Lockjaw

Amazon.com
The Bay Area's Dance Hall Crashers were originally founded as a ska band and side project by Rancid members Tim Armstrong and Matt Freeman, but the group evolved through several permutations into a pop-punk band with no Rancid members. The Dance Hall Crashers' major-label debut, Lockjaw, is full of staccato guitar riffing and impatient complaints about authority, but it's all set to irresistibly catchy melodic hooks. As with Green Day, the contradiction between the unhappy lyrics and the deliriously happy music comes across as a remarkably healthy response to an unhealthy social environment. Here, that response is given a fresh twist by the chirpy, twin lead vocals by Elyse Rogers and Karina Denike and by the remaining traces of Caribbean rhythms. --Geoffrey Himes

Lockjaw,Dance Hall Crashers,Mca,Pop,Punk-Pop,Rock,Rock/Pop,Ska,Ska-Punk,Third Wave Ska Revival

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Lockjaw

Average customer rating: Ultra Swinging Blowing Session ! ! ! This is where it's at Duelling tenors

Very Saxy Eddie "Lockjaw" Davis , Buddy Tate , Coleman Hawkins , and Arnett Cobb Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Swing General | Swing Jazz | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: The Tenor Scene Portrait of Art Farmer Destiny's Dance Motion Magnificent ASIN: B000000YPK Release Date: 1991-07-01

Tracks:

1. Very Saxy
2. Lester Leaps In
3. Fourmost
4. Foot Pattin'
5. Light And Lovely

Customer Reviews:

Ultra Swinging Blowing Session ! ! ! .......2007-03-26

You don't get much better than this...

Four "big sound" hard swinging tenors rockin' and wailing out with Eddie Lockjaw and his crack tight heavy groovin' rhythm section featuring Shirley Scott on Organ ! ! !

Somewhere between the swing heavy phrasing of bop and the juke box rockin' R & B that later evolved into rock were guys like Eddie Lockjaw, Buddy Tate, Coleman Hawkings and Arnett Cobb - - masters of everything big (...that's what you get when you come from Texas as several of these guys did...) - - big tone, big swing, big rhythm.

The tunes on this album are agressive toe tapping blowing sessions drenched with lot's of blues and soul... and some pretty darn smooth walking and swinging by the rhythm section (George Duvivier on bass, Arthur Edgehill on drums.) Edgehill's drumming is interesting because he's clearly deep in the groove... a bebopper yet rock solid time keeper delivering an unforgetably strong lock on Shirley's comp as well the soloists phrasing... In many ways the session is his ! ! !

Recorded in 1959 and released on the prestige label, Rudy Van Gelder's legendary engineering skills take you back in time... you can almost feel the spit and breath of the players coming from their reeds, that's how warm and sharp it is.

I wish every Jazz musician I ever had to play with studied this album intensely, but for some reason I suspect its not "recommended listening" on most of those Berkeley wannabe's "must have" spin lists !

This is where it's at.......2002-12-20

A joyous, soulful, swinging set featuring some of the most underappreciated saxophonists of all time. Davis/Tate/Hawkins/Cobb give a no holds barred lesson in saxophonic badassness not to be missed. If you're a saxophone player, you will LOVE this album; and if you're anybody else you'll probably dig it just the same. Saxes rule.

Duelling tenors.......2001-03-16

This album augments Eddie "Lockjaw" Davis's working band--Shirley Scott on organ, George Duvivier on bass, Arthur Edgehill on drums--with a peerless array of tenor saxophonists. Coleman Hawkins's appearance here ups the ante considerably, given that all the other players--Davis, Arnett Cobb & Buddy Tate--are indelibly indebted to his pioneering work on the tenor. But Lester Young is another presence here, albeit a ghostly one: he'd died just a month earlier, & there's a splendid all-in version of "Lester Leaps In" which can't help but be a memorial to the great man.

