Listening to Prestige 354 - Eddie "Lockjaw" Davis and Shirley Scott

What a difference Ray Barretto makes to a session!

Of course, it's not just him. Davis and Scott blow the cathedral ceilings off Rudy Van Gelder's Englewood Cliffs shrine, and if you ever wondered if Moodsville meant "you can sneak this record on for your Jackie Gleason fans, and maybe they won't notice it's jazz," you can forget that right now. This is a session that left me thinking two things, and two things only. One, I'm so glad I'm a jazz fan and I get to experience music like this, and two, How is it possible that I never heard this before?

So pardon me if I'm speechless for a while, as I just listen to the music a few more times, all the way through.

OK, I'm back. Still amazed. Eddie Davis plays right on that sweet spot at the cusp of bebop and rhythm and blues. Ray Barretto is the musician's musician on congas, equally adept at playing Latin or bebop, but sensitive as he is to the boppish tempos of Mr. Jaws, this one has that Latin edge all the way through. And Shirley Scott is the perfect accompanist to Davis's bebop and the perfect spur to send the music into the next decade. My God, she could play! And she was so inventive.

The Moodsville album which uses the bulk of this session's material begins with two numbers from an earlier trio session. Then it starts afresh with "Give Me a Goodnight Kiss," by Lee Morse, a singer of whom I was previously unaware, but she was a big deal in the 1920s, matched only by Ruth Etting for record sales.

Curious, I listened to Lee Morse's recording of "Give Me a Goodnight Kiss."  She's a very nice singer, and in those days she had her own band, which included Eddie Lang and a couple of new kids named Tommy and Jimmy Dorsey. She puts a twist of yearning into the song, Davis hears it a bit differently.

It's interesting that he hears it at all. Morse kept performing through the late 1940s, but by the end or th3 1920s alcohol had pretty much destroyed her. Her jump to superstardom was supposed to come in 1927 with the starring role in a Zeigfield musical, but on opening night she was too drunk to go on, and her place was taken...by Ruth Etting. Etting's signature songs, like "Love Me or Leave Me" and "Ten Cents a Dance" (should have been Morse's; it was from that musical) have become standards, but I can find no other version of "Give Me a Goodnight Kiss."

Davis takes the first solos at a good but not breakneck tempo, abetted by some tasty work from Wendell Marshall and Ray Barretto, nicely completing each other's thoughts, and some always ingenious comping from Scott. When she comes in about two thirds of the way through for her solo, you realize that as good as Davis has been, this is what you've been waiting for. She builds up to a series of crescendos, and then Davis comes back for a final version of the head, again with Barretto and Marshall, and with a sweet, yearning quality that's reminiscent of Lee Morse.

This is the beginning of an eclectic set. They follow with Frank Loesser's "Moon of Manakoora," originally sung by Dorothy Lamour in a movie (and yes, she was wearing a sarong). It's had a number of pop recordings, and a few jazz interpretations, starting with Benny Carter and also including Wayne Shorter and Jimmy Rowles. Davis, Scott and Barretto get pretty seriously into it, eleven minutes worth, Barretto starting the game with a challenging and seductive rhythm.

"Just Friends" was composed by John Klenner, who is not known for much else, but pretty nearly

everyone has recorded "Just Friends," with the honors probably going to Charlie Parker with strings. This version would have to be right up there, though, with the three principals spurring each other to new heights. "Speak Low" has a haunting melody by Kurt Weill, sensitively handled by Davis with Barretto providing a rhythmic counterpoint. Davis gets wilder as the number progresses, and by the time Scott joins in all bets are off, although Davis comes home to the melody at the end.

"I Wished on the Moon" was written by Ralph Rainger, who had an impressive career before dying young in a plane crash. It finishes up the album, but was the first tune to be recorded that day.

The Moodsville release was entitled Misty. and hit the shelves in 1963. The odd tune out for the day was Cole Porter's "From This Moment On." It was added to a 1967 release, Stompin'.