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Attention Mac Users!

Mac users have been experiencing problems in unpacking the WinRAR archives used on this blog. Two solutions have been suggested.

1. Use The Unarchiver - www.theunarchiver.com - see comments on Little Esther Bad Baad Girl post for details.

2. Use Keka - http://www.kekaosx.com/en/ - see comments on Johnny Otis Presents post.

Showing posts with label Doc Bagby. Show all posts
Showing posts with label Doc Bagby. Show all posts

Friday, 27 September 2019

Doc Bagby / Luis Rivera - Battle Of The Organs





















Side 1 (Doc Bagby):
01) Hay Ride
02) Soft One
03) Grinding
04) Deep Purple
05) I Want A Little Girl
06) Memories Of You

Side 2 (Luis Rivera):
01) Tangerine
02) Fat Stocking
03) Heavy Hips
04) Bobby Sox
05) Manhattan
06) Milamo Blues





1980s Sing reissue of King LP 631 which was originally issued in 1959. Four of the six Doc Bagby tracks were originally issued on King singles in 1955 while the two remaining solo tracks made their first appearance on this LP. Of the featured Luis Rivera tracks five were originally released on Federal singles in 1955, while one track received its first release on this LP.

At the time these recordings were made Doc Bagby was a member of the Eddie "Lockjaw" Davis Trio. The four "Doc Bagby Quartet" sides (Grinding, Hay Ride, Soft One, I Want A Little Girl) were cut at a Lockjaw Davis Trio session on April 20th 1955, with guitarist Clifford Bush stepping in to make the trio a quartet. The two unreleased solo tracks were cut at a Lockjaw Davis Trio session on August 16th, 1955.

For more tracks from these Lockjaw Davis sessions and lots more info on Lockjaw see these posts on the blog -


Eddie "Lockjaw" Davis - Modern Jazz Expressions



New Mega links have been added to the above posts.

Harold "Doc" Bagby was a native of Philadelphia who started his musical career at the age of fifteen when he took piano lessons at Central High School with one of his classmates being Bill Doggett. In the 1930s he was leading his own small groups around Philly and went on to lead a big band. After war service he returned to Philly but the economic climate was not condusive to keeping a big band going and Doc soon found himself leading a "cocktail combo" in the lounges of the Philadelphia area.

When the New York record label Gotham relocated to Philadelphia in 1948, Doc was appointed its musical director, arranging and playing on numerous R&B and Gospel sessions from the late 1940s into the 1950s. The first recordings on which he was named artist were released on Gotham in 1952 /53. On these sides he played organ and was accompanied by guitarist Billy Butler but it must be said that it's difficult to get excited by these tracks.

In 1954 Doc teamed up with jazz tenor sax man Eddie "Lockjaw" Davis and drummer Charlie Rice to form a successful sax / organ / drums trio which was an early template for what later became known as "Soul Jazz." In 1956 Doc split from the Lockjaw combo and was signed by Okeh with whom he recorded R&B sides up until early 1958.

The success of Bill Doggett's "Honky Tonk" in 1956 set off a craze for R&B based instrumentals. Doc's Okeh sides featured Mickey "Guitar" Baker and occasionally Everett Barksdale or Billy Muir on guitar and tenor saxes by Seldon Powell and Ellworth Gooding. "Dumplin's" was a hit for Bagby in 1957, climbing not only the R&B chart but also reaching the lower end of the pop chart. A follow up LP "Honky Tonk In Silk" also sold well. Doc played organ on Sil Austin's big instrumental hit "Slow Walk" which reached number 17 on the pop charts in November 1956 and also on Austin's Wing LP "Slow Walk Rock" the cover of which informed the public that this was "an album for 'hip dancers'."


Calling hipsters everywhere - Doc's in the house

The success of "Dumplin's" led to appearances in Rock 'n' Roll stage shows including with Screamin' Jay Hawkins, Lee Andrews & The Hearts, The Clovers and Chuck Berry. In the late '50s and early '60s Doc recorded a series of singles for a variety of small labels, all in an R&B / Rock 'n' Roll style. The Jasmine 2CD set "Smooth Organ, Groove Organ" devotes its second disc to 24 of these small label sides. The first disc has 24 sides from Gotham, King and Okeh. Excellent notes by Bob Fisher. Recommended!


