In the Forties he worked with Coleman Hawkins and Lucky Millinder. From 1942 to 1945 he was in the Army and thereafter arranged for Jimmie Lunceford for a couple of years. George has been in the accompanying units for many singers in the Fifties including Nellie Lutcher, Lena Horne, Pearl Bailey, and Billy Eckstine. He also worked with the groups of Bud Powell and Chuck Wayne, among others. He has expressed a liking for the playing of Jimmy Blanton and Ray Brown. His precise yet powerful work gives credence to this line of thought. Drummer Arthur Edgehill was with Horace Silver at Minton’s in 1954, Kenny Dorham’s Jazz Prophets in 1956, and the Jazz Lab group of Gigi Gryce before joining Davis in January of 1958. Stylistically he is descendant from the Roach-Clarke-Blakey mold.


(previously unissued alternate take)


The fast riff blues “Have Horn, Will Blow” is the opener. “Lockjaw” begins followed by “Scottie” and Jerome (what, no sobriquet?) creeps in with just bass and drums backing him. Then Shirley melts in lightly, Duvivier has a walking solo, and Eddie returns before the finale. A medium riff blues with a minor flavor is “The Chef,” which, like the preceding number, is a Davis recipe. “Jaws” again is first with Shirley booting him along. She follows with a single-line and block-chord solo. A mellow Richardson leads back to Eddie and the out riff. “But Beautiful” is as the title indicates. Eddie, who has named Coleman Hawkins, Ben Webster, and Herschel Evans as his three favorite tenor men, balladizes here in a way reminiscent of the Don Byas–Lucky Thompson section of Hawkinsville. Jerome is next; then a Garnerized Scott. Eddie closes as beautifully as he began with Jerome commenting underneath. The second side contains two more from the Davis menu. “In the Kitchen” is a slow blues started by the rhythm section and a lengthy Scott moodsetter which gives Eddie a rousing send-off at its end. Jerome is next, sometimes sounding like a jungle bird, and George has a melodic solo before Shirley takes it on a fade-out. A dedication to 52nd Street and one of its many defunct clubs is “Three Deuces,” which features a tenor joust between Eddie and Jerome. Their solos, in that order, are divided by an offering from Shirley. Then they trade eight bars apiece for a chorus and four bars apiece in the next chorus until Duvivier takes the bridge and the ensemble finishes the last eight. Davis and Richardson appear in the same order in the exchanges. —IRA GITLER original liner notes

I WAS THE ENGINEER on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger. —RUDY VAN GELDER


Eddie “Lockjaw” Davis (later also known simply as “Jaws”) made his first appearance on Prestige as a sideman of trombonist Bennie Green’s septet session of October 5, 1951 but actually he came aboard in 1950 via the Birdland label. In January 1949 Bob Weinstock produced the inaugural session (Lennie Tristano with Lee Konitz) for his brandnew New Jazz label. He continued to record throughout the year and by December New Jazz was well-established in the jazz world. Prestige would follow as a second label in 1950. December ’49 was also the month that Birdland, located on Broadway between 52nd and 53rd Streets, opened for business. Early in 1950 Morris Levy, Birdland’s proprietor, decided to start a record label which echoed the club’s name. He and his partner, Monte Kay, decided to make Weinstock part of the equation, as the label’s distributor. Birdland did studio dates with Stan Getz and Lockjaw as well as Jaws’s brother, TECHNICALLY,

blues shouter Chicago Carl Davis, who recorded the immortal “I’m Gonna Eat You with a Spoon.” Lockjaw recorded in February. The titles were “Little Rock” and “The Lock.” Then, for whatever reason, Levy decided to close down the record company and sold the masters to Weinstock. Eventually, when the Birdland pressings with the green and white labels ran out, Weinstock transferred the Getz and the Lockjaw sides to Prestige. He also decided to rename the latter coupling. “Little Rock” was, in essence, “Sweet and Lovely” and so it was on Prestige. “The Lock” was renamed “Squattin’” by yours truly. 1952 was the year the Count Basie Orchestra was revived and revivified. Lockjaw replaced Candy Johnson in the sax section in July; at the time the band was playing the first of what were to be many appearances at Birdland over the ensuing years. He was well-featured and his biggest number was “Paradise Squat” with Count at the organ. Basie would figure very importantly in

