Home New York Report COOKIN’ WITH JAWS AND THE QUEEN: THE LEGENDARY PRESTIGE COOKBOOK ALBUMS

COOKIN’ WITH JAWS AND THE QUEEN: THE LEGENDARY PRESTIGE COOKBOOK ALBUMS

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SHOWCASES INFLUENTIAL SOUL-JAZZ PARTNERSHIP OF
SAXOPHONIST EDDIE “LOCKJAW” DAVIS AND ORGANIST SHIRLEY SCOTT

The set includes the albums Cookbook, Vol. 1, Cookbook, Vol. 2, Cookbook, Vol. 3, and Smokin’all recorded in 1958 by Rudy Van Gelder and newly remastered by Bernie Grundman. Due out February 3 on Craft Recordings and is available to pre-order beginning today (11/15) as a limited-edition 180-gram vinyl 4-LP set, as well as a 4-CD set and digital collection. The advanced track “Heat’ N Serve” is available now to stream/download.

Los Angeles, CA (November 15, 2022) – Craft Recordings celebrates the centennial of Eddie “Lockjaw” Davis with a brand-new, four-album collection featuring the tenor saxophonist’s incendiary 1958 Cookbook albums with organist Shirley Scott. Set for release on February 3, in 180-gram vinyl 4-LP, 4-CD, and digital configurations, Cookin’ with Jaws and the Queen: The Legendary Prestige Cookbook Albums compiles four classic soul-jazz albums: Cookbook, Vol. 1, Cookbook, Vol. 2, Cookbook, Vol. 3, and Smokin’, all of which were recorded in stereo by the celebrated engineer, Rudy Van Gelder.

Available for pre-order beginning today (11/15), Cookin’ with Jaws and the Queen has been newly remastered from the original analog tapes by the GRAMMY®-winning engineer Bernie Grundman. Produced by Nick Phillips, the all-analog 4-LP edition (limited to 5,000 copies worldwide) is pressed on 180-gram vinyl at RTI. At the same time, each LP is individually housed in a tip-on jacket featuring the original Prestige Records album artwork. The 4-CD and digital editions feature three bonus tracks that were recorded in the 1958 sessions but didn’t appear on the original LP releases: “Avalon,” “Willow Weep For Me,” and an alternate take of “But Beautiful.” Rounding out the vinyl and CD packages is a deluxe booklet featuring recording session photos and offering new, in-depth liner notes by jazz journalist Willard Jenkins, who serves as the artistic director for the DC Jazzfest.

When tenor saxophonist Eddie “Lockjaw” Davis and Hammond B-3 organist Shirley Scott entered Rudy Van Gelder’s hallowed Hackensack, NJ studio in 1958, it was clear that something special was about to take place. For roughly three years, Scott and Davis had been at the forefront of the soul-jazz sound, setting the gold standard for the tenor sax/organ combo. At 36, “Lockjaw” (also known as “Jaws”) was already a veteran of the New York City jazz scene, having spent much of the 1940s playing in the bands of Lucky Millinder, Andy Kirk, and Cootie Williams. But the horn player was also a stylistic chameleon who straddled the line between the classic big band era and the emerging sounds of hard bop.

24-year-old Shirley Scott was a rising talent from Philadelphia who stood out as one of the few female musicians in the male-dominated jazz world. Scott, who would soon become known as the “Queen of the Organ,” formed a creative partnership with Davis in 1955 and made her earliest recordings alongside the horn player. By 1958, they were a well-oiled duo. In his liner notes, Jenkins underscores this magical pairing with a quote from saxophonist James Carter: “Every successful artistic partnership has members that truly work together in simpatico towards a common goal, which in this case is groovin’ and swingin’ their listening audience beyond good health! [Scott] never fails…to provide the perfect underpinning for Lockjaw to either soar above or to dig into to achieve the ultimate goal of a great musical encounter every time. Lockjaw listens to Shirley and takes his cues, particularly on ballads, but she’ll put some gentle, intense fire under him on up tempos and inspire the best out of Lockjaw.” Jenkins adds, “This is classic Black vernacular jazz.”

Accompanying Davis and Scott in the studio was multi-reedist Jerome Richardson, who played the flute, baritone sax, and tenor sax. Bassist George Duvivier and drummer Arthur Edgehill rounded out the talented lineup. The sessions, which took place on June 20, September 12, and December 5, 1958, were captured by a 34-year-old Rudy Van Gelder at his Hackensack studio, while Prestige Records’ Bob Weinstock and Esmond Edwards served as producers.

The repertoire that comprises four albums’ worth of material is a delicious combination of Davis-Scott originals and jazz standards. The Eddie “Lockjaw” Davis Cookbook, Vol. 1, initially released in June 1958, features several highlights, including the bluesy radio hit “In the Kitchen.” Clocking in at just under 13 minutes, the mid-tempo, Johnny Hodges-penned track offers plenty of time for each musician to showcase their talents. Ballad “But Beautiful” is another standout track which, Jenkins notes, is bolstered by “Lockjaw’s opulently expressive tone…[and] his beautifully legato, conversational solo.” Scott’s solo, he adds, is “soul personified in the keys.”

The momentum continues with The Eddie “Lockjaw” Davis Cookbook, Vol. 2, released in December 1958, which features interpretations of the Hoagy Carmichael-Mitchell Parish standard, “Stardust,” as well as originals like “Skillet” and opener “The Rev.” The last piece, as the title conveys, features an expressive, conversational delivery between the musicians, as if between a preacher and his parishioners.

