Jackie was the first musician to bring jazz to the forefront on the Hammond organ and after the success of our Lenny Dee releases we just had to get Jackie Davis - 'Jumping Hi-Fi Hammond' out! Jackie Davis was an accomplished musician who throughout his career worked with singers such as Dinah Washington and Sarah Vaughan and later going on to produce and play for Ella Fitzgerald.
Lovingly re-mastered, this CD contains the LP's 'Jumpin' Jackie', 'Most Happy Hammond', 'Hi-Fi Hammond' and 'Chasing Shadows' and is a must for Davis fans or any Hammond organ enthusiast for that matter!
Wow! This LP to CD transfer is awesome and very impressive, we could only hope that Jasmine will sell many and that they will decide to release another 2CD box! Only minor drawback might be that they chose for mono only. For example ‘Most Happy Hammond’ is available in stereo, and used to this you have to adjust a little, but if adjusted, its great, really great!
The biggest surprise CD to come my way is The Story of Jazz – Jackie Davis [576 2152]. Why the surprise? Simply that I’ve gone on record bemoaning that amongst who have enjoyed CD compilations and re-issues, this great Negro artist, who I only discovered a couple of months ago had died some years back, seemed to have been totally overlooked. Without warning, and thanks to one of the MSS customers who gave us a lead to follow up, supplies of this CDE are now on the selves. The only thing against it is that its running time is only the same length as the original 1958 Capitol LP, which carried the Jumpin’ Jackie [T 974]. However the short running time is reflected in the price, and in any case you can easily forget that because the music is some of the smoothest late night jazz renditions you’re ever likely to hear. Not credited on the session is Milt Holland on drums and Irving Ashby on guitar.
This was one of Jackie’s earliest forays into the Hammond organ recording scene, and to this day his recordings are regularly sought after and advertised for on web pages. Originally stereo versions were available but this is mono copy from an actual LP: two very slight glitches giving the nature of the recording source away.
Jackie comes from the era of Bill Doggett, Shirley Scott and Milt Buckner to name but three. Born in Jacksonville in 1920, he eventually graduated with a music degree in 1943 playing the pipe organ of all things. It was ‘Wild’ Bill Davis who gave credit to for influence, and during his 16 years with Capitol he made a number of recordings, and bar this one, all seem to resting in some dusty vault. Jackie died on November 2 nd 1999, just a month short of his 79 th birthday, of complications from a stroke whilst bin a nursing home near his birthplace. I have no idea how long this CD has been available, but if you‘ll take a tip from me; grab a copy while you can. Full track listings appear later …
Alan Ashton – Organ1st Organ Store / Recordings UK - www.organ.co.uk
Jackie Davis at the Hammond makes bright, inventive, and melodious music. Here's teh master of the electric organ in remarkable Hi-Fi performances!
"Man," says Jackie Davis, "I feel like I'm playing an orchestra!" And anyone listening can readily understand. A Hammond electric organ is, technically speaking, nothing more than a Hammond electric organ. But with Jackie Davis at the keyboard, many unusual, sweet-sounding and full-swinging things begin to happen.
This talented fellow has turned its sound into something considerably more than background music for cocktail-bar glass-clinking. He has a rare sense of dynamics, unfolding the organ to its full orchestral richness or paring it down to a delicate solo quality that can duet gracefully with a guitar. And in addition to his technical mastery,
Jackie Davis has succeeded in developing a very legitimate and solid jazz style on what is essentially a non-jazz instrument.
Jackie's interest in music started when he was still a young boy. Enchanted with his grandmother's piano, he spent hours solving the mysteries of "Chopsticks." By the time he was eleven, Jackie had forty-five dollars, lots of talent and unlimited determination. So he spent the money on his first piano. From then on, when he wasn't playing, he was listening. And much of his listening was centered around Art Tatum. He idolized the master, but couldn't help thinking to himself, "If he can do that much with a piano—wow—what he could do with an organ!" Comparatively speaking, the piano had such limitations; for Jackie had found out that an organ had some two million potential sounds. (As of today Jackie figures he's still on his first million, but he's young yet and doesn't tire easily.)
Graduating from Florida A&M with a B.A. degree in music, Jackie became an accompanist for Billy Daniels, Nat Cole, Ella Fitzgerald, Dinah Washington and Sarah Vaughan—a sort of postgraduate course in the fine art of how to interpret a song.
Then came the war and the Army, and afterward Jackie returned to his professional career, playing singles, and being a part of various vocal and instrumental groups. But his eye was still on the goal of making a name as an organist. In 1951 he bought his first Hammond and shortly after opened at the Club Harlem in Philadelphia. His engagement lasted twenty weeks and set up Jackie Davis as a new attraction for night spots and theaters everywhere.
During these past few years Jackie has been a busy boy, criss-crossing the country to play his engagements, pausing periodically to make records, and never ceasing to develop his own artistry on the electric organ.
