Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)
Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 412 MB. & 139 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2003) | Label: Prestige/OJC | Catalog# OJCCD-1085-2(P-7282) | 54:49 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 412 MB. & 139 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2003) | Label: Prestige/OJC | Catalog# OJCCD-1085-2(P-7282) | 54:49 min.
Review by Alex Henderson ~allmusicTracklist:
When Eddie "Lockjaw" Davis and Johnny Griffin joined forces and formed a two-tenor front line, bop enthusiasts could safely assume that the sparks were going to fly. Davis and Griffin, after all, were one of hard bop's exciting tenor teams – their saxophone battles were as legendary as the encounters of Gene Ammons and Sonny Stitt, Dexter Gordon and Wardell Gray, or Phil Woods and Gene Quill (who, unlike the other teams mentioned here, were a two-alto pair). Battle Stations, like other Davis/Griffin encounters, points to the fact that the two tenormen never had a problem finding common ground. Both had big tones; both were very extroverted, aggressive players; and both swung unapologetically hard – no one ever mistook either of them for members of jazz's cool school, which favored subtlety, restraint, and understatement over intensity and aggression. A sense of friendly competition is evident on Battle Stations; when Davis and Griffin lock horns, the result is musical sportsmanship at its finest. And "friendly" is the operative word on this 1960 date – as competitive as Davis and Griffin could be, they had a great deal of respect for one another. Battle Stations (which employs Norman Simmons on piano, Victor Sproles on bass, and Ben Riley on drums) demonstrates that the saxmen were not only sparring partners, they were also a mutual admiration society, and the improvisers enjoy an incredibly strong rapport on hard-swinging numbers like "Pull My Coat," "Hey Jim!," and "What's Happening." Battle Stations is an album that fans of heated two-tenor exchanges shouldn't overlook.
01. What's Happening (6:51)
02. Abundance (6:54)
03. If I Had You (6:46)
04. 63rd Street Theme (7:12)
05. Pull My Coat (6:41)
06. Hey Jim! (8:01)
07. Billie's Bounce (11:18)
08. Theme (1:06)
Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)
Personnel:
Eddie "Lockjaw" Davis - tenor saxophone
Johnny Griffin - tenor saxophone
Norman Simmons - piano (on #1-6)
Junior Mance - piano (on #7, 8)
Victor Sproles - bass (on #1-6)
Larry Gales - bass (on #7, 8)
Ben Riley - drums
~allAboutJazz
Born: March 2, 1922 | Died: November, 1986 | Instrument: Tenor Saxophone
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. In the early 40s he worked with a number of big bands, including those of Cootie Williams, Lucky Millinder and Andy Kirk. He also led his own small group for club and record sessions.
Eddie “Lockjaw” Davis was a pioneer of the tenor-and-organ combo, between 1955-60, he toured and recorded with a unit featuring Shirley Scott on the Hammond B3. In this long-running group, Davis realized his vision of what an organ/tenor combo could achieve. Miss Scott’s taste and light touch on the organ made it possible for Davis to avoid the battering-ram approach and produce music of restraint and taste without sacrificing drive and excitement. After Scott left the band, Davis never really returned to the organ/tenor sound, despite his success with it.
In 1952 Davis made the first of several appearances with the Count Basie band, which extended through the 60s and into the 70s. He was a mainstay at Prestige, and released a long list of fine sessions for that label and for their subsidiary Moodsville. It was with Basie that he made his greatest impact, although in between these stints he continued to lead his own small groups, notably Tough Tenors with Johnny Griffin in the early 60s. As the 1960s came into focus, Chicago tenor saxophonist Johnny Griffin and his New York counterpart, Eddie “Lockjaw” Davis, hooked up for a series of tenor battle albums that were easily a cut above most such recordings. For one thing, both saxophonists were rock solid bop players who were at the peak of their powers. For another, the two tenor men were very compatible in their playing styles and had a lot of mutual respect. “Tough Tenors” is a November, 1960, date. This record delivers an unbeatable program of music delivered by two of the greatest jazz tenors in top form.