The material here is uncomplicated: contrafacts on "Sweet Georgia Brown" & "I Got Rhythm", & a few different versions of the blues. But there's nothing slack about the playing: each saxophonist plays his part to the hilt, & one gets a fine sense of the different styles of the players, from the wonderfully grumpy & swaggering tone of Hawkins to the sheer elegance of Tate. My only regret with this album is the absence of a ballad feature: surely that would have been an excellent showcase? Oh well: no matter, as what's here is fine enough. This is an unpretentious, unfussy album which provides an evocative summing-up of the first generation of tenor saxophonists, even as the same label (Prestige) was busy releasing the work of a saxophonist, John Coltrane, who was already forging ahead way past it....

Average customer rating: um.......ya What a shocker... no... DHC's Lockjaw a MUST HAVE in my book... Even Guys Can Like It! Don't Worry, It's OK!

Lockjaw Dance Hall Crashers Manufacturer: Fontana Mca ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Ska Punk | Hardcore & Punk | Alternative Rock | Styles | Music Punk-Pop | Hardcore & Punk | Alternative Rock | Styles | Music Third Wave Ska | Ska | Alternative Rock | Styles | Music Ska General | Ska | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: The Old Record (1989-1992) Purr The Live Record: Witless Banter & 25 Mildly Antagonistic Songs About Love It Means Everything Blue Plate Special [ENHANCED CD] ASIN: B000002OXZ Release Date: 1995-08-29

Tracks:

1. Shelley
2. Don't Wanna Behave
3. Queen For A Day
4. Flyin
5. Good For Nothin
6. Buried Alive
7. Sticky
8. Too Late
9. Go
10. Enough
11. Pictures
12. Day Job
13. So Sue Us
14. We Owe

Amazon.com

The Bay Area's Dance Hall Crashers were originally founded as a ska band and side project by Rancid members Tim Armstrong and Matt Freeman, but the group evolved through several permutations into a pop-punk band with no Rancid members. The Dance Hall Crashers' major-label debut, Lockjaw, is full of staccato guitar riffing and impatient complaints about authority, but it's all set to irresistibly catchy melodic hooks. As with Green Day, the contradiction between the unhappy lyrics and the deliriously happy music comes across as a remarkably healthy response to an unhealthy social environment. Here, that response is given a fresh twist by the chirpy, twin lead vocals by Elyse Rogers and Karina Denike and by the remaining traces of Caribbean rhythms. --Geoffrey Himes

Customer Reviews:

um.......ya.......2004-10-12

So I have been listening to the dance hall crashers since I was like 14 which was like 9-10 years ago. I bought this cd a a local record shop back then and I fell in love. I haven't listened to them for a few years even though I still have all of their cds, but I thought it would be important to share that this band absolutely is cool. The ladies are beautiful, and in concert they rock. So if any teeny bopper wanna be punk jerk decides that he or she should think otherwise than you are not punk...you are not ska punk...and you should not give advice to any more amazon users. thank you.

What a shocker..........2004-07-15

I found this CD in a bunch of burned CDs a friend was throwing away. It was the first one I picked up, and I let her keep the rest. After I found out who exactly I was listening to I rushed to buy the real CD. The entire Lockjaw album is upbeat and catchy, and is one you can listen to over and over. The harmonies are fun, and the band builds a solid backbone behind the girly duo. Pay special attention to the song GO- it's my personal favorite, and a good starting point for anyone looking to love DHC.

no..........2002-05-23

I won't get into a negative review like I'd do for the Backstreet Boys or *N'Sync, but still, DHC isn't what you'd call a good punk band (in my opinion). I admit, I like Buck-O-Nine. I like Green Day. And believe it or not, I LOVE Rancid! I've even started wearing a Tim Armstrong-like mowhawk! But as for the Dance Hall Crashers, no. The song "Sticky" has the strangest lyrics ("Take the knife out of my back/clean the blade and put it back"). even a Slayer fan like me finds that weird, probably because it's being sung by a chick. The 2 girls definetly aren't fun to look at either. They're both extremely pail with dark red lipstick. Real female punk is Joan Jett, The Donnas, Patti Smith, you know, singing about rock & roll and boys and pissing and stuff and not songs about other girls with mental problems. To me, DHC's style has nothing to do with real punk. Now, since I like punk, even ska punk, I hope DHC sells well, but I wouldn't bother buying one of their albums.