In this, his first album for Capitol, Jackie's splendid sounds are recorded in High Fidelity. But there's still another kind of high fidelity that's caught in the record—Jackie's discriminating taste in material and his easy ability to handle everything from sweet and lovely to good-humored and swinging. Here are the melodies of Harold Arlen,
Vernon Duke, Harry Warren and other to flight popular composers. To each Jackie gives his special attention, his special interpretation.
Complementing Jackie and his organ are the substantial rhythmic contributions of Ernest L. (Fats) Clark on drums and the guitar etchings of Irving Ashby.
The contents of this album represent the religious mood of my early family training. I was raised by a grandmother who was very persistent and had several weapons of persuasion – hair brushes, belts, switches, etc., and she COULD and WOULD use them very effectively.
She had no trouble convincing me that I had to play the piano (I had this God given talent) in Sabath School (We were Seventh Day Adventists) consequently these Hymns, because if their melodic and lyrical beauty have stayed with me all of my life.
Since I’ve always wanted to record Hymns, I’m sincerely grateful to the persons responsible for the release of this album.
There are many people to whom I’d like to dedicate this album to – my late grandmother, the people of Jacksonville, Fla., who took up a collection to send me to college – Barrister Douglas Haines, Q.C., who inspired me to record this album and to Reverend Canon Arthur A. Chote, B.A., L.T.H., Rector, Church of The Messiah, Toronto, Ont., Canada.
Rev. Canon Chote, whom I feel is one of my very dearest friends, is truly a chosen man of the cloth – for his conversation, mild manner and general presence serve as a ‘Holy Tranquilizer’ – just ask me. He has inspired me to such heights so often until he is generally know as my ‘personal direct line to te THE MAN UPSTAIRS’. Since you have purchased this album, please, please listen closely to the words of these immortal classics. They will make you glad you are alive.
Thanks, Jackie Davis
Ever since he first sat down at a Hammond, Jackie Davis has been involved in unending experimentation with the electric organ. He works constantly to discover and unfold new panoramas for his instrument. Through this daring approach, he imparts bold, distinctive, and unique fIavors to his music.
And when Jackie Davis and his electric organ start jumping, everybody jumps! Here, the young master of the Hammond makes an exciting departure from his earlier Capitol albums. While "Jumpin' Jackie" still has the same solid listening appeal, it has the added fillip of a strong beat and bright up-tempo delivery. In view of the complex and sprightly syncopated rhythms, hi-fi enthusiasts will appreciate the unusual clarity of tone captured in this recording.
Jackie has a keyboard technique that defies convention, a technique that began to develop when he started playing the piano professionally at the age of nine. During his days at Florida A. & M., where he received a B.A. degree in Music in 1943, his style was further nurtured. And it was polished to a high gloss after his discharge from the Army, when he began touring the country as accompanist for such vocal luminaries as Sarah Vaughan, Nat Cole, Ella Fitzgerald and Dinah Washington.
The happy union of Jackie Davis and the Hammond is comparatively recent. Inspired by the almost limitless sound-potential of the electric organ, Jackie bought his first Hammond in 1951. It was only shortly thereafter that he played his first professional engagement as an organist - a 20-week date at Philadelphia's Club HarIem. And he's been a top attraction on the nightclub and theater circuit ever since. Jackie's success is based on two strong factors: unbridled enthusiasm and amazing versatility in extracting sounds never heard before from the electronic "King of Musical Instruments".
Accenting Jackie's jumping Hammond in this album is the skillful rhythm work of Milt Holland on drums and Irying Ashby on guitar.
with Milt Holland drums & Irving Ashby guitar.
- Following text is originally written in Dutch and is translated using the Babel Fish Translation software -
Jackie Davis was still working hard on his ‘’master degree'' in music, then the music world already appealed on him. The Hammond organist had then moreover already a long career behind the back. He started play piano in an orchestra, for its feet the pedals already could touch: he was only 8 years old. Davis were born in Jacksonville, Florida on 13 December 1920 a career in music seemed be its destiny destination, also already during high the school -. college (`43), army and university years. He started if solo pianist to work, then he still college ran on the Temple University in Philadelphia. In 1948, he connected himself at vocal and instrumental group, named ‘The Keys’ and worked with them as an arranger and accompanist. He made a tour in that function through the United States and Canada. Davis remind himselves 1951 if the turning point in its career, then he left The Keys, and bought a Hammond organ and started, in the positive conviction work that it could a great instrument prove to be, subject to exactly a considerable amount swing and consonance technique played on. That belief was confirmed by a contract of 20 weeks in the 'Harlem Club’ in Philadelphia. In 1952, Davis formed the "Jackie Davis trio". Recordings were made at RCA and Capitol, whereas the work agenda contained a range tours along the main cities of the country. He worked with colleagues, like with among other things Sarah Vaughan, Ella Fitzgerald, Eddie ` Lockjaw Davis with a lot has meanwhile already cooperated, Dinah washington, Ruth Brown, The dominos and Louis Jordan. In spite of its large popularity and everywhere recognised master ship on Hammond organ, Davis still works on his style, where he honours as a principle for himself and others: Care should be taken for a good musical basis. If you think of knowing it all, well study then. If you think you know it all, go and study. You will discover even more, of which you want know more and more.
