205. Coleman Hawkins with Eddie "Lockjaw" Davis / Night Hawk (1960)

Enough has been said about Hawk's invention of the wheel when it comes to the tenor sax solo. His influence extends over both horizons and has touched untold numbers of musicians both directly and indirectly. But his work, especially that of the transitional 50's and early 60's, is also a lot of fun to listen to. Hawk's professionalism was so cool it was casual, his technique an enigmatic balance of technical innovation and instinct. Here, in a 1960 session for the Swingville imprint and recorded by Rudy Van Gelder, he is heard with fellow tenor Eddie Davis, Tommy Flanagan, Ron Carter, and Gus Johnson. The title track, 10 minutes of slow blues loosely organized around a theme, is a pickup number that demonstrates the players' knack for the above. The contrast between the tone and styles of Hawkins and Davis on tracks like "In a Mellow Tone" provides an added dimension. Flanagan is in top form playing tastefully between the leads, Carter and Johnson a sympathetic unit whose attention to the music goes beyond timekeeping. As with Duke Ellington Meets Coleman Hawkins recorded for Impulse two years later, a good result from such a meeting of the minds was not a foregone conclusion, but in both cases the outcome was memorable.

82. Eddie "Lochjaw" Davis Cookbook, Vol. 2 (1958)

The second installment of the Jaws Cookbook is a hot and steamy affair, steeped in the deep blues magic of the proprietor and soulful organ fury of Shirley Scott. She really works those draw bars! The intensity pulses and swells when Jaws takes a chorus, and the floodgates really open when he yields the floor to her. The Side 1 opener "The Rev" and followup "Stardust" really benefit from this treatment. As if to cool things off, or reel them back in, Jaws occasionally hands it over to Jerome Richardson on flute, which adds an additional texture that sounds as natural as the organ and tenor. After the wait, "Skillet" brings out the uptempo mode. Again Arthur Edgehill and George Duvivier take timekeeping duties, and their performances are the cord that hold the whole thing together, playing tightly and concisely . "The Broilers" raises the roof in Basie fashion, Jaws and Scott blowing huge choruses that seem to beg for the brass of a big band. The OJC CD includes "Willow Weep for Me," previously released on the Prestige sampler, The Soul Jazz Giants. Nice disc, overall.

78. Count Basie / Straight Ahead (1968)

Of all the ideas that floated by Basie in the '60s, this collaboration seems like the least evil of the bunch, and even good. Sammy Nestico composed and arranged all nine tracks. They're melodically inspired and tailored to match the strengths of the band, whose character is retained in quirky tunes like "Hay Burner" or the jumping "Magic Flea." At times the production seems superfluous (Basie's piano, or Marshall Royal's magnificent alto in "Lonely Street" inexplicably drenched in reverb) but compared to some of the other jobs this band did in the '60s (Beatles covers, or recording Disney tunes, to name just two), Straight Ahead is about as close as one can get to the "real" Basie Band without traveling back in time. Nestico recognized the strengths of soloists and much charm stems from their work. Like Eddie Davis on "Fun Time" or Eric Dixon on "Queen Bee." In fact, there's something to look forward to on each track, even if the drums sound like they're in another county. It isn't the first Basie I reach for, but it'll do.

73. The Eddie "Lockjaw" Davis Cookbook, Vol. 1 (1958)

This first installment of the Cookbook is a treat for rhythm and blues fans, but holds sophisticated playing between its grooves and stays aloof from cliches, leaning closer to hard Chicago R&B than the half-cooked tunes I typically associate with items stamped "soul jazz." I should expect as much from the former partner of Johnny Griffin. Here, Jaws is joined by the talented Shirley Scott, who veritably steals the show in pulsing, impassioned choruses and wise use of the draw bars. George Duvivier plays solidly with deft Arthur Edgehill in a concise and unpretentious fashion that adds a feeling of security. There are several of the uptempo numbers in which Jaws excelled ("Have Horn, Will Blow," "Three Deuces") but the big tenor, along with a game Scott, really make their mark in the ballads. "But Beautiful" (pushing 13 minutes and sweating) and "In the Kitchen" are like love letters to the Hawk school, eloquent and hard swinging. You can tell these two get along, especially when Davis steps in after Scott, practically finishing each others sentences.

25. Coleman Hawkins / In a Mellow Tone (1998)

Prestige had it easier than other labels in the task of compiling Coleman Hawkins' "best" studio recordings. Hawk's output on Prestige, Swingville and Moodsville commenced in 1958 and was completed by 1962, so the difficult job of choosing the most exemplary tracks was simplified. They chose from a diverse variety of small groups with Tiny Grimes, Red Garland, Tommy Flanagan, Major Holley, Ray Bryant, and Kenny Burrell, and others. It's a nice sampling of Hawk's technique and improvisational prowess. "Greensleeves" is done as a heartbreaking blues, and "I Want to be Loved" features Red Garland soulfully blocking the chorus while Hawk blows judicious bouts of syrupy vibrato. On Duke's "In a Mellow Tone," Hawk takes the left channel and Eddie "Lockjaw" Davis takes the right, trading gritty R&B inflected licks that progressively up the ante. The best part of this disc is that it does not sound conceptually disjointed. Hawk's distinctive voice and inventive ideas dominate the proceedings and keep the ear interested across almost five years of recordings with an assortment of players.