Jaws’s career. After two years (19601962) of playing and recording in an incendiary two-tenor group co-led with Johnny Griffin, he decided to give up playing to become a booking agent for Shaw Artists. I was the New York editor of Down Beat at the time and wrote a short news story about this baffling event. If memory serves, I put in something that indicated I wouldn’t be shocked if he returned to saxophone activity after a while. Sure enough, he rejoined Basie in ’64 and remained with the band into ’73, doubling as road manager. One of the stories in Bill Crow’s book, Jazz Anecdotes, quotes Lockjaw on how he decided, as a kid, to become a musician. “By watching musicians,” he said, “I saw that they drank, they smoked, they got all the broads and they didn’t have to get up in the morning. That attracted me.” Perhaps he was thinking along those lines before he jumped back to Basie. When he left Count, Jaws moved to Las Vegas. He toured with Norman Granz’s troupe, appeared at jazz parties such as Dick Gibson’s famed annual Colorado bash and at various festivals, here and abroad. He continued to excite with his angular, leaping forays at medium and up tempos—I can still see him giving his horn a short, one-handed toss in the air at the end of a solo before walking away from the mike (that’s what we called the mic back when)—and the

ballads were still rendered with Websterian warmth in the Davis dialect. The Cookbook was Lockjaw’s first time back with Prestige since the Bennie Green session. Its title derived from the use of the word “cooking,” which in the jazz parlance of the Fifties meant to play with heat and gusto. “The Chef” and “In the Kitchen” maintained the culinary motif and, soon after, came another Cookbook. One of the titles, “Three Deuces,” as I explained in my original notes, was named for a storied 52nd Street club. In listening to it again I was struck by its familiarity. I delved into my archives and pulled out a session Lockjaw had led in 1946 that featured trumpeter Fats Navarro. There it was, “Blue Champagne” phrase to open, the incarnation of “Three Deuces,” under the title “Calling Dr. Jazz.” The reissue of The Cookbook seems appropriate at a time when organ and the tenor saxophone/organ combination have resurfaced. The recipes are still most utilitarian. — IRA GITLER March 2006


1 HAVE HORN, WILL BLOW 5:11 2 THE CHEF 5:59 Weiser Music-ASCAP 3 BUT BEAUTIFUL 7:40 (Burke-Van Heusen) Bourne Co./Dorsey Bros Music-ASCAP 4 IN THE KITCHEN 12:53

EDDIE “LOCKJAW” DAVIS tenor saxophone JEROME RICHARDSON flute (except #7), tenor saxophone (#5 only) SHIRLEY SCOTT organ GEORGE DUVIVIER bass ARTHUR EDGEHILL drums

5 THREE DEUCES 4:58 6 BUT BEAUTIFUL* (previously unissued alternate take)


7 AVALON* 3:32 (Jolson-DeSylva-Rose) P.D. *BONUS TRACKS

All selections composed by Eddie Davis (Richcar Music-BMI), except as indicated.

l • Prestige Records, Tenth and Parker, Berkeley, CA 94710. π & © 2006, Concord Music Group, Inc., 100 North Crescent Drive, Beverly Hills, CA 90210. All rights reserved.

Eric Dolphy—Out There (PRCD-8101-2) Gene Ammons—Boss Tenor (PRCD-8102-2) John Coltrane—Lush Life (PRCD-8103-2) Relaxin’ with the Miles Davis Quintet (PRCD-8104-2) Sonny Rollins—Saxophone Colossus (PRCD-8105-2) Coleman Hawkins—The Hawk Relaxes (PRCD-8106-2) Kenny Burrell & John Coltrane (PRCD-8107-2) Kenny Dorham—Quiet Kenny (PRCD-8108-2) Red Garland’s Piano (PRCD-8109-2) The Modern Jazz Quartet—Django (PRCD-8110-2) Jack McDuff—The Honeydripper (PRCD-30005-2) John Coltrane—Soultrane (PRCD-30006-2) Etta Jones—Don’t Go to Strangers (PRCD-30007-2) Miles Davis All Stars—Walkin’ (PRCD-30008-2) Eddie “Lockjaw” Davis—Cookbook, vol. 1 (PRCD-30009-2) Thelonious Monk & Sonny Rollins (PRCD-30010-2) Mose Allison Sings (PRCD-30011-2) Yusef Lateef—Eastern Sounds (PRCD-30012-2) Oliver Nelson—Screamin’ the Blues (PRCD-30013-2) Richard “Groove” Holmes—Soul Message (PRCD-30014-2)




The Eddie "Lockjaw" Davis - Cookbook Vol.1_Booklet