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

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone

Requisites

The Jazz Messengers at The Café Bohemia, Volume 2 | By Eddie Carter

Submitted for your approval this morning, we’re returning to the little jazz club at 15 Barrow Street to see The Jazz Messengers at The Café Bohemia, Volume 2 (Blue Note BLP 1508). Returning to the stage are Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, Horace Silver on piano, Doug Watkins on bass, and Art Blakey on drums. The copy I own is the 1978 King Record Company Japanese mono reissue, sharing the original catalog number. Just as he did to start the evening, Art once again greeted the audience, encouraging any latecomers to settle in and enjoy themselves as The Jazz Messengers got things rolling.

The opening selection, Sporting Crowd, is a lively Hank Mobley original that’s off to the races with Blakey and the rhythm section’s rocking introduction, leading into the ensemble’s swinging, cohesive theme. Kenny kicks off his opening statement with a brass bite in a fiery performance that displays his impeccable chops. Hank launches into a scintillating solo that builds intensity before passing the spotlight to Horace, who impresses in an energetic interpretation. Art has the last word and delivers an electrifying display before the ensemble returns to take the song out.

Art introduces the 1944 jazz standard, Like Someone In Love by Jimmy Van Heusen and Johnny Burke. It first appeared in the film “Belle of the Yukon,” and Blakey would re-record it in 1960, but it remained shelved until 1967, when it was released as the title track of The Jazz Messengers album. The ensemble lovingly honors this beloved tune with a relaxing melody. Kenny retakes the lead, delivering a fine example of delicacy and sensitivity. Hank brings the second solo off in charming style, then Horace wraps up with an easygoing reading before the melody’s reprise and warm applause from the audience.

Art turns the microphone over to Kenny Dorham, who gets the spotlight to himself when he introduces Yesterdays, the beautiful 1933 ballad by Jerome Kern and Otto Harbach. It first appeared in the Broadway musical, “Roberta,” that year and was featured again in the 1935 film. Over the past ninety years, it’s become a beloved jazz standard, cherished and reinterpreted by countless artists. The trumpeter’s performance is a model of thoughtful sensitivity as he delivers a melody of serene beauty. As the song’s only soloist, his interpretation shines with gentle sensitivity, each phrase rendered with graceful elegance and culminating in a thoughtful, reflective conclusion. 

Avila and Tequila by Hank Mobley injects renewed energy into the quintet with an uptempo beat, with Art’s Latin-inspired, lively, lengthy percussive introduction leading into the vigorous melody. Hank launches into a searing opening statement that creates a lot of heat. Kenny follows him closely, keeping the fires burning in a robust performance. Horace continues cooking hard with a brisk interpretation, inspiring Doug and Art to propel the beat to a vibrant, swinging peak. The drummer rounds out the solos with a brisk workout, joined by Mobley, Silver, and Watkins, before the ensemble comes together for the swift reprise and enthusiastic ovation.

The album closes with I Waited For You, a 1946 ballad by Dizzy Gillespie and Gil Fuller that hasn’t been over-recorded. Hank opens with a delicately pretty introduction, leading into Kenny’s heartwarming melody. The trumpeter continues embracing a touch of refined artistry in the opening statement. Hank follows, gently navigating the song’s nostalgic beauty in the following interpretation. Horace provides the song’s exclamation point in a beautifully crafted finale, exquisitely conceived and presented, leading into the quintet’s breathtaking climax and a slow fadeout as the group reprises their theme.

Alfred Lion produced The Jazz Messengers at Café Bohemia, Volume 2, along with its companion, while Rudy Van Gelder took care of the recording during the group’s live performance. The King Japanese mono reissue offers fantastic sound quality—clean and lively. It’s truly a delightful listening experience from The Jazz Messengers, showcasing some of the finest in Hard-Bop, just as its companion does. If you’re new to jazz or a longtime fan of the group, I wholeheartedly recommend adding The Jazz Messengers at Café Bohemia, Volume 2 to your library. It’san album that promises a rich and enjoyable musical journey.