Doc's last single seems to have been a 1966 release on the Newark label - "I'll Always Be In Love With You" / "These Foolish Things" by Doc Bagby and his Organ Trio. There were a couple of LPs in the mid to late '60s - "A Place In The Sun"- The Doc Bagby Hammond Organ Trio (Current S/475) and "The Hits Of The Drifters" - Doc Bagby at The Hammond Organ (Power S 9008).

Doc Bagby died in New York in September 1970 at the comparatively young age of 51.

Information on Luis Rivera is harder to come by, however the sleevenotes of his 1961 Imperial LP "Filet Of Soul" can be found in a review posted on the "Fat Sound" blog here:

https://fatsound.wordpress.com/2016/12/21/filet-of-soul-by-luis-rivera-review/

The post includes a link to a YouTube video which has excerpts of all the LP tracks. Luis was born in San Antonio, Texas, spent most of his early life in Ohio, was a captain in the US Army Air Force, and after the war he studied psychology at the University of Miami. He gave up a position as a clinical psychologist to follow a musical career, starting out with the band of Ivory Joe Hunter, then joining the Roy Milton band when they came through Texas. He accompanied the band to Los Angeles which became his home base.

Luis had a short spell with the Flip Phillips Quintet and then worked with Billie Holiday for two and a half years including tours to Europe and Asia. There was also work as a session musician around LA, including a 1951 /52 session with Joe Houston for Modern,  an Earl Bostic session for King in June 1953, a Linda Hopkins session for Federal in February 1954, and a Linda Hayes session for Hollywood and King in January 1955.

The sides on this LP which were recorded in November and December 1954 were Luis's first releases under his own name. His next release was the "Filet Of Soul" Imperial LP which was recorded in December 1960 and January 1961.

 Billboard, 20th March 1961

The "Filet Of Soul" sleevenotes finish with the information that "Luis may be currently heard at one of Los Angeles' main jazz spots, Dynamite Jackson's Lounge."

Another jazz organist at Dynamite Jackson's

Luis's last recording as named artist was for a Cash LP CLP-1002) sometime in the early 1960s - "Las Vegas" and thereafter the trail fades ...

Vegas, Baby! Vegas!

It's safe to assume that as Luis was a war veteran he is probably no longer an active musician at least here on Earth, for he may well be playing the eternal gig in God's own organ lounge in the sky.

Original Issue Of The Trax on "Battle Of The Organs"

Doc Bagby Quartet: Eddie "Lockjaw" Davis (tenor sax); Harry "Doc" Bagby (organ); Clifford Bush (guitar); Charlie Rice (drums).

Grinding / Hayride - Doc Bagby Quartet - King 4804 - released June 1955

I Want A Little Girl / Soft One - Doc Bagby Quartet - King 4823 - released September 1955

Doc Bagby solo tracks "Deep Purple" and "Memories Of You" first released on King LP 631 in 1959.

Luis Rivera: on "Tangerine" "Fat Stocking" "Milano Blues" - Bill Gaither (tenor sax); Luis Rivera (organ); Ulysses Livingstone (guitar); Gene Wright (bass); Albert Bartee (drums).
On "Bobby Sox" "Manhattan" " Heavy Hips" - Calvin Ponder replaces Gene Wright on bass; add Don Johnson on tumba.

Tangerine / Fat Stockin' - Luis Rivera - Federal 12207 - released January 1955

Heavy Hips / Ruby - Luis Rivera - Federal 12211 - released February 1955

Bobby Sox / Manhattan - Luis Rivera - Federal 12226 - released July 1955

Milano Blues first released on King LP 631 in 1959.

Four Luis Rivera singles were released on Federal. The single not listed above was -

Don't Take Your Love from Me / Please Be Kind - Federal 12215- released April 1955.

Saturday, 23 September 2017

Eddie "Lockjaw" Davis - Eddie Davis ... Uptown



































































Side One:
01. Mean To Me
02. All God's Chillun Got Rhythm
03. This Can't Be Love
04. All Of You
05. If I Were A Bell

Side Two:
01. Night And Day
02. Together
03. Smooth-Ride
04. Yesterdays
05. There's A Small Hotel
06. The Happy Whistler



Originally released as King LP 606 in November 1958.