After temporarily withdrawing from active music in 1963 to work as a booking agent, he returned as a soloist and road manager for the Count Basie band in 1964. He played in Europe with Mr. Basie, and participated in European tours as part of the Norman Granz troupe with Ella Fitzgerald. He also joined up with Sweets Edison in the 70’s, with which he did sessions and tours.
Davis' playing style showed him to be at ease on both gutsy, hard-driving swingers and slow, tender ballads. The former are most evident in his partnership with Griffin and his showstoppers with Basie, while the softer facet of his musical character came to the fore on a fine album of ballads he made with Paul Gonsalves. Davis always confounded critics. Because he was an acknowledged star to the soul-jazz idiom, they expected him to create in a somewhat formulaic setting, taking few chances. Jaws always took chances, and he always did things his way.
Eddie Lockjaw Davis was a hard hitting tenor player from the old school, and his legacy survives in his vast and prestigious recordings and memorable live performances when he would dominate the stage. He passed in Nov. 1986, at age of 65.
Born: March 2, 1922 | Died: November, 1986 | Instrument: Tenor Saxophone
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. In the early 40s he worked with a number of big bands, including those of Cootie Williams, Lucky Millinder and Andy Kirk. He also led his own small group for club and record sessions.
Eddie “Lockjaw” Davis was a pioneer of the tenor-and-organ combo, between 1955-60, he toured and recorded with a unit featuring Shirley Scott on the Hammond B3. In this long-running group, Davis realized his vision of what an organ/tenor combo could achieve. Miss Scott’s taste and light touch on the organ made it possible for Davis to avoid the battering-ram approach and produce music of restraint and taste without sacrificing drive and excitement. After Scott left the band, Davis never really returned to the organ/tenor sound, despite his success with it.
In 1952 Davis made the first of several appearances with the Count Basie band, which extended through the 60s and into the 70s. He was a mainstay at Prestige, and released a long list of fine sessions for that label and for their subsidiary Moodsville. It was with Basie that he made his greatest impact, although in between these stints he continued to lead his own small groups, notably Tough Tenors with Johnny Griffin in the early 60s. As the 1960s came into focus, Chicago tenor saxophonist Johnny Griffin and his New York counterpart, Eddie “Lockjaw” Davis, hooked up for a series of tenor battle albums that were easily a cut above most such recordings. For one thing, both saxophonists were rock solid bop players who were at the peak of their powers. For another, the two tenor men were very compatible in their playing styles and had a lot of mutual respect. “Tough Tenors” is a November, 1960, date. This record delivers an unbeatable program of music delivered by two of the greatest jazz tenors in top form.
After temporarily withdrawing from active music in 1963 to work as a booking agent, he returned as a soloist and road manager for the Count Basie band in 1964. He played in Europe with Mr. Basie, and participated in European tours as part of the Norman Granz troupe with Ella Fitzgerald. He also joined up with Sweets Edison in the 70’s, with which he did sessions and tours.
Davis' playing style showed him to be at ease on both gutsy, hard-driving swingers and slow, tender ballads. The former are most evident in his partnership with Griffin and his showstoppers with Basie, while the softer facet of his musical character came to the fore on a fine album of ballads he made with Paul Gonsalves. Davis always confounded critics. Because he was an acknowledged star to the soul-jazz idiom, they expected him to create in a somewhat formulaic setting, taking few chances. Jaws always took chances, and he always did things his way.
Eddie Lockjaw Davis was a hard hitting tenor player from the old school, and his legacy survives in his vast and prestigious recordings and memorable live performances when he would dominate the stage. He passed in Nov. 1986, at age of 65.