DHC's Lockjaw a MUST HAVE in my book..........2001-07-11

Wrote this review because, quite simply this album is MONSTER POP, just insane giddiness, harmonies reminiscent of X with the lead singer in lower octaves, grass roots appeal.. just totally throws it out there, hilarious punk rock humor... They draw on soooo much great great music... they are really step wayy over the boundary of just a ska band... The lyrics, harmonies and solid band really took me by surprise... they can really tear it up. Songsss are anthems harmonized by cynical gurls who tell it the way it is, my favorite song keeps changing.... I have been listening to if for the better part of a year, and have never taken it out of rotation... This band really has it going on. Get the album. Tell your friendz... They totally deserve your support... Totally entertaining, CD is destined to be a classic. Songs are wayyy too good not to be... I listened to one other album by them, maybe Honey I am Homely... but this one is my fav so far... Holds it's very own place in my music collection.

Even Guys Can Like It! Don't Worry, It's OK!.......2000-07-11

Alright, I'm a 17(18 on the 26th)-year old guy and I love this CD. It's the only DHC I have, but I've heard other songs by them. I'm sure any guys out there who like DHC are afraid to admit it. Well, DHC is no different from other punk/ska bands. After all, it was Rancid who put them together. The only quality making them "girly" is their vocals. THAT'S IT! Cm'on! They have good songs here! My fav being a split between "Go" and "Pictures". Get this CD. You'll see what I mean.

Average customer rating: Close your eyes .... and swing! Former Basie Stand-outs Swing Hard

Jawbreakers Eddie "Lockjaw" Davis Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Wail, Moody, Wail Basie Reunion Bennie Green Blows His Horn Good N' Groovy Coolin' ASIN: B000000YR9 Release Date: 1991-07-01

Tracks:

1. Oo-Ee!
2. Broadway
3. Jawbreakers
4. Four
5. Moolah
6. A Gal In Calico
7. I've Got A Crush On You
8. Close Your Eyes

Customer Reviews:

Close your eyes .... and swing!.......2006-08-16

I recently fell in love with these two amazing players, just these two cats, "Sweets" Edison and "Lockjaw" Davis. I knew Lockjaw through Johnny Griffin's records (they recorded a lot together with marvellous results), being the Griff one of my alltime favourite tenors. Lockjaw is that kind of tenor, you know, like Ben Webster and Coleman Hawkins, with great "muscles" in his sound and a lot of variety in his expressions. But Sweets is Just a recent discovery for me. Later going back to search for things from him in my collection I found a lot of records with him inside but I never paid to much attention to him I have to admit. And what a shame that has been! He's been with Count Basie and he's a swinger more than a bopper, a more traditional kind of player, but I think that in his case, as in the case of all pure artists, it's not a matter of styles because his talent is so pure that goes beyond boundaries. As a matter of fact Sweets plays if not pure bebop, sure a modern idiom all his own. Something which stands in its own right between traditional Count Basie Jazz and bebop, with impressive results. This record is amazing in my opinion. It is another gem in the immense Jazz catalogue. The music is a sort of hard bop (it's 1962) very infected with the blues but with the bebop discoveries too. The program is very interesting. I point out the last tune, Close your eyes, a minor swinger with GORGEOUS solos from the guys. Uh, the full line up is; Sweets, Lockjaw with Hugh Lawson piano, Ike Isaac doublebass, Clarence Johnston drums. This record is full of Candies and think about it, you even will not have to go to the dentist after this! Five stars, no problem!

Former Basie Stand-outs Swing Hard.......2000-07-25

This was the first of what was to become many collaborations between Harry "Sweets" Edison and Eddie "Lockjaw" Davis. Both played with Count Basie (although not at the same time) and thus both share a strong connection to the blues and to swing. And this early 60's session does swing and shows good chemistry between the two. Their styles couldn't be more dissimiliar - Edison's minimalism against Davis' voluminous sound. But the band is tight, the charts solid and solos interesting if not innovative. The only reason I can't give it 5 stars is because as a Sweets Edison fan I compare all of his outings with tenor players (including those with Zoot Sims, Illinois Jacquet and Prez) to his infamous session with Ben Webster. It's still the high watermark. But this one's highly recommended.

Average customer rating: Masterfull.

