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…
Harold Ousley: The Tenor Voice That Bridged Blues and BebopHarold Lomax Ousley was born January 23, 1929, in Chicago, Illinois—the cradle of electric blues and a proving ground for countless jazz saxophonists. Heavily influenced by the big-toned Gene Ammons, Ousley picked up tenor saxophone and flute in the late 1940s and immediately set about carving out his own path through the rapidly evolving jazz landscape.
Backing the Legends
The 1950s found Ousley in stellar company, recording behind two of the greatest vocalists in American music: Billie Holiday and Dinah Washington. Imagine being the saxophonist supporting Holiday’s weathered, emotionally devastating voice, or matching Washington’s powerful, blues-drenched delivery. That’s the kind of education money can’t buy—you either rise to the occasion or get left behind. Ousley rose.
Throughout that decade, he also worked as a sideman with his idol Gene Ammons, absorbing the older master’s approach to tone, phrasing, and the art of making a ballad sing. The 1960s brought collaborations with organist Jack McDuff and a young guitarist named George Benson who was just beginning to make noise on the jazz scene.
Stepping Into the Spotlight
Ousley released his first record as a leader in 1961: Tenor Sax on the Bethlehem label—a straightforward title for a straightforward player who let his horn do the talking. Over the following decades, he would lead five more sessions for Muse, Cobblestone, Digi-Rom, Tele-Jazz, and Delmark labels, each one showcasing different facets of his musical personality.
His 16-bar blues boogaloo “Return of the Prodigal Son” demonstrated his rhythmic flair and compositional chops, but it became better known as a highlight on George Benson’s popular Cookbook album—sometimes your song becomes famous through someone else’s interpretation, and that’s okay.
Weathering the Changes
During the 1970s, Ousley found himself playing with jazz royalty—Lionel Hampton’s swinging vibes-led ensemble and Count Basie’s legendary orchestra. But the musical landscape was shifting beneath everyone’s feet. Fusion was exploding, electric instruments were taking over, and the acoustic hard bop sound Ousley excelled at was suddenly out of fashion. When mainstream jazz resurged in the 1980s, it often favored younger players.
Rather than become bitter, Ousley adapted. He moved into cable television production, creating programming that featured jazz performances and interviews—using a different medium to keep the music and its stories alive. He didn’t record again until the late 1990s, but he never stopped being part of the jazz community.
A Musical Identity
Though Ousley’s playing resided heavily in blues—that Chicago foundation never left him—he quickly cited Charlie Parker as his first model for the hard bop lines that gave his solos their forward momentum and harmonic sophistication. But perhaps the most overlooked aspect of his artistry was the gentler side: the sweet, caressing sound he brought to ballads, where his tone became butter-smooth and his phrasing unhurried, letting every note breathe.
A Life in Service to the Music
Tenor saxophonist Harold Ousley passed away on August 13, 2015, in Brooklyn, New York, having spent nearly seven decades contributing to jazz as a sideman, leader, collaborator, and documentarian.
He may not have achieved the fame of some of his contemporaries, but Harold Ousley represents something equally valuable: the solid professional who showed up, played beautifully, supported the music and the musicians around him, and kept the tradition alive even when the spotlight moved elsewhere.
That’s not just a career—that’s dedication.
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Daily Dose Of Jazz…
Billy Harper: The Tenor Titan Who Sang Before He Could Speak Jazz
Long before Billy Harper picked up a tenor saxophone, he was already making music with his voice. Born January 17, 1943, in Houston, Texas, he was singing choral and solo pieces at both secular and sacred events by age five. Music wasn’t something he discovered, it was something already flowing through him, as natural as breathing.
A Prodigy Finds His Instrument
By 14, while still attending Worthing High School, Harper had already formed his first Billy Harper Quintet, a remarkably ambitious move for a teenager. After graduating cum laude, he headed to North Texas State University to study saxophone and music theory, joining their powerhouse big band that was already legendary in jazz education circles. In 1965, the ensemble took first prize at the Kansas Jazz Festival, with Harper’s passionate tenor playing catching the attention of everyone in earshot.
The Move That Changes Everything
The following year, 1966, Harper made the pilgrimage every serious jazz musician eventually makes: New York City. His Coltrane-influenced sound—spiritually intense, harmonically sophisticated, and emotionally raw immediately caught ears. Soon he was playing with jazz royalty: two transformative years with drum master Art Blakey, followed by stints with Elvin Jones, the Thad Jones/Mel Lewis Orchestra, Max Roach, Randy Weston, and Gil Evans throughout the 1970s. These weren’t just gigs; they were nightly masterclasses with living legends who had helped define modern jazz.