~allAboutJazz
Born: April 24, 1928 | Died: July 25, 2008 | Instrument: Tenor Saxophone
Since Johnny Griffin's precocious professional debut with Lionel Hampton in 1945, his best work has been guided by spontaneity. One of the fastest and least inhibited of tenor men, Griffin loves the challenges and excitement of the jam session. Back in 1963, despite the solid reputation he had established as a member of Art Blakey’s Jazz Messengers and Thelonious Monk’s group (and as co-leader of a band with Eddie “Lockjaw” Davis), Griffin felt forced to flee to Europe.
During the Sixties, Griffin was one of an elite corps of resident American jazzmen in Europe, a group that included Kenny Clarke, Arthur Taylor, Horace Parlan, Kenny Drew, and, of course, Dexter Gordon (“Dexter’s family to me,” he smiles). He had no trouble finding work there. He played in radio and television studio bands, was installed for long engagements in clubs such as the Blue Note in Paris, played in countless jazz festivals, and continued his recording career unabated. He did everything but return to the United States. And he missed it: “Europeans love jazz very much, but American audiences respond to the music in a really special way.”
Johnny Griffin’s triumphant homecoming in 1978, coming on the heels of Dexter’s, ended 15 years of exclusively expatriate life in Europe. The occasion was one of jazz’s happiest, most heartwarming events in memory. Griffin found himself playing to an entirely new generation of fans, while his older fans discovered the tenor saxophonist to be playing better than ever.
Johnny Griffin was born April 24, 1928 in Chicago. In his own words: “All I ever wanted to be was a jazz musician. My father had played a little cornet and my mother played piano and sang a little. We had a lot of 78 rpm records in the house. In the beginning I listened to Ben Webster and Johnny Hodges, Don Byas and Lester Young. Then one day my cousins were having a party and somebody put on a 78 of Jay McShann, with Walter Brown singing “Hootie Blues.” And then there was an alto solo that knocked me dead. Like, crash, what is that?! Is that Pres?’ No, it was an alto. It was Charlie Parker. I wore that solo out on that record.”
“I started playing clarinet when I was 13 and saxophone when I was 14. Before that I had studied piano and steel guitar. I took classes in all the clarinets, oboe, and English horn. The bass clarinet was almost as tall as me.”
After leaving Hampton in 1947, Griffin joined trumpeter Joe Morris’s band, playing a variety of jazz, blues, and r&b. Meanwhile, he spent a great deal of time watching and listening to the great players: “I always respected Coleman Hawkins’s force and power, but I followed Webster, Hodges, Pres, and Bird. Altogether I saw Bird play about ten times. I was completely overawed by the man. He was a man who showed not only the potential of the saxophone, but the potential of human expression. At times, Bud Powell was like this too.”
“Actually, for the most part I stayed away from the saxophone players. I spent a lot of time with the pianists and trumpet players, because I didn’t want to sound like any other saxophonist. Back in the Forties, I walked with Monk, Bud Powell, Elmo Hope, and Walter Bishop, they were my teachers. From them I learned more about the harmonic structures underlying the music. I met Thelonious in 1948 and stayed at his house every day, with Elmo and Bud. Monk didn’t play much except when he was rehearsing his own band. He’d sit there and check out what Elmo and Bud were doing. Sometimes I’d have my horn out and play, but mostly I’d be listening.”
Griffin was in Monk’s band during 1958, “but I would say Monk has been more of an influence on me in the past six or seven years than he was then. The real effect, the overall conception, hit me later. When I was with his band, I was still trying to prove something with the saxophone, and now I’m more relaxed.”
During the Fifties and early Sixties, Griffin was known as a brilliant technician, a fiery player who had an endless supply of chops. In 1960 he formed a ‘tough tenor’ band with Eddie “ Lockjaw” Davis, with an in your face approach. Though small in stature, Griffin has always been a musical mercenary willing to back up his reputation at any time, anyplace, anywhere. But there has always been underlying warmth, a blues-based sense of everyday humanity, in his music. He is an amazingly consistent soloist, a man who is never off form by all accounts; undeniably he likes fast tempos but is a complete, rounded jazz musician, capable of tackling any material with the aid (or something otherwise!) of any rhythm section.