The Tenor Scene Eddie "Lockjaw" Davis Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Live at Minton's -- First Set Very Saxy Pisces Battle Stations Tough Tenors ASIN: B000000Z3P Release Date: 1997-08-19

Tracks:

1. Light And Lovely
2. Straight, No Chaser
3. Woody'n You
4. Bingo Domingo
5. I'll Remember April

Customer Reviews:

Masterfull........2005-01-22

Although a litlte short, this is an excellent meeting between Johnny Griffin and Eddie Davis. Both of these two tenors have such a big, fierece sound they're perfect to meet for a 'battling' session like this.

Both tenors hold their own with really strong dynamic solos, the music is charging from the first cut and doesn't let go.

Average customer rating: THIS IS A GREAT ONE! FORGOTTEN MASTERPIECE

Live at Minton's -- First Set Eddie "Lockjaw" Davis with Johnny Griffin Manufacturer: Prestige ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Battle Stations The Tenor Scene Pisces Very Saxy Tough Tenors ASIN: B000009NWL Release Date: 1998-08-18

Tracks:

1. Billie's Bounce
2. Epistrophy
3. Well, You Needn't
4. In Walked Bud
5. Land Of Dreams
6. Bean O
7. Robbins Nest
8. Our Delight
9. Dee Dee's Dance
10. Epistrophy

Customer Reviews:

THIS IS A GREAT ONE!.......2004-04-07

Great tenor sax record. These guys really play on this one. A must for any Hard Bop collection.

FORGOTTEN MASTERPIECE.......2002-01-27

One of the lost jewels of the bebop era, this masterpiece features the bossest tenors in the business, plus blues-drenched Junior Mance at the keyboard, for a dazzling live set so full of passion you can hardly stay in your seat. Both tenors were at the top of their form, never better than when they were together, drawing out the fire in each other, not so much in competition as in mutual respect. Griffin is a technician advanced as Coltrane or Rollins in his melodic agility. Lockjaw Davis has, well, the jaws. His embrochure and tone are only rivalled by Ben Webster: but while Ben is the poet, Lockjaw is the virtuoso. Together, Lockjaw and Grif burn brighter than any tenor tandem in bebop, and that includes the bosses, Stitt and Ammons.

This tenor tandem recorded at least ten albums together. Noteworthy is their selection of tunes. While most tenor duos jammed on simple riffs, these two chose the complex melodies and harmonics of Thelonious Monk. This music is both emotional and intellectually challenging. The crowd at Minton's that night was really into the music, and their backround presence on the recording only makes the music more gritty, more real. And you are right there! This quintet ought to be rediscovered NOW!

Average customer rating: Arguably as tough a tenor as you'll ever hear.

The Eddie "Lockjaw" Davis Cookbook, Vol. 1 Eddie "Lockjaw" Davis Manufacturer: Prestige ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Soul Message The Honeydripper Screamin' the Blues Boss Tenor Eastern Sounds ASIN: B000F8DSUG Release Date: 2006-06-13

Tracks:

1. Have Horn, Will Blow
2. The Chef
3. But Beautiful
4. In The Kitchen
5. Three Deuces
6. But Beautiful (Alternate Take)
7. Avalon

Customer Reviews:

Arguably as tough a tenor as you'll ever hear........2007-03-25

"Jaws" was arguably the baddest player of them all. Gentlemanly in appearance, as smooth-mannered as his suits were well-pressed, when it came time to shine, he had no equals. Often the clean-up hitter in a three or four-tenor line-up when I would catch him at one of Joe Segal's Jazz Showcase tenor battles, he could transform a mere cooking session into a full-scale Mardi Gras, taking the entire rhythm section on his shoulders and literally making them swing, often going immediately to his uniquely penetrating, sensually raw altissimo register, using it melodically, percussively and vocally--a volatile mix of exquisite melodies, mesmerizing riffs, and rapturous "testifying."

