Listening to Prestige 277: Eddie "Lockjaw" Davis

Eddie "Lockjaw" Davis connected with Shirley Scott in 1953, when he went looking for a jazz organist to form a group with. Which is interesting, because this wasn't exactly a common lineup at that time. Count Basie had recorded on organ with his big band, but the more usual formation, the one favored by Jimmy Smith, was a trio. Bill Doggett's recordings in the early 50s were trio recordings. Perhaps he got the idea of the organ-saxophone combo that shook the world with "Honky Tonk" from Davis and Scott.

It certainly turns out that Davis was onto something. This was a powerful sound for the nascent movement that would come to be known as soul jazz, and given an added richness with the presence of Jerome Richardson.

Differences between this and the previous week's trio session: for a start, while Scott  went for the under-three-minute format best suited to 45 RPM discs for the pop market, the quintet stretched out in the way that jazz groups became accustomed to as soon as it was clear that the LP revolution was here to stay.

There was a new producer in the Van Gelder control room and on the Prestige roster. Esmond

Edwards had been hired as a photographer in 1954, and he had done significant work in that role, contributing to a number of album covers. But his musical acumen combined with Bob Weinstock's readiness to ease up a bit on the production reins, brought him into the actual recording process. He would remain a prolific producer for Weinstock over the next decade, before moving on to Verve, Chess, and other labels. He would also continue his career as an important jazz photographer. And it's worth noting that he was one of the first African-American producers in the New York jazz recording world.

"In the Kitchen" became one of Davis and Scott's best known recordings, and it sparked the culinary theme that was announced with the release of this album as The Eddie "Lockjaw" Davis Cookbook. It would be the first of three. Davis would get top billing on their Prestige releases;

later, when she teamed with Stanley Turrentine both at the altar and in the recording studio, she would be listed as leader on their Prestige recordings, he on their Blue Note discs.

"In the Kitchen" came out as a two-sided 45, as did "But Beautiful" (like Gene Ammons, Davis had two sides, funkmeister and sensitive interpreter of ballads.) "In the Kitchen" also was the B side of a 45 RPM release of "Misty," from a later session. "The Chef" and "Three Deuces" made for another single release.

Order Listening to Prestige Vol 2

Listening to Prestige Vol. 2, 1954-1956 is here! You can order your signed copy or copies through the link above.

Tad Richards will strike a nerve with all of us who were privileged to have lived thru the beginnings of bebop, and with those who have since fallen under the spell of this American phenomenon…a one-of-a-kind reference book, that will surely take its place in the history of this music.

                                                                                                                                                --Dave Grusin

An important reference book of all the Prestige recordings during the time period. Furthermore, Each song chosen is a brilliant representation of the artist which leaves the listener free to explore further. The stories behind the making of each track are incredibly informative and give a glimpse deeper into the artists at work.

                                                                                                                --Murali Coryell