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In Copenhagen [Storyville]
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In Copenhagen [Storyville]
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In Copenhagen [Storyville]
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Coming from the heart of the
Count Basie
bands,
Harry "Sweets" Edison
and
Eddie "Lockjaw" Davis
might seem an odd pair. The stoic
Edison
, able to straddle
swing
to
bop
with an ease rivaled by only
Clark Terry
, with
Dizzy Gillespie
or
Fats Navarro
as parallels on the
side, played with a clean, professional efficiency that made him a true legend.
Davis
, who was known as a multi-faceted tenor saxophonist, dipped from the deep wellspring of the
blues
, was an
R&B
bar walker at times, but preferred a clipped yet refined approach that served him well over decades of
jazz
evolution. Though neither were expatriates, they found themselves in Copenhagen, Denmark in 1976 for these session that feature the brilliant pianist
Kenny Drew
, who did abandon the U.S. for Europe, and in his prime on these dates later in his life. There are four sextet tracks with trombonist
John Darville
joining, including the far too brief but hard bopping
"C Jam Blues,"
Lou Donaldson
's
"Blues Walk,"
a 12-bar groove that was not ever linked to either
, the call and response laden
"Lester Leaps In,"
and the laid-back rhythm on the bopper
"Robbin's Nest."
As a quintet,
Sweets
Lockjaw
cozy up on the cool
"Opus Funk"
and the
Coleman Hawkins
piece
"Spotlite,"
playing the end of the melody line phrase which was turned into
"Woody 'n' You"
by
.
Drew
is truly outstanding, digging in on
"Opus Funk,"
using cascading arpeggiated dexterity on the stunning intro of
"You Are Too Beautiful"
in duet with
, and on the other emotional end of the spectrum, comping deep, blue and somber during
"Angel Eyes."
The good feelings of the front line mates is clear to understand and thoroughly enjoy, the sound is as good as it gets, and the song choices offers enough variation within the
mainstream jazz
model to keep things interesting. Astute listeners should note how
carries the play to
-- check out his presence on
"Candy"
or the bluesy, walking style he emotes on
"Lullabye for Dancers,"
where he demonstrates his love of playing exactly on the beat. While not totally dominant, his is the stronger voice. This is a welcome item of many from the
Storyville
catalog (once issued on a
Mobile Fidelity
LP,) recommended without hesitation, and worth searching for. ~ Michael G. Nastos
Count Basie
bands,
Harry "Sweets" Edison
and
Eddie "Lockjaw" Davis
might seem an odd pair. The stoic
Edison
, able to straddle
swing
to
bop
with an ease rivaled by only
Clark Terry
, with
Dizzy Gillespie
or
Fats Navarro
as parallels on the
side, played with a clean, professional efficiency that made him a true legend.
Davis
, who was known as a multi-faceted tenor saxophonist, dipped from the deep wellspring of the
blues
, was an
R&B
bar walker at times, but preferred a clipped yet refined approach that served him well over decades of
jazz
evolution. Though neither were expatriates, they found themselves in Copenhagen, Denmark in 1976 for these session that feature the brilliant pianist
Kenny Drew
, who did abandon the U.S. for Europe, and in his prime on these dates later in his life. There are four sextet tracks with trombonist
John Darville
joining, including the far too brief but hard bopping
"C Jam Blues,"
Lou Donaldson
's
"Blues Walk,"
a 12-bar groove that was not ever linked to either
, the call and response laden
"Lester Leaps In,"
and the laid-back rhythm on the bopper
"Robbin's Nest."
As a quintet,
Sweets
Lockjaw
cozy up on the cool
"Opus Funk"
and the
Coleman Hawkins
piece
"Spotlite,"
playing the end of the melody line phrase which was turned into
"Woody 'n' You"
by
.
Drew
is truly outstanding, digging in on
"Opus Funk,"
using cascading arpeggiated dexterity on the stunning intro of
"You Are Too Beautiful"
in duet with
, and on the other emotional end of the spectrum, comping deep, blue and somber during
"Angel Eyes."
The good feelings of the front line mates is clear to understand and thoroughly enjoy, the sound is as good as it gets, and the song choices offers enough variation within the
mainstream jazz
model to keep things interesting. Astute listeners should note how
carries the play to
-- check out his presence on
"Candy"
or the bluesy, walking style he emotes on
"Lullabye for Dancers,"
where he demonstrates his love of playing exactly on the beat. While not totally dominant, his is the stronger voice. This is a welcome item of many from the
Storyville
catalog (once issued on a
Mobile Fidelity
LP,) recommended without hesitation, and worth searching for. ~ Michael G. Nastos
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