Eddie “Lockjaw” Davis with Paul Gonsalves - Love Calls
Prix habituel
€35,00
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ORDER LIMITED TO ONE ITEM PER CUSTOMER
Eddie "Lockjaw" Davis - tenor saxophone [click here to see more vinyl featuring Eddie "Lockjaw" Davis]
Paul Gonsalves - tenor saxophone
(Davis is the first soloist on Love Is Here To Stay, Just Friends & I Should Care ; Gonsalves plays first on the other duets)
Roland Hanna - piano [click here to see more vinyl featuring Roland Hanna]
Ben Tucker - bass
Everett Barksdale – guitar
Grady Tate - drums
1 LP, standard sleeve
Limited edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Pallas
Label : Pure Pleasure Records
Original Label : RCA
Recorded in RCA Victor’s Studio B, New York City.
Engineered & mixed by : Bernard Keville
Produced by Brad McCuen
Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London
Originally released in 1968
Reissued in 2014
Tracks:
Side A :
- Love Is Here To Stay
- When Sunny Gets Blue
- If I Ruled The World
- Time After Time
- Just Friends
- Don't Blame Me
Side B :
- I Should Care
- The Man With The Horn
- We'll Be Together Again
- A Weaver Of Dreams
- If I Should Lose You
Reviews :
"Think of “Lockjaw” Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and – same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity.
If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost – to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington’s Dimuendo and Crescendo In Blue at Newport 1956.
It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad – Ben Webster in Davis’ case, Coleman Hawkins in that of Gonsalves.
Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded.
The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording’s appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists." Audiophile Audition Review
Ratings :
AllMusic : 3 / 5 , Discogs : 4,25 / 5