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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MELTON MUSTAFA JAZZ FESTIVAL

The 29th Annual Melton Mustafa Jazz Festival Weekend returns to Florida Memorial University for an unforgettable music alumni homecoming honoring Dr. Dawn Batson.

Artists:
Jesse Jones Jr. ~ Saxophone
Mark Strowbridge ~ Guitar
James Cotman ~ Drums
Leon “Foster” Thomas ~ Steel Pan
Doug Carter ~ Piano
Nicole Yarling ~ Violin, Vocal

The FMU Funk Jazz AllStars:
Wildmayer Marcelin ~ Saxophone
Mark McClary ~ Drums
Raignor Rollocks ~ Piano
Jaquan Hunter ~ Bass
Joel Chinnery

Day 2 – February 27, 2026
Cigars & Jazz | Dress to Impress!
Gardens Cigar Lounge
19801 NW 27th Avenue
Miami Gardens, FL 33056
8:00 – 10:00PM

Festival Tickets: $20.00 ~ $230.00

See full schedule for details.

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PATTI AUSTIN

A Night of Legacy, Voice, and Vision. Patti Austin Pays Tribute to Patrick Williams.

Grammy Award-winning vocalist Patti Austin joins the Henry Mancini Institute Orchestra and Big Band with Steve Guerra, conductor, for a powerful tribute to the late composer, arranger, and musical visionary Patrick Williams. This unforgettable evening brings to life Williams’ rich, genre-defying legacy—music that was, as lyricist Arthur Hamilton described, “muscular, sensuous, powerful, and captivatingly rhythmical.”

Known for his masterful writing for film, jazz, and the concert hall, Williams received 16 Grammy nominations and a Pulitzer nod for An American Concerto. His music has graced the voices and instruments of legends such as Frank Sinatra, Eddie Daniels, and Tom Scott—and, notably, Patti Austin.

Austin, a revered artist whose career spans jazz, R&B, pop, and the Great American Songbook, brings her unmatched depth, honesty, and elegance to this program. Described by The New York Times as one of the few artists who can authentically channel Ella Fitzgerald, Austin was a close collaborator of Williams, recording several of his works including the GRAMMY-nominated “52nd and Broadway” and selections from his Home Suite Home and Sinatraland albums. Her performances offer not only musical brilliance, but a window into the personal connections that animated Williams’ compositions.

Audiences will be treated to a two-set concert featuring Williams’ bold orchestral works followed by a dynamic second half of big band music and heartfelt vocal performances by Austin. Central to the program will be selections from her celebrated For Ella album, bringing Williams’ sophisticated arrangements and Austin’s commanding interpretations of the Great American Songbook to the forefront.

Tickets: $50.00 General Admission | $45.00 Seniors | $15.00 Student

Stream: https://www.youtube.com/live/fyxztdDdmrw

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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

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TERENCE BLANCHARD

Malcolm X Jazz Suite Featuring Terence Blanchard, The E-Collective and Turtle Island Quartet

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