But Jaws didn't even require a blowing session to score with his rhetoric. Of all the tenor players I've heard perform live with the Basie band none played with more authority, technical command, and crowd- connecting communicativeness that Lockjaw. On the burners he "locked" into Sonny Payne's or Harold Jones's hi-hat, a rhythmic dynamo as much as an inventive melodic force, never wasting a note, so strong as to make a listener believe he alone was capable of carrying the entire band. On ballads his solos and fills were so expressively "vocalized" and attention-getting that on the classic "Sinatra at the Sands" album, the featured performer, sensing he might be upstaged by the tenor player, directs some humorous but unmistakably disparaging remarks toward Jaws during "I've Got a Crush on You."

The present RVG remaster captures Jaws at an optimal period of his career, 1958, before his restlessness led him to try booking, managing, producing, and everything but what he does best--working within the "lounge sound" genre of great tenor/Hammond B-3 ensembles. Shirley Scott, as usual, relies on a bass player for the recording session--and one of the best: George Duvivier. There's no question about her chops, but her drawbar registrations tend to favor some of the heavier textures used by earlier players--Wild Bill Davis, Milt Buckner--rather than the popular Jimmy Smith sound. As a result, the addition of Jerome Richardson's flute (to a B3 session!) is a welcome, inspired touch. All the same, if anyone can stand up to the big organ and still keep his own sound intact, it's Eddie Davis. Regardless of the fixin's surrounding the plate, there's never a question about who's serving up the haute cuisine when Jaws is in the kitchen.

Average customer rating: Jaws & Shirley blow the roof off

Smokin' Eddie "Lockjaw" Davis with Shirley Scott Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Jaws Soul Shoutin' The Eddie "Lockjaw" Davis Cookbook, Vol. 2 Blue Flames Streetlights ASIN: B000000YWV Release Date: 1992-02-17

Tracks:

1. High Fry
2. Smoke This
3. Pennies From Heaven
4. Pots And Pans
5. Jaws
6. It's A Blue World
7. Blue Lou

Customer Reviews:

Jaws & Shirley blow the roof off.......2005-10-27

Lockjaw Davis and Shirley Scott made quite a few albums together when they were both with Prestige Records in the late 1950s-early 1960s. This one was cut in 1958. Jerome Richardson appears on three sides playing baritone, flute and tenor sax. He's probably best on the way up-tempo blues HIGH FRY. Over half the tunes are taken at ferocious tempos, which is a bit overkill. At the other end of the tempo spectrum is IT'S A BLUE WORLD, a big-boned ballad (the only ballad on the date) with good Lockjaw. The date has the feel of a blowing session with everyone getting their licks in and not too much emphasis on finesse. An okay CD, but not the greatest for any of the artists here.

Average customer rating:

Bacalao Eddie "Lockjaw" Davis & Shirley Scott Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Latin Pop | Latin Music | Styles | Music Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Latin Jazz | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Afro-Jaws Moodsville, Volume 1 ASIN: B00008AY69 Release Date: 2003-02-18

Tracks:

1. Last Train From Overbrook
2. Sometimes I'm Happy
3. That Old Black Magic
4. Fast Spiral
5. Dobbin' With Redd Foxx
6. Come Rain Or Come Shine
7. Dansero
8. When Your Lover Has Gone

Average customer rating: Red, the right Jaws-breaker

Moodsville, Volume 1 Red Garland Trio with Eddie Lockjaw Davis Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Similar Items: Solar Soul Burnin' Manteca A Garland of Red When There Are Grey Skies ASIN: B000000YK4 Release Date: 1991-07-01

Tracks:

1. We'll Be Together Again
2. Stella By Starlight
3. I Heard You Cried Last Night
4. Softly Baby
5. When Your Lover Has Gone
6. Wonder Why
7. Blue Room
8. The Red Blues

Customer Reviews:

Red, the right Jaws-breaker.......2007-06-15

Lockjaw was such a dominating player that, on recordings at least, less is frequently more. This session belongs to Red Garland, which is a good thing because Red reminds us that Jaws was a complete player, not simply a high-pitched, screaming wall-banger who was virtually assured of victory in any cutting contest featuring tough tenors. On the present session Red's playing is synonymous with the over-used expression "laid-back," or "mellow," and Jaws falls under his spell, rediscovering the low registers of his horn and filling them out with the silky and seductive tones that flustered Old Blue Eyes the night Lockjaw threatened to upstage him on Gershwin's "I've Got a Crush on You" ("Sinatra at the Sands," 1966).