Global Ambassador, Singular Vision
Harper toured the world with these groups—Africa, Europe, Japan, across the United States—absorbing influences and sharing his sound with audiences everywhere. But it was his work as a leader that truly showcased his unique vision and voice.
His 1973 album Capra Black became a seminal statement of Black consciousness, fusing avant-garde jazz exploration with gospel fervor and political urgency. Then came 1976’s Black Saint, which not only launched the influential Italian label of the same name but announced Harper as a major international force—a composer, bandleader, and conceptualist with something important to say.
A Prolific Career
With over twenty albums to his name and collaborations with flutist Bobbi Humphrey, trumpeter Lee Morgan, and pianist McCoy Tyner (among many others), Harper has spent recent decades recording primarily for the respected Steeplechase and Evidence labels, documenting his continuing evolution as an artist.
Giving Back
And he’s never stopped teaching—generously sharing his hard-won knowledge at Livingston College, Rutgers University, and The New School of Jazz and Contemporary Music, earning grants and awards along the way. For Harper, passing on the tradition is as important as extending it.
Still Blowing Strong
He continues touring the globe, still delivering that powerful, spiritually charged tenor sound that’s unmistakably his own. His playing carries the weight of gospel testifying, the intellectual rigor of advanced harmonic thinking, and the emotional honesty of someone who’s lived deeply and honestly through their music.
From Houston church choirs to the world’s greatest concert halls and jazz festivals—that’s a journey worth listening to. And Billy Harper is still writing new chapters.
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Daily Dose Of Jazz…
Bill Easley: A Life Lived Through Every Era of Modern Jazz
Some musicians pass through jazz history. Bill Easley has lived it—from Harlem jam sessions to Stax Records, from Arctic military bands to Broadway’s brightest lights.
A Prodigy from Upstate New York
Born January 13, 1946, in Orleans, New York, Easley was already a working professional by age thirteen, gigging with his parents and absorbing the craft from the inside. When he arrived in New York City in 1964, he dove straight into the deep end—studying part-time at the legendary Juilliard School while simultaneously earning his real education in Harlem’s uptown jazz clubs, learning directly from the masters who made the music breathe.
An Unexpected Arctic Interlude
Then came an unexpected detour: the draft. Suddenly, Easley found himself stationed in Fairbanks, Alaska, with the 9th Army Band. It wasn’t exactly 52nd Street, but as any true musician knows, you make music wherever you are—even when surrounded by snow instead of skyscrapers.
The Real Education Begins
Back in action by the late ’60s, Easley was playing the legendary rooms that defined the era—Minton’s Playhouse, the Plugged Nickel, The Jazz Workshop, The Hurricane—standing shoulder to shoulder with George Benson. These weren’t just gigs; they were nightly master classes in jazz history happening in real time, each set a conversation with the greats.
Memphis Soul and Stax Swagger
The ’70s brought a southern migration to Memphis, where Easley entered Isaac Hayes’ orbit, laying down tracks at the iconic Stax and Hi Records—the studios where soul music was being redefined. Even while pursuing his formal education at Memphis State University, he was out there every night with big bands and show bands, whatever was swinging.
Then came the gig that changes everything for any jazz musician: touring with the Duke Ellington Orchestra under Mercer Ellington in the mid-’70s. To play that book, to carry that legacy—it’s a responsibility and an honor few ever experience.
The Great White Way Calls
By 1980, Broadway beckoned, and Easley answered. His theater credits read like a greatest-hits compilation: Sophisticated Ladies, The Wiz, Black and Blue, Jelly’s Last Jam, Fosse—the shows that defined an era of musical theater and kept the jazz tradition alive on the world’s most famous stages.
Never Just a Pit Musician
But here’s the thing about Bill Easley: he never stopped being a jazz cat. Between curtain calls, he was in recording studios with pianists Sir Roland Hanna and Mulgrew Miller, organists Jimmy McGriff and Jimmy Smith, vocalist Ruth Brown, and drummers Grady Tate and Billy Higgins. He recorded for respected labels like Sunnyside and Milestone, keeping one foot firmly planted in the jazz tradition even as the other tapped out Broadway rhythms.
Master of Many Voices
Saxophone, flute, clarinet—Easley commands them all with the hard-won wisdom of someone who’s witnessed every chapter of modern jazz unfold firsthand. From bebop to soul jazz, from Broadway pits to intimate club dates, he’s been there, absorbed it, and made it part of his musical DNA.
Still Writing the Story
And the best part? Bill Easley is still out there, still playing, still adding new chapters to a story that now spans six decades and counting. In a world obsessed with the next new thing, there’s something deeply reassuring about a musician who has mastered the art of being present—in every era, in every room, in every note.
That’s not just a career. That’s a life lived in service to the music itself.