Daily Dose Of Jazz…
Wade Legge was born on February 4, 1934 in Huntington, West Virginia. He played more bass than piano in his early years, and it was with the bass that Milt Jackson first noticed him, recommending Wade to Dizzy Gillespie. After hiring him, Gillespie moved him to piano and he remained a member of Gillespie’s ensemble until 1954. During his Dizzy years, Legge recorded a date in France as a trio session leader.
Following his tenure with Gillespie, Wade moved to New York City and freelanced there, playing in Johnny Richards’s orchestra, and sessions with Charles Mingus, Sonny Rollins, Milt Jackson, Joe Roland, Bill Hardman, Pepper Adams, Jimmy Knepper and Jimmy Cleveland.
Legge was one of three pianists recording as a member of the variously staffed Gryce/Byrd Jazz Lab Quintets in 1957 and appeared on more than 50 recordings before retiring to Buffalo in 1959. Jazz bassist and pianist Wade Legge died on August 15, 1963 in Buffalo, New York at the age of 29.
Daily Dose Of Jazz…
Kid Thomas was born Thomas Valentine on February 3, 1896 in Reserve, Louisiana and moved to New Orleans in his youth. Gaining a reputation as a hot trumpet man in the early 1920s, he started his own band in 1926, basing himself in the New Orleans suburb of Algiers.
Unaffected by the influence of Louis Armstrong and later developments of jazz, Kid Thomas had perhaps the city’s longest lasting old-style traditional jazz dance band, continuing to play in his distinctive hot, bluesy sometimes percussive style. Although Valentine played popular tunes of the day even into the rock and roll era, he played everything in a style of a New Orleans dance hall of the early 1920s.
Kid Thomas Valentine started attracting a wider following with his first recordings in the 1950s and played regularly at Preservation Hall from the 1960s through the 1980s. He toured extensively for the Hall, including a Russian tour, as a guest at European clubs and festivals, and working with various local bands as well as his own. During the 1960s Kid Thomas recorded extensively for the Jazz Crusade and GBH labels both with his own band and with Big Bill Bissonnette’s Easy Riders Jazz Band. He made over 20 tours with the Easy Riders in the U.S. Northeast.
By the mid 1980s, as Thomas’s strength started to wane, Preservation Hall management brought in Wendell Brunious, who took over much of his trumpet duties, though Kid continued to lead the band. On June 18, 1987, trumpeter Kid Thomas Valentine passed away.
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Daily Dose Of Jazz…
Red Prysock was born Wilburt Prysock on February 2, 1926 in Greensboro, North Carolina. One of the early Coleman Hawkins influenced saxophonists he played in both jazz and rhythm and blues worlds.
He first gained attention playing with Tiny Bradshaw’s band, playing the lead sax solo on his own composition “Soft”, which was a 1952 hit. He also played with Roy Milton and Cootie Williams. While with Tiny Grimes and his Rocking Highlanders, Prysock staged a memorable sax battle with Benny Golson on “Battle of the Mass”.
In 1954, he signed with Mercury Records as a bandleader and moving to R&B had his biggest instrumental hit, “Hand Clappin” in 1955. That same year, he joined the band that played at Alan Freed’s stage shows. He also played on several hit records by his brother and vocalist Arthur Prysock in the 1960s.
Red Prysock released five albums for Mercury and another two for Forum Circle and Gateway record labels. He passed away of a heart attack on July 19,1993 in Chicago, Illinois at the age of 67.
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Requisites
Swingin’ Till The Girls Come Home ~ Eddie ‘Lockjaw’ Davis Quartet | By Eddie Carter
Submitted for your approval this morning from the library is an album that was recorded during Eddie ‘Lockjaw’ Davis’s 1976 tour of Denmark. While there, the tenor saxophonist was so taken with the Danish trio led by drummer Alex Riel, who was well known for performing with many American jazz artists at Jazzhus Montmartre. Both musicians went into the studio to record Swingin’ Till The Girls Come Home (SteepleChase Records SCS 1058). Rounding out the ensemble are Thomas Clausen on piano and Bo Stief on drums. The copy I own is the 1977 U.S. stereo reissue (Inner City Records IC 2058).