Cookbook, Vol. 3, which dropped in 1960, features such highlights as the George and Ira Gershwin classic, “Strike Up the Band,” the Shirley Scott original “The Goose Hangs High,” and the reflective “My Old Flame,” which Jenkins remarks, “elicits the kind of wistful posture from Jaws that one might expect from the lament of a love lost, befitting its title. Ms. Scott enters as if embodying that lost love’s farewell—’See ya later, baby.'”

The collection concludes with Smokin’, an album that culled from the 1958 sessions but was originally released in 1964. The confident set finds the group jamming on originals like “Smoke This,” “High Fry,” and the self-titled “Jaws,” as well as such classics as Johnny Burke-Arthur Johnston’s “Pennies from Heaven,” Edgar Sampson’s “Blue Lou,” and the George Forrest-Robert Wight tune, “It’s a Blue World.” The latter two tracks, Jenkins notes, exemplify Davis’ unorthodox approach to balladry. “Jaws consistently displays a slightly vigorous attitude towards ballads, rarely luxuriating at the moment. His balladic immersion is more that of someone who’s got places to go, people to see, and food to cook; nonetheless, his reverence for a good ballad is no less than his peers; it’s just that he constantly sounds ready for a more purposeful stroll rather than a casual linger.”

Davis and Scott certainly did have plenty to accomplish following these phenomenal sessions. The two musicians would continue to collaborate through the end of the decade, recording such albums as Jaws in Orbit and Bacalao (both released in 1959) and Misty (1963). Yet, despite the popularity of their work together, the artists went their separate ways, with Davis moving away entirely from the organ/tenor sound that he and Scott made famous. Scott soon joined forces with her husband, tenor saxophonist Stanley Turrentine, and recorded dozens of sessions as a leader during her lengthy career. Davis, meanwhile, would continue to toe the line between small group soul-jazz and the classic sounds of big bands, working with Count Basie, Kenny Clarke, Gene Ammons, and Johnny Griffin—with whom he’d record multiple “Tough Tenors” albums. But those five years that Davis and Scott worked together were instrumental in shaping the sound of soul-jazz—and these four delectable albums endure as some of their best work.

Click here to pre-order or pre-save Cookin’ with Jaws and the Queen: The Legendary Prestige Cookbook Albums now, and head toCraftRecordings.com for exclusive Prestige Records merchandise.

Tracklist (4-LP)

Disc 1 – The Eddie “Lockjaw” Davis Cookbook, Vol. 1

Side A
Have Horn, Will Blow
The Chef
But Beautiful

Side B
In The Kitchen
Three Deuces

Disc 2 – The Eddie “Lockjaw” Davis Cookbook, Vol. 2

Side A
The Rev
Stardust

Side B
Skillet
I Surrender, Dear
The Broilers

Disc 3 – The Eddie “Lockjaw” Davis Cookbook, Vol. 3

Side A
I’m Just A Lucky So And So
Heat ‘N Serve
My Old Flame

Side B
The Goose Hangs High
Simmerin’
Strike Up The Band

Disc 4 – Smokin’

Side A
High Fry
Smoke This
Pennies From Heaven

Side B
Pots And Pans
Jaws
It’s A Blue World
Blue Lou

Tracklist (4-CD):

CD 1 – The Eddie “Lockjaw” Davis Cookbook, Vol. 1

Have Horn, Will Blow
The Chef
But Beautiful
In The Kitchen
Three Deuces
But Beautiful (Alternate / Take 1)*

CD 2 – The Eddie “Lockjaw” Davis Cookbook, Vol. 2

The Rev
Stardust
Skillet
I Surrender, Dear
The Broilers

CD 3 – The Eddie “Lockjaw” Davis Cookbook, Vol. 3

I’m Just A Lucky So And So
Heat ‘N Serve
My Old Flame
The Goose Hangs High
Simmerin’
Strike Up The Band

CD 4 – Smokin’

High Fry
Smoke This
Pennies From Heaven
Pots And Pans
Jaws
It’s A Blue World
Blue Lou
Avalon*
Willow Weep For Me*

* bonus track

About Craft Recordings: Craft Recordings is home to one of the largest and most essential collections of master recordings and compositions in the world. Its storied repertoire includes landmark releases from icons such as Joan Baez, John Coltrane, Creedence Clearwater Revival, Celia Cruz, Miles Davis, Isaac Hayes, John Lee Hooker, Little Richard, R.E.M., Joan Sebastian, and Traveling Wilburys. The catalog recordings of celebrated contemporary acts include A Day to Remember, Evanescence, Alison Krauss, Nine Inch Nails, Taking Back Sunday, and Violent Femmes, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Fania, Fantasy, Fearless, Musart, Nitro, Panart, Prestige, Riverside, Rounder, Specialty, Stax, Vanguard, Varèse Sarabande, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft is also home to the Billie Holiday and Tammy Wynette estates which preserve and protect their respective names, likeness, and music through the day-to-day legacy management of these cultural trailblazers. Craft Recordings is the catalog label team for Concord Recorded Music. For more info, visit CraftRecordings.com and follow us on Facebook, Twitter, Instagram, TikTok, YouTube, Apple Music, and Spotify.

Article Source: Craft Recordings 

 

A graduate of Empire State College with a dual major in journalism and Latin American studies, Editor-in-Chief Tomas Peña has spent years applying his knowledge and writing skills to the promotion of great musicians. A specialist in the crossroads between jazz and Latin music, Peña has written extensively on the subject. His writing appears on Latin Jazz Network; Chamber Music America magazine and numerous other publications.

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