The return of Be Bop Wino after a much longer than anticipated absence! My apologies for such a long hiatus in posting - I guess I've managed to miss out the whole summer. When I last posted the summer solstice was upon us, the days were long and I was looking forward to a trip to Hamburg. Mission accomplished and a big shout out to two local bars - The Holsten Schwemme in St. Pauli and the Bergkate Gaststätte in Altona. Real pubs, friendly barflies, and not a tourist in sight (apart from my good self and my mates). Scots and Germans definitely make for a good drinking combination, especially if it involves Glaswegians and Hamburgers.

Now autumn is upon us and as we say in Glasgow "the nights are fair drawin' in," so what better way to spend some of the long dark nights than spreading the word on the bop to all and sundry. And let us also note in passing that this post marks the TENTH ANNIVERSARY OF BE BOP WINO.

So enough gabbin' and let's get down to business with this 1980s Swingtime reissue of another Eddie "Lockjaw" Davis album from King, "Uptown" from 1958. It's a seamless continuation of my previous post "Modern Jazz Expressions" which was originally issued in 1956, as "Uptown" contains tracks from the same 1955 sessions as well as from a later 1958 session on which Shirley Scott was the featured organist.

All tracks on Side A were recorded in June 1958 by The Eddie "Lockjaw" Davis Quartet (Eddie Davis on tenor sax, Shirley Scott on organ, Bill Pemberton on bass, Arthur Edgehill on drums) and these tracks were first issued on King LP 606.

The tracks on Side B were recorded by The Eddie "Lockjaw" Davis Trio in 1955 and 1956. Original issue of tracks recorded by first lineup of Eddie "Lockjaw" Davis Trio (Eddie Davis on tenor sax, Doc Bagby on organ and Charlie Rice on drums) in April and August 1955:

"Smooth-Ride," Yesterdays," "There's A Small Hotel," "Night And Day" were first issued on King LP 606. "Together" was issued on King 4863 b/w "Foggy Day" in December 1955.

"The Happy Whistler" which was recorded in July 1956 with Shirley Scott replacing Doc Bagby was issued on King 4966 b/w "Teach Me Tonight" in September 1956.

The arrival of Shirley Scott as featured organist in the Eddie Davis group was the beginning of a successful partnership which lasted until 1960. The group expanded to a quintet for further King sessions in January and February 1957. In the autumn of 1957 Eddie rejoined the Count Basie Orchestra and played on what has been described as "the last great Count Basie album" - "The Atomic Mr. Basie" on Roulette. Two contrasting performances by Eddie on the Atomic album are well worth catching on YouTube - the uptempo "Whirly-Bird" and the slow, moody "After Supper."

In December 1957 Eddie reunited with Shirley Scott for the Roulette LP "Count Basie Presents Eddie Davis Trio + Joe Newman." In early 1958 the Eddie Davis group recorded more sides for Roulette and Roost. On June 14th 1958 they were back at King for the sides featured on Side One of "Downtown" and shortly afterwards (June 20th) the group started their fruitful spell at Prestige with the classic soul jazz LP "The Eddie 'Lockjaw' Davis Cookbook" which was subsequently reissued as the "The Eddie 'Lockjaw' Davis Cookbook Vol. 1" when 2 additional volumes appeared.

The Davis / Scott group's last recordings for Prestige were held on April 12th 1960. Eddie then formed a quintet with fellow "tough tenor" Johnny Griffin which had LPs on Prestige, Milestone and Jazzland.

And so with "Lockjaw" an established soul jazz legend, and bearing in mind that on this blog the 1960s haven't happened yet, Be Bop Wino leaves its readers to investigate for themselves the rest of his career which included another spell with Basie and a long recording career both as leader and sideman which lasted until 1985. Eddie Davis passed away in 1986.

Wednesday, 21 June 2017

Eddie "Lockjaw" Davis - Modern Jazz Expressions













































Side 1:
01. Dizzy Atmosphere
02. It's The Talk Of The Town
03. Leaping On Lenox
04. This Is Always
05. Bean-O
06. I'll Remember April

Side 2:
01. Moonlight In Vermont
02. Johnny Come Lately
03. You Go To My Head
04. Foggy Day
05. Tenderly
06. The Way You Look Tonight

Download from here:



This LP was originally released as King LP 395-506 in 1956:


The LP was re-released in 1960 as "Modern Jazz by Eddie Davis" with a new front cover similar to that used on this 1988 Sing issue.