The album opener, Swingin’ Till The Girls Come Home by Oscar Pettiford, begins with Stief’s brief introduction ahead of the quartet’s easygoing theme. Eddie soars into a lively opening solo, driving the groove. Bo takes the reins next in a short walk, then Thomas adds the exclamation point, leading back into the melody’s reprise and ending. The tempo moves upward significantly for Cole Porter’s Love for Sale, beginning with the foursome’s upbeat melody. Davis is firing on all cylinders with a brisk opening statement. Clausen then dives into the following interpretation. The leader returns to deliver a few final comments in a short exchange with Riel before the foursome’s reprise fades out slowly.
Out of Nowhere by Johnny Green and Edward Heyman takes the temperature down to a medium tempo for the ensemble’s opening chorus. Eddie is off to a fine advantage with a consistently effective first solo. Thomas is at the top of his game in the succeeding statement, and Eddie and Bo share a concise and perfectly delivered finale, leading to the reprise and climax. Ghost of a Chance by Victor Young and Ned Washington becomes the centerpiece of ‘Lockjaw’ in a hauntingly beautiful version. Davis’s solo is a melodic beauty, underscored by the rhythm section’s accompaniment, culminating in an elegant ending.
Side Two starts with Locks, by Eddie ‘Lockjaw’ Davis. The rhythm section brings the song to life, segueing to the quartet’s theme. Eddie takes the opening with an infectious and bouncy beat. Thomas echoes the leader with a bustling solo, then gives way to Bo, who expresses joy in the third reading. Eddie returns to swing solidly toward the climax. Wave by Antonio Carlos Jobim begins with Davis gliding efficiently over the Latin melody. Davis takes the first of two bites out of this jazzy apple first, then Clausen puts together an impressive reading. The saxophonist reappears for a few final comments preceding the quartet’s reprise and fadeout.
Indiana by James Henley and Ballard MacDonald takes off at a fast gallop from the foursome’s opening notes of Riel’s introduction to the quartet’s melody. Eddie’s opening solo begins aggressively; he then shares the spotlight with Alex in a concise exchange before the theme is restated and the song concludes. Bye Bye Blackbird by Ray Henderson and Mort Dixon also swings at a comfortable pace, beginning with the quartet’s happy theme. Davis gets right to work wailing on the opening statement, then Clausen follows the leader enthusiastically, preceding the ensemble’s closing chorus and exit.
Nils Winther produced Swingin’ Till The Girls Come Home, with Ove Sørensen delivering a fantastic recording. The album’s sound quality is exceptional, from vibrant highs to warm lows, as the quartet creates a bright, clean, richly detailed soundstage that draws you in. If you’re a fan of the tenor saxophone, I highly recommend and invite you to explore Swingin’ Till The Girls Come Home by the Eddie ‘Lockjaw’ Davis Quartet on your next record-shopping adventure. It’s an excellent album featuring one of jazz’s great musicians, and I believe it will become a cherished addition to the libraries of both newcomers and seasoned jazz aficionados!
~ Bye Bye Blackbird, Ghost of a Chance, Indiana, Love for Sale, Out of Nowhere, Wave – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Ari Brown was born on February 1, 1944. Growing up in Chicago he learned to play the piano and saxophone. He attended Wilson College where he met Jack DeJohnette, Henry Threadgill, Roscoe Mitchell and Joseph Jarman.
Brown played piano in R&B and soul bands in the 1960s, then switched to saxophone in 1965. By 1971 he was a member of the AACM (Association for the Advancement of Creative Musicians) and was also playing with The Awakening in the early 1970s. In 1974 Ari lost several teeth in a car crash, and temporarily switched to piano again until he recovered.
By the late 1970s he was playing sax once more with McCoy Tyner, Don Patterson and Sonny Stitt. In the 1980s, Brown worked with Lester Bowie, Von Freeman, Bobby Watson and Anthony Braxton. He would later become a member of Kahil El’Zabar’s trio.
As a leader he recorded three albums for Delmark and as a sideman has recorded thirteen sessions with The Awakening, the Ritual Trio, Orbert Davis, the Juba Collective and the Chicago Jazz Philharmonic. Saxophonist and pianist Ari Brown continues to perform and record.