There’s nothing in jazz like Richard Davis and Mel Lewis. Chronicles is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Bassist Richard Davis could swing and walk a melodic line with the greatest African American masters of the 50s and 60s— recordings with Sarah Vaughan, Ben Webster, and Kenny Burrell make his case amply. To hard-core jazz fans, Richard Davis is probably best remembered now for his playing with the New Composers of Blue Note— Bobby Hutcherson, Eric Dolphy, Joe Henderson, and Andrew Hill.
Love this team! Fascinating how Davis can be in the top of the beat, then fall behind. And jump registers (changing timbres) and it makes sense, often Davis is accenting like a drummer. (A more back-beat version of this duo is Clayton-Miles in Count Basie On The Road, 1979 Montreux.)
Check out Eddie Daniels First Prize to here the Hanna-Davis-Lewis section in a quartet setting!
Sorry, I gotta offer another comment...on Bachafillen...Richard Davis often generates amazing tension by staying on the tonic chord, in the upper register no less, and letting the piano, soloists, and Mel mark the form...No matter how raucous and rhythmically displaced the shit gets, Mel gives clear markers of tune form...I LOVE that Thad and Mel just let Richard be/do Richard...
Mar 24, 2023·edited Mar 24, 2023Liked by Vinnie Sperrazza
Hope you don't mind my gushing here...
Ah, That's Freedom. What a band! The way they phrase, the dynamic nuances, the blend of precision and looseness, the f*cking perfect intonation...and, yes, Richard can slur those octaves and put that stank hump and rhythmic variety in his walking lines because Mr. Lewis plays his ride cymbal and leaves space for him to do so...That "dog barking" at the beginning of Garnett Brown's solo(with Mr. Davis' signature interactive commentary) is genius...and I love it when the drums stop and it's just bass, finger snaps, and soloist playing...
Mar 24, 2023·edited Mar 24, 2023Liked by Vinnie Sperrazza
Pepper Adams on baritone(1st couple of tunes)? Just guessing...Still listening to the cuts.
Maaaan, Richard is waaaaay on top of the pulse is in that first tune, but somehow it works...
It almost feels like Mel pulls it back just a scootch before the whole band comes roaring in...
And you are right, Mel's brush-playing is all THAT and a bag of interstellar stardust...
ETA That bass solo on the second tune is NUTS...in a beautiful way...and those little smeary glissandi on the walking line coming out of the solo are perfect...Back to more listening...
When one reads/hears about musical "tensions" that shouldn't work but do, it's hard to understand. Thank you Vinny for your help to illustrate how these great musicians made such great sounds!
My favorite Davis/Lewis work is on Little Pixie II, and I was fortunate enough to see them perform it live at the Vanguard just months after the band was formed
Yes, Pepper Adams on baritone for I believe all 10 cuts....Chris Smith? Are you out there? Is that Pepper on all 10 tracks?
Bag of INTERSTELLAR STARDUST!! Yes it is Mark!! Beautiful description....
"Fingers" = rhythm changes dopesauce of perfect viscosity and heat.
Love the way the band utilizes dynamics...and the way bass and/or drums will drop out
and fade back in really generates drama and interest...
Thanks for turning us on to this music. And, regarding Richard Davis' playing: vibe-wise, it reminds
me of Mingus...
Love this team! Fascinating how Davis can be in the top of the beat, then fall behind. And jump registers (changing timbres) and it makes sense, often Davis is accenting like a drummer. (A more back-beat version of this duo is Clayton-Miles in Count Basie On The Road, 1979 Montreux.)
Check out Eddie Daniels First Prize to here the Hanna-Davis-Lewis section in a quartet setting!
Sorry, I gotta offer another comment...on Bachafillen...Richard Davis often generates amazing tension by staying on the tonic chord, in the upper register no less, and letting the piano, soloists, and Mel mark the form...No matter how raucous and rhythmically displaced the shit gets, Mel gives clear markers of tune form...I LOVE that Thad and Mel just let Richard be/do Richard...
Hope you don't mind my gushing here...
Ah, That's Freedom. What a band! The way they phrase, the dynamic nuances, the blend of precision and looseness, the f*cking perfect intonation...and, yes, Richard can slur those octaves and put that stank hump and rhythmic variety in his walking lines because Mr. Lewis plays his ride cymbal and leaves space for him to do so...That "dog barking" at the beginning of Garnett Brown's solo(with Mr. Davis' signature interactive commentary) is genius...and I love it when the drums stop and it's just bass, finger snaps, and soloist playing...
Drownin' in dopesauce, ha!
Alright, I'll let someone else comment now...😂
Pepper Adams on baritone(1st couple of tunes)? Just guessing...Still listening to the cuts.
Maaaan, Richard is waaaaay on top of the pulse is in that first tune, but somehow it works...
It almost feels like Mel pulls it back just a scootch before the whole band comes roaring in...
And you are right, Mel's brush-playing is all THAT and a bag of interstellar stardust...
ETA That bass solo on the second tune is NUTS...in a beautiful way...and those little smeary glissandi on the walking line coming out of the solo are perfect...Back to more listening...
When one reads/hears about musical "tensions" that shouldn't work but do, it's hard to understand. Thank you Vinny for your help to illustrate how these great musicians made such great sounds!
Terrific essay!
My favorite Davis/Lewis work is on Little Pixie II, and I was fortunate enough to see them perform it live at the Vanguard just months after the band was formed