Griffin has an immense output of recordings available going back to his ’56 dates on Blue Note. He recorded for many labels as Riverside, Prestige, Black Lion, Galaxy, and Inner City. He did a memorable tribute to Billie Holiday in 1961 “White Gardenia,” which shows his warm side. On his return to America in 1978 he did two fine sessions for Galaxy “Return of the Griffin,” and “Bush Dance.” These reestablished his credentials and career. He has many full on blowing sessions, and as leader alone he has over sixty five records out, quite an impressive statistic.
Johnny Griffin has continued to live in Europe; though slowing down a bit, he plays America two weeks of every year, including a birthday party in Chicago. For a while he played in the Francy Boland -Kenny Clarke band, but normally tours now as a single, playing with local musicians of his choice. He regularly played with Kenny Drew until Drew’s death in 1993. He maintained an active touring and recording schedule, and was writing large-scale works, including pieces for string orchestra. He is still the model for tough tenors everywhere.
The Little Giant passed away on July 25, 2008 at home in Mauprevoir, a village in the west-central La Vienne district, where he had spent the last 18 years of his life. The cause of death was not disclosed.
Born: April 24, 1928 | Died: July 25, 2008 | Instrument: Tenor Saxophone
Since Johnny Griffin's precocious professional debut with Lionel Hampton in 1945, his best work has been guided by spontaneity. One of the fastest and least inhibited of tenor men, Griffin loves the challenges and excitement of the jam session. Back in 1963, despite the solid reputation he had established as a member of Art Blakey’s Jazz Messengers and Thelonious Monk’s group (and as co-leader of a band with Eddie “Lockjaw” Davis), Griffin felt forced to flee to Europe.
During the Sixties, Griffin was one of an elite corps of resident American jazzmen in Europe, a group that included Kenny Clarke, Arthur Taylor, Horace Parlan, Kenny Drew, and, of course, Dexter Gordon (“Dexter’s family to me,” he smiles). He had no trouble finding work there. He played in radio and television studio bands, was installed for long engagements in clubs such as the Blue Note in Paris, played in countless jazz festivals, and continued his recording career unabated. He did everything but return to the United States. And he missed it: “Europeans love jazz very much, but American audiences respond to the music in a really special way.”
Johnny Griffin’s triumphant homecoming in 1978, coming on the heels of Dexter’s, ended 15 years of exclusively expatriate life in Europe. The occasion was one of jazz’s happiest, most heartwarming events in memory. Griffin found himself playing to an entirely new generation of fans, while his older fans discovered the tenor saxophonist to be playing better than ever.
Johnny Griffin was born April 24, 1928 in Chicago. In his own words: “All I ever wanted to be was a jazz musician. My father had played a little cornet and my mother played piano and sang a little. We had a lot of 78 rpm records in the house. In the beginning I listened to Ben Webster and Johnny Hodges, Don Byas and Lester Young. Then one day my cousins were having a party and somebody put on a 78 of Jay McShann, with Walter Brown singing “Hootie Blues.” And then there was an alto solo that knocked me dead. Like, crash, what is that?! Is that Pres?’ No, it was an alto. It was Charlie Parker. I wore that solo out on that record.”
“I started playing clarinet when I was 13 and saxophone when I was 14. Before that I had studied piano and steel guitar. I took classes in all the clarinets, oboe, and English horn. The bass clarinet was almost as tall as me.”
After leaving Hampton in 1947, Griffin joined trumpeter Joe Morris’s band, playing a variety of jazz, blues, and r&b. Meanwhile, he spent a great deal of time watching and listening to the great players: “I always respected Coleman Hawkins’s force and power, but I followed Webster, Hodges, Pres, and Bird. Altogether I saw Bird play about ten times. I was completely overawed by the man. He was a man who showed not only the potential of the saxophone, but the potential of human expression. At times, Bud Powell was like this too.”
