The Revisiting series features albums from the past that played a significant role in Latin Jazz history. The purpose of this series is to introduce new Latin Jazz listeners to important albums and look back at these albums in historical perspective. Each entry will jump to a different point in Latin Jazz history - this week sends us back to 1961.

Brief dips into Latin Jazz afford established jazz artists an opportunity to explore unknown territory and unlock another side to their musicianship. Their improvisation skills guide them through most rhythmic foundations; they may not completely manipulate the clave, but they can still shape exciting solos. The lack of swing rhythms inspires different ideas that provide a fresh perspective on their personal voice. Some jazz artists seek knowledgeable Latin musicians to guide these sessions, helping them capture an authentic balance between jazz harmony and Latin rhythms. As long as the jazz artist treats the style with respect and strays from novelty, their trip through Latin Jazz can offer insightful glimpses at the line between jazz and Latin music. Extended stays in the Latin Jazz world require a more in-depth study and must be viewed through a different analytical lens. Short explorations hold a different historical reference though, and they allow listeners to reflect upon the artist from a unique standpoint.

Eddie “Lockjaw” Davis spent his early life far removed from the Latin Jazz world. He began his career in the late 1930s, displaying his tough tenor sound in a variety of swing and blues settings. His affinity for these styles made him a favorite of the big bands; during the 1940s, he moved through groups led by Cootie Williams, Lucky Millinder and Andy Kirk. In the mid-1950s, Davis grew into a prominent soul jazz figure through his work with organist Shirley Scott. Davis smoothed his sound considerably during his time with Scott, finding a comfortable middle ground between restraint and motion. At the same time, he worked as a featured soloist with the Count Basie big band, a relationship that he would continue through the 1970s. Davis led his own small group through most of his career, but he hit a high point with his 1960 Tough Tenors, a collaboration with Johnny Griffin. Davis kept both feet firmly planted in swing, bop, and blues, but in 1961, he ventured into new territory.

Afro-Jaws brings together Davis’ aggressive tenor sound, Gil Lopez’s strong arrangements, and Ray Barretto’s percussion mastery. Davis’ rough tenor sound, full of vibrato, introduces “Wild Rice” over an up-tempo combination of swing and son montuno, leading into his bop solo. “Tin Tin Deo” receives an interesting treatment, moving between Barretto’s guaguanco groove and drummer Ben Riley’s half-time swing. Both Davis and trumpet player Clark Terry find comfortable improvisatory spaces over the swing rhythm until the percussionists jump back into a rumba for the melody and Barretto’s riffing. The percussionists establish a quasi-samba on the melody to “Jazz-A-Samba,” moving aside for soloists to solo over swing rhythms. “Guanco Lament” opens as a traditional descarga, with a montuno plowing through a simple harmonic basis as Davis plays melodies against brass hits. Lopez’s arrangement shines here, playing as a mambo with a strong hint of jazz improvisation. Bassist Larry Gales’ syncopated bassline leads into a blues over a son montuno on Davis’ “Afro-Jaws.” The percussionists get room to elaborate before the melody arrives and the band subsequently moves into swing for solos. Afro-Jaws presents many perspectives of the jazz musician exploring Latin rhythms - a balance of swing and Cuban rhythms, bop-informed soloists, and interesting arrangements that all paint a distinct picture of Davis’ rich journey into Latin Jazz.

Although Afro-Jaws could be considered an artistic success, Davis moved away from Latin Jazz following this release, returning to more familiar territory. He continued performing swing jazz and bop until 1963, when he temporarily retired from live music. He began working as a road manager, but soon turned this into a part-time endeavor. He worked as both a featured soloist and the road manager for Count Basie starting in 1964. His work with Griffin continued sporadically, resulting in at least one more album. Davis toured Europe with Norman Granz’s Jazz at the Philharmonic and supported Ella Fitzgerald. He found another musical partner in Harry “Sweets” Edison during the 1970s, recording Simply Sweets as well as Sweets and Jaws. By the time that Davis died in 1986, he was recognized as an important voice in swing and bop. His lasting impact upon Latin Jazz remains minimal, but Afro-Jaws shines as an example of Davis’ short-lived exploration of the style.

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A special thanks to Luis Torregrosa for suggesting this album as a potential revisiting canidate and providing me with liner note information. Your knowledge of the style constantly astounds me Luis, you’re a valuable member of the LJC community! By the way . . . keep the suggestions coming!

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