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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On The Bookshelf
Sinatra: An Unauthorized Biography | Earl Wilson
When celebrated newspaper columnist Earl Wilson dared to pull back the curtain on Frank Sinatra in 1976, he created something extraordinary: a no-holds-barred portrait of America’s most enigmatic entertainer while Ol’ Blue Eyes was still commanding stages and headlines.
This wasn’t just another celebrity biography—it was a deep dive into the tempestuous world of a living legend. Wilson masterfully weaves together Sinatra’s meteoric career, his passionate romances, his headline-grabbing controversies, and the contradictions that made him endlessly fascinating. Rare photographs punctuate the narrative, offering intimate glimpses into moments both public and private, revealing the complex, sometimes volatile personality behind the velvet voice.
For Sinatra devotees and collectors, the hardcover first edition has become a prized treasure—a time capsule capturing the Chairman of the Board at the height of his powers. What makes this biography particularly compelling is its audacity: published without Sinatra’s blessing during his reign as an entertainment titan, it stands as both a fearless piece of journalism and an invaluable historical record.
Whether you’re a devoted fan or a cultural historian, Wilson’s unauthorized portrait remains essential reading—a vivid snapshot of Sinatra in full swing, controversy and all.
Sinatra: An Unauthorized Biography ~ 1976 | Earl Wilson
Requisites
Greensleeves ~ Shoji Yokouchi Trio plus Yuri Tashiro | By Eddie Carter
I was looking for something interesting to play at the start of my Tuesday morning when I came across an album by the Shoji Yokouchi Trio and Yuri Tashiro. Greensleeves (Three Blind Mice TBM-5011) is a 1978 release with a program of four jazz standards and three creative originals. The personnel consists of Yuri Tashiro on Hammond organ (tracks A1 to A4, B3), Shoji Yokouchi on folk guitar (tracks A1, A2), electric guitar (tracks A4, B1, B2), and gut guitar (tracks A3, B3), Kunimitsu Inaba on bass, and Hajime Ishimatsu on drums. The copy I own is the 2017 Impex Records U.S. Limited Edition stereo audiophile reissue, sharing the original catalog number. No. 2581 of 3000.
Side One opens with Willow Weep For Me by Ann Ronnell. Shoji’s gentle introduction gets things off to a good start for the quartet’s slow-paced melody. Shoji has the first say and tenderly embraces the opening solo. Yuri follows with a thoughtfully passionate reading, while Kunimitsu and Hajime complement both elegantly into the theme’s reprise and finale. Bobby Timmons’ Moanin’ affords everyone solo space beginning with the quartet’s happy, upbeat theme. Shoji takes the song’s first lively reading, then Yuri makes her presence felt with skillful assurance. Kunimitsu follows with a brief statement, and Shoji and Hajime share a short exchange, preceding the closing chorus and vibrant climax.
Misty by Erroll Garner and Johnny Burke begins with Shoji setting the stage as he leads the ensemble through the gorgeous theme. He continues to reveal his lyrical side in a delicate opening statement. Yuri then enhances the song’s charm with a graceful interpretation. Kunimitsu and Hajime contribute the romantic, disciplined accompaniment, leading into the reprise and a soothing finale. The first of three compositions by Shoji Yokouchi, Drink Up, Vodka Martini, features the guitarist in a playful mood throughout the introduction and melody. As the song’s only soloist, Shoji conveys a driving vitality that bounces along, and the band’s chemistry shines, supporting him ahead of the melody’s restatement.
New Orleans Sunday is a trio performance featuring Shoji, Kunimitsu and Hajime. The trio puts the song through its paces with a catchy melody out of the gate. Shoji launches the opening with a driving rhythm, then Kunimitsu mines a vein of unsuspected riches in the following solo. Shoji and Hajime add a tasty treat in a short conversation before the trio’s reprise and conclusion. Greensleeves begins with a haunting intro, before picking up pace for the trio’s theme. Shoji takes the lead solo in a series of infectiously propulsive choruses. Kunimitsu goes for a lightly swinging walk next, then Hajime enters the spotlight to give a brief workout, leading back to the ending theme and soft summation.
Your Watch Is Ten Minutes Slow picks up the tempo one final time to wrap up the album. The quartet’s agile melody starts things off, then Shoji gets down to business on the opening solo. Yuri responds with a spirited reading ahead of the foursome’s return to the theme and close. Takeshi Fujii produced the initial session, and Yoshihiko Kannari managed the recording console. Bernie Grundman mastered this audiophile reissue, and Chris Bellman engineered it. The reissue features a thick cardboard cover; the sound quality is excellent, with a spacious, clear, and detailed soundstage. The record was pressed on 180-gram audiophile vinyl and is silent until the music begins.
Shoji Yokouchi recorded 46 albums over his career, and Yuri Tashiro released 51 titles over her career. If you’re in the mood for an album that weaves together beloved jazz standards with fresh, creative compositions, I invite you to check out Greensleeves by the Shoji Yokouchi Trio and Yuri Tashiro, the next time you’re out record-shopping. It’s an excellent place to start discovering the music of both artists. A delightful album that’s perfect for late-night listening and is sure to please any jazz enthusiast and fans of guitar and organ-centered ensembles!
~Misty, Moanin’, Willow Weep For Me – Source: JazzStandards.com ~ Greensleeves – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Chris Potter: A Jazz Journey from Chicago to the World Stage
Born on New Year’s Day 1971 in Chicago, Illinois, Chris Potter discovered his musical calling early in life. Though he spent his formative years in Columbia, South Carolina, his extraordinary talent knew no boundaries. A natural prodigy, young Chris explored multiple instruments—mastering both guitar and piano—before finding his true voice in the saxophone.
By age 13, Potter was already holding his own on professional jazz stages, captivating local audiences with his precocious gifts. His passion for the music led him to New York City, where he honed his craft at two prestigious institutions: the New School and the Manhattan School of Music.
A Distinguished Career
As a bandleader, Potter has released more than a dozen critically acclaimed albums, earning recognition from the most discerning voices in jazz. His work has landed in the top ten lists of Jazziz and Slate magazines, as well as The New York Times—a testament to his artistic vision and technical brilliance.
Equally impressive is his work as a collaborator. Potter has shared stages and recording studios with an extraordinary roster of jazz legends, including Patricia Barber, Kenny Werner, Marian McPartland, Red Rodney, Paul Motian, Adam Rogers, the Mingus Big Band, Ray Brown, Dave Holland, James Moody, and Joanne Brackeen—just to name a few.
Today, Chris Potter continues to enchant audiences worldwide as a saxophonist (both alto and tenor), multi-instrumentalist, and composer, constantly touring, performing, and recording new music that pushes the boundaries of contemporary jazz.
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Daily Dose Of Jazz…
Fabrizio Mocata was born on December 8, 1977 in Sicily, Italy. He established himself as a maestro in the music business thanks to his knowledge of the primary jazz genre and proficiency in the subgenre of smooth jazz.
His music seamlessly combines the rich traditions of jazz, classical music with smooth jazz. His creativity is distinguished by his combining complex melodies and harmonies.
Mocata is a well-known talent in the jazz world and has had an enduring impression on the jazz community.
Pianist, arranger and composer Fabrizio Mocata continues to create and perform.
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