Original issue on singles of the tracks  from "Modern Jazz Expressions":

Bean-O / This Is Always (King 4801) - Eddie "Lockjaw" Davis Trio - May 1955

Punch / It's The Talk Of The Town (King 4813) - Eddie "Lockjaw" Davis Trio - July 1955

Together / Foggy Day (King 4863) - Eddie "Lockjaw" Davis Trio - December 1955

Scatter / The Way You Look Tonight (King 4904) - Eddie "Lockjaw" Davis Trio - March 1956

Tenderly / Dizzy Atmosphere (King 4928) - Eddie "Lockjaw" Davis Trio - June 1956

"Leaping On Lenox," "I'll Remember April," "Moonlight In Vermont," "You Go To My Head" and "Johnny Come Lately" first issued on "Modern Jazz Expressions."

Eddie "Lockjaw" Davis (the nickname came from the way he blew his sax) was born in New York City in 1921. His sax style was what was known as "mainstream", i.e. rooted in the big band swing era yet he played in varied settings, starting with big bands in the early to mid 1940s, especially with Cootie Williams and also in brief stints with Lucky Millinder and Andy Kirk. His first recordings with his own small group were made in May 1946 for Haven. In December 1946 his group recorded with bopper Fats Navarro for Savoy.

Further Eddie Davis small group recordings were made for Apollo in April 1947 and Lenox sometime in 1947 / 48. Somewhat surrealistically some of Eddie's Lenox sides turned up years later under the pseudonym Hen Gates on "rock and roll" compilations issued by the budget Plymouth label.

In 1948 (possibly during the AFM recording ban) Eddie cut four sides for Bob Shad's "Sittin' In With" label. In 1949 Eddie was involved in several R&B leaning sessions: with blues shouter Carl "King Karl" Davis for National; with Jesse Stone ("Cole Slaw") for Victor; with Eddie "Cleanhead" Vinson for King; and under his own name ("Mountain Oysters") with Bill Doggett also for King.

Eddie's next few recording sessions in 1950-51 were more on the jazz side with live sessions at Birdland being recorded with Gene Parrish, Miles Davis and Slim Gaillard. In October 1951 he was on a session with trombonist Benny Green for Prestige and both artists featured shortly afterwards on a live recording by a group led by Sonny Criss at the Shrine Auditorium in Los Angeles.

In 1952 Eddie joined the reformed Count Basie big band. A 78 rpm single release of "Paradise Squat" (Mercury 89104) featuring hot soloing by Eddie became a big hit for the Count whose use of the organ rather than the piano pointed the way for future Lockjaw releases.

Eddie's stay with Basie lasted into early 1953 (he would return in 1957) but even before splitting from the Basie outfit Lockjaw started recording with small groups which featured the organ - with Bill Doggett and then with Billy Taylor, both for Roost. Further sessions for Roost in 1953 and 1954 featured Eddie Bonnemere on piano and Charlie Rice on drums with some very tasty sax by Eddie.

In 1954 the Eddie Davis Trio lineup of Eddie on sax, Doc Bagby on organ and Charlie Rice on drums came together, recording "Just Too Marvelous" / "Heartaches" for Roost and sometime in the spring of 1954 the trio plus Sonny Stitt were recorded live at Birdland. Sessions for King commenced on April 11th 1955, with further sessions on April 19th and April 20th. Further King sessions were held in August 1955 and February 1956.

As can be seen from the release details above, these sessions resulted in a string of singles as well as this LP. The singles were reviewed in the R&B section of Billboard, so despite the album title "Modern Jazz Expressions" it is obvious that these sides were aimed at the jukebox crowd who liked to hear some good hot blowing (with the occasional ballad) on mostly easily recognizable standards.

When the next King session was held in July 1956 there was a change in personnel with Shirley Scott replacing Doc Bagby on organ. This was the start of a fruitful collaboration which would last until 1960, but that is a tale for our next post on Be Bop Wino.