“Actually, for the most part I stayed away from the saxophone players. I spent a lot of time with the pianists and trumpet players, because I didn’t want to sound like any other saxophonist. Back in the Forties, I walked with Monk, Bud Powell, Elmo Hope, and Walter Bishop, they were my teachers. From them I learned more about the harmonic structures underlying the music. I met Thelonious in 1948 and stayed at his house every day, with Elmo and Bud. Monk didn’t play much except when he was rehearsing his own band. He’d sit there and check out what Elmo and Bud were doing. Sometimes I’d have my horn out and play, but mostly I’d be listening.”
Griffin was in Monk’s band during 1958, “but I would say Monk has been more of an influence on me in the past six or seven years than he was then. The real effect, the overall conception, hit me later. When I was with his band, I was still trying to prove something with the saxophone, and now I’m more relaxed.”
During the Fifties and early Sixties, Griffin was known as a brilliant technician, a fiery player who had an endless supply of chops. In 1960 he formed a ‘tough tenor’ band with Eddie “ Lockjaw” Davis, with an in your face approach. Though small in stature, Griffin has always been a musical mercenary willing to back up his reputation at any time, anyplace, anywhere. But there has always been underlying warmth, a blues-based sense of everyday humanity, in his music. He is an amazingly consistent soloist, a man who is never off form by all accounts; undeniably he likes fast tempos but is a complete, rounded jazz musician, capable of tackling any material with the aid (or something otherwise!) of any rhythm section.
Griffin has an immense output of recordings available going back to his ’56 dates on Blue Note. He recorded for many labels as Riverside, Prestige, Black Lion, Galaxy, and Inner City. He did a memorable tribute to Billie Holiday in 1961 “White Gardenia,” which shows his warm side. On his return to America in 1978 he did two fine sessions for Galaxy “Return of the Griffin,” and “Bush Dance.” These reestablished his credentials and career. He has many full on blowing sessions, and as leader alone he has over sixty five records out, quite an impressive statistic.
Johnny Griffin has continued to live in Europe; though slowing down a bit, he plays America two weeks of every year, including a birthday party in Chicago. For a while he played in the Francy Boland -Kenny Clarke band, but normally tours now as a single, playing with local musicians of his choice. He regularly played with Kenny Drew until Drew’s death in 1993. He maintained an active touring and recording schedule, and was writing large-scale works, including pieces for string orchestra. He is still the model for tough tenors everywhere.
The Little Giant passed away on July 25, 2008 at home in Mauprevoir, a village in the west-central La Vienne district, where he had spent the last 18 years of his life. The cause of death was not disclosed.
Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)
Johnny Griffin & Eddie "Lockjaw" Davis
Produced by Esmon Edwards
Recorded by Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ
Recorded on September 2, 1960 (#1-6); and in performance at Minton's Playhouse, NYC; January 6, 1961 (#7, 8)
#7 originally released on "The Late Show (Prestige 7357)"; #8 on "The Midnight Show (Prestige 7330)"
Remastering, 2002 - Joe Tarantino (Fantasy Studios, Berkeley)
Cover design and photo by Don Schlitten
Liner notes by Dan Morgenstern (August, 1963)
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Eddie 'Lockjaw' Davis & Johnny Griffin / Battle Stations
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02 100,0 [71837388] [48F8C76A] W/O NULL
03 100,0 [F4A367CD] [74CF54A3] W/O NULL
04 100,0 [DDA88327] [67A614E1] W/O NULL
05 100,0 [119DE7C3] [D64752A8] W/O NULL
06 100,0 [D2CBE9D7] [0D8C9838] W/O NULL
07 100,0 [E253F6A3] [BB4FF6A1] W/O NULL
08 100,0 [E6377CCC] [D0E0E3C8] W/O NULL
Thanks to the original releaser.
Eddie "Lockjaw" Davis & Johnny Griffin - Battle Stations (2003)
(all links are interchangeable)