Jumpin' Jackie - Jackie Davis at the Consule
Here’s a stereophonic recording of outstanding impact … an exciting Stereo Showcase that presents the fresh, new sound of Hammond organ combined with trombone choir. The organ’s full tones spread from left toward to middle; trombones are arrayed on the right, the rhythm section is anchord in the center. And stereo puts the listener right in the midst of the swinging good time that results when Jackie Davis Meets the Trombones.
The idea behind this session started one afternoon when Jackie Davis and Gerald Wilson, who conducted in this album, were discussing the kind of music they’d like to create through pairing the Hammond with a new combination of instruments.
‘After considering many other instruments, we finally decided on trombones,’ says Davis. ‘We wanted a sound that would not only blend with, but would also form striking contrast to the tones of the electronic organ. The span of colours that come out of the trombone were just what we needed. In its own way, it’s as versatile as the organ, It can sound bog and bold, or mellow. We also agreed that trombones would adapt beautifully to the arrangements I had in mind.’
The outcome is this album. Here for the first time, the electronic organ and the rich voices of nine trombones are skilfully blended into a unified force. Aided by rhythm and sometimes a French horn, Jackie and the full-throated trombones take off in ten varied styling’s – driving hard through such tunes as Fascinating Rhythm , swinging gently to create the softer moods of beautiful melodies like Frenesi.
But whether at an up-tempo or ballad pace, Davis and the group have packed every selection with brilliant sound, while the most advanced recording techniques have added the element of stereo – that sound of realism which seems to send jumpin’ Jackie and his swingin’ pals right into the listener’s room.
GERALD WILSON is one of the most important men-behind-the-scenes in this recording. He not only conducted the session, but also orchestrated Jackie’s arrangements. Wilson first came nationally famous as working as a trumpeter and arranger with such talents as Count Basie, Cab Calloway, Jimmie Lunceford, Duke Ellington, and Dizzy Gillepsie. Later he set out on his own, creating a band whose records are now collector’s items. Today he is one of the most sought-after arrangers on the musical scene.
Heard along with Jackie’s Hammond organ are nine trombones, French horn (on some selections), bass, drums, and guitar. Instrumentalists include: Bob Fitzpatrick, Joe Howard, Ed Kusby, Nick Di Maio. Dick Nash, George Roberts, Lester Robertson, Frank Rosolino, and Ken Shroyer alternating trombones; Vince De Rosa, French horn; Joe Comfort, bass; Milt Holland on drums; Irving Ashby, guitar; and Nat ‘Weede’ Morris playing bongos on Frenesi. Album is produced by Bill Miller.
Edwin Shaunnessy, manager of Toronto’s luxurious Park Plaza Hotel, first heard this stocky, fiery virtuoso in Syracuse, New York. Jackie bounced on to the floor like an India rubber ball and began flipping notes off that keyboard. Flipping, not squeezing. A quicksilver sound ner sprung from an organ before. Jackie also sang to his own accompaniment. Only it wasn’t the sort of singing that had come from a human tonsil before, either. It was more like the sound a giant teddy bear might make when pressed in its middle. Grating homely, incredibly intimate. Edwin Shaunessy signed him up on the spot and for the next six weeks Jackie was electrifying audiences in the Park Plaza. Before the end of the first week press revieuws were going wild – and Jackie now plays the ‘Plaza Room’ three or four times a year.
Recently the decision was made to record Jackie in Canada. And some people say this is a new Jackie Davis. The beat, the sympathetic touch, the amazing dynamics and the technique are all there – but they say if you listen carefully you’ll detect a difference. A sharper sense of ironic pathos, perhaps, in those rollicking arrangements like ‘You’ve Got Too Many Irons In The Fire’. More sensitive renditions of those haunting, plaintive songs like ‘May I’ and ‘Ne’er-do-Well’. Maybe it’s just the mood he was in at the time of the recording. Whatever, this is superb Jackie Davis. And he’ll bounce right into your heart.
At the drop of a sombrero, it seems, hundreds of thousands of norteamericanos are currently accepting the invitation of the Cha-Cha beat. More than any other dance craze of recent vintage, this one has nearly everybody under its spell — moving out the furniture, taking up the rugs, and choosing partners for some dancing fun that's light 'n' Latin.
Hearing this album, Cha-Cha fans will be glad to make way for a new piece of furniture — the Hammond Organ, that is, with Jackie Davis at the console. And Jackie's many fans will know in advance that the Cha-Cha is a natural for his great, swinging style. The interesting and insistent rhythm patterns provide plenty of inspiration for Jackie's talented fingers and his sparkling originality.
In his choice of selections for this album, Jackie again shows imagination and good taste. Such favorite tunes as Ain't She Sweet?, Rain on the Roof, The Glow-Worm