My interest in Jaws was reawakened by the recent RVG reissue of Eddie Davis with Shirley Scott on "Cookbook, Vol. 1." Then I picked up "Straight Ahead," a session on which Jaws as the sole horn is backed up by the impeccable Tommy Flanagan. It's a colossal mismatch, a gross miscalculation, making Jaws sound like a sonic bully, huffing and puffing, ranting and raving til the cows come home. Jaws is a "bad" player, and when he puts on his mean and evil face, there had better be some equally thunderous support underneath him. Shirley Scott's heavy, churchy Hammond B3 provides just that, as does Oscar Peterson on "Eddie Lockjaw Davis At Montreux, '77."

On "Moodsville, Vol. 1" Jaws does the unthinkable: he lays off the top tones, staying out of the high register completely and, as a result, reminding us that he really could play ballads. Red keeps all of the tempos way, way down (probably the slowest "Blue Room" on record) and, as usual, comes up with some delightful surprises (I doubt I'm the only one who's never heard of "I Heard You Cried Last Night."

"The Red Blues," at 3 minutes 5 seconds, is absolute perfection, from the Tatumesque tenths in the left hand to the patented Red Garland widely-spaced block chords of the solo chorus. It takes genius to play this simply and effectively, to get so much out of so little. At times I wish the lesson had made a more lasting impression on Lockjaw.

[Since playing this disc a couple of more times, I've become conscious of a certain "intonation unease." In some respects, it's fascinating, because they're not necessarily "out of tune." But Red's piano definitely has not been brought up to the 440 standard on all strings, though I'm suspicious that some of the problem stems from Sam Jones' bass. I've always loved his gritty tone and considered him peerless among all "walkers" (as did Cannonball and Oscar), but I've always questioned his ear (as did Oscar).]

Average customer rating: Jaws with Oscar and Ray: Earth-shaking chemistry

Montreux '77 Eddie "Lockjaw" Davis Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Similar Items: Straight Ahead Jawbreakers Grab This! ASIN: B00005YF71 Release Date: 1991-07-01

Tracks:

1. This Can't Be Love
2. I Wished On The Moon
3. The Breeze And I
4. Angel Eyes
5. Telegraph
6. Land Of Dreams
7. Blue Lou

Customer Reviews:

Jaws with Oscar and Ray: Earth-shaking chemistry.......2007-04-01

I'm not sure why Norman Granz released so many albums with the title Montreux '77, thereby encouraging listeners to lump them all together and simply ignore them. In any case, this one is certainly a stand-out: Oscar is in full stride and moreover reunited with Ray Brown. Eddie "Lockjaw" Davis, moreover, is arguably the Oscar Peterson of the tenor saxophone, simply a fearless, accomplished, inimitable, untouchable player, whose unique rhythmic drive makes him ideally suited to Oscar while his rougher-hewn tones make him a complementary contrast to the pianist's polished style.

It's a wonder Jaws doesn't betray more nervousness, performing all alone with Oscar's trio, especially since the pianist shows absolutely no mercy, counting off the opener at a tempo that would have most players looking for a handy exit. The ensuing numbers are no less busy. Even on the "down tempo" of "The Breeze and I" Oscar double-times his solo, almost threatening to bury the featured soloist in a shower of flying notes. But Jaws was never one to shirk from a challenge, which is exactly what he gets on this occasion. By the time the group gets to a blues, "Telegraph," he's in full control, making his message so loud and clear that it's Oscar who's breathing hard. Jaws goes on to top himself on 'Land of Dreams," using that patented altimissimo register of his as much to spearhead the rhythm section as to create melodic excitement. Now Oscar really has to go after him--which he does, ingeniously employing repeated quarter notes and rhythms in the manner of Lockjaw himself. Predictably, the program ends as it began--with another burner, "Blue Lou" (Is it possible to play any faster?). Jimmie Smith's drums are in there somewhere, but quite frankly the other three musicians are in such a zone that I wonder how any drummer's hi-hat could synch with the blurred off-beats.

Simply put, there's no group of players alive who, even if they put their minds to it, could produce music such as this in the present millennium.

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