~ Like Someone In Love, Yesterdays – Source: JazzStandards.com © 2026 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,drums,history,instrumental,jazz,music

Requisites

The Jazz Messengers at The Café Bohemia, Volume 1 | By Eddie Carter

The year 1955 was a remarkable one for Art Blakey, following his group’s performance at Birdland the previous year, which resulted in A Night at Birdland, Volumes 1, 2, and 3. All three releases were a triumph for the drummer, allowing him to establish a lasting band, The Jazz Messengers, which he co-led with Horace Silver. The inaugural lineup showcased some of the era’s brightest rising stars. Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, Horace Silver on piano, and Doug Watkins on bass. The Jazz Messengers at The Café Bohemia, Volume 1 (Blue Note BLP 1507) documents the quintet’s performance at the jazz club on November 23, 1955. The copy I own is the 1978 King Record Company Japanese mono reissue, sharing the original catalog number.

Art greets the audience at the opening of the set, letting them know they’re in for a memorable cooking session, then cheerfully introduces The Jazz Messengers to everyone in attendance. The quintet starts the set with Soft Winds by Benny Goodman and Fred Royal. The song opens smoothly, with the ensemble’s melody at a relaxed pace. Hank leads the way, confidently captivating the audience and delivering each note of the opening statement efficiently. Kenny follows with a charming performance of lively agility, then Horace brings the solos to a rousing finish, ahead of the theme’s restatement and conclusion.

Kenny Dorham not only played trumpet on this album, but he also arranged every song the group performed. The Theme ends the first side on a thrilling note, with Blakey launching the song with a dazzling introduction before the ensemble’s brisk opening chorus. Dorham leads the charge first with surgical precision, then Silver enters next, building on the excitement in a performance that swings with a happy lift. Mobley takes the baton and lays down a fiery groove of intense heat. Silver returns for a second spirited reading, then Blakey delivers a powerful closing statement before the group’s return for the reprise and climax.

The second side kicks off with Kenny Dorham’s Minor’s Holiday, maintaining the high-spirited energy set by the previous tune. Blakey’s vigorous introduction sets the stage for the ensemble’s speedy theme. Dorham is again the first soloist and really cooks, cleverly weaving in hints of Sing, Sing, Sing throughout his performance. Mobley steps up enthusiastically with an energetic reading next. Silver follows with an exhilarating interpretation that races through each line with intense drive. Dorham then trades spirited riffs with Blakey’s speedy workout, culminating in the theme’s reprise and an electrifying finish.

Alone Together, by Arthur Schwartz and Howard Dietz, is a showcase for Hank, who introduces the song and leads the rhythm section in the pensively beautiful melody. As the song’s only soloist, he delivers an enchanting performance of gentle sensitivity ahead of the quartet’s reprise and soft summation. Prince Albert by Kenny Dorham and Max Roach closes the album and opens with a relaxed, inviting ensemble melody. Kenny takes the lead and gives a captivating solo. Hank follows with an easygoing groove that’s velvety smooth. Both horns share a brief dialogue with Art before the theme’s return.

Rudy Van Gelder oversaw the recording duties for this album and the companion volume two, ensuring that those who couldn’t be present at The Café Bohemia that evening could still enjoy an extraordinary listening experience. The reissue’s sound quality is superb, with an exceptional soundstage transporting the listener to the club’s cozy, vibrant atmosphere. The Jazz Messengers at The Café Bohemia, Volume 1 stands as a testament to the quintet’s outstanding performance on that special night. Every solo is inspired, and for those eager to expand their musical tastes, I highly recommend this album as an excellent addition to any jazz enthusiast’s library!

~ A Night at Birdland, Volume 1 (Blue Note BLP 5037), A Night at Birdland, Volume 2 (Blue Note BLP 5038), A Night at Birdland, Volume 3 (Blue Note BLP 5039) – Source: Discogs.com ~ Alone Together – Source: JazzStandards.com © 2026 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,drums,ensemble,history,instrumental,jazz,music

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

More Posts: choice,classic,collectible,collector,guitar,history,instrumental,jazz,music,organ

Requisites

Afternoon in Paris ~ John Lewis and Sacha Distel | By Eddie Carter

My mother was a big fan of The Modern Jazz Quartet, and today’s selection from the library highlights its founder and musical director, pianist John Lewis, joining French guitarist Sacha Distel on their 1957 collaborative album Afternoon in Paris (Atlantic 1267). It was one of her favorite records to play during our Sunday dinners growing up,and I had almost forgotten how enjoyable this album truly is. The supporting cast is superb: Barney Wilen on tenor saxophone, Pierre Michelot (tracks A1-A3) and Percy Heath (tracks B1-B3) on bass, Connie Kay (tracks A1-A3) and Kenny Clarke (tracks B1-B3) on drums. The copy I own is the 2021 French limited-edition mono audiophile reissue (Versailles MEDX 12005) released by Sam Records.

I Cover The Waterfront by Johnny Green and Edward Heyman, which opens side one, begins with John’s beautiful introduction. Sacha takes over to state the tasteful theme, and leads the way in a gorgeous reading. Barney has the last word in a warm performance that picks up pace until the pianist ends the way he began, softly. Dear Old Stockholm opens with piano, guitar, and tenor sax playing a brief segment of the melody, incorporating Pierre’s bass interlude, until it concludes. The pace picks up significantly for Barney’s swinging opening statement. Sacha delivers straight passion in the following solo, then John builds the third reading with smooth efficiency. All three soloists engage in a short exchange ahead of the pianist’s reprise and gentle ending.

The title tune, Afternoon in Paris by John Lewis, slows the pace to mid-tempo as the group begins the melody. Barney is the first to solo and cooks aggressively. Sacha steps in next to offer a splendid study in soulful improvisation. John makes his entrance with a perfectly locked-in groove. Pierre has the last word, and his sturdy bass lines lead the ensemble into the melody’s restatement. All The Things You Are by Jerome Kern and Oscar Hammerstein II gets side two underway with John’s pretty introduction. Barney launches into a swinging performance, then Sacha takes the reins and gets into a fantastic groove. John follows with a short solo, then he shares a brief word with Kenny before taking the song out softly.

Bags’ Groove by Milt Jackson got its title from the composer’s nickname. It opens with Barney stating the theme, leisurely, alongside Percy and Kenny. Sacha then begins the opening solo. John taps a creative vein next. Barney begins the third reading at ease, but gradually cruises to a satisfying climax. Percy and Kenny share a brief conversation preceding the theme’s reprise and summation. Ann Ronnell’s Willow Weep For Me begins with John’s gentle piano introduction, setting the stage for Sacha’s elegant, understated approach to the melody and his opening statement. The spotlight shifts to Barney, who delivers one of his most memorable solos on the album. John steps in last, providing a gorgeous improvisation that guides the ensemble to a graceful finish.

Although the producer of the original Afternoon in Paris session remains unidentified, Disques Versailles recorded the initial album, and Fred Thomas oversaw this audiophile reissue for Sam Records. The album’s sound quality is exceptional for a 1950s recording, with a warm, airy soundstage that makes you feel as if you’re in the studio with the musicians as they’re performing. It was remastered from the original tapes and pressed on 180-gram vinyl at Optimal Press using the Metal Mothers process from Pallas in Germany. This edition offers a listening experience that truly captures the album’s essence.

This was Sacha Distel’s sole album collaboration with John Lewis, yet both ensembles seamlessly integrate Lewis’s lyrical piano sensibility with Distel’s refined guitar elegance. The musicians’ interaction is both spontaneous and intuitive, culminating in six extraordinary performances. If you’re in the mood for an engaging blend of Bop and Cool Jazz, I cordially invite you to spend an Afternoon in Paris with John Lewis and Sacha Distel on your next record-shopping trip. I’m confident you’ll encounter a memorable album that will leave a lasting impression well beyond the record’s end!

~ All the Things You Are, I Cover The Waterfront, Willow Weep For Me – Source: JazzStandards.com ~Afternoon in Paris, Bags’ Groove, Dear Old Stockholm – Source: Wikipedia.org © 2026 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,guitar,history,instrumental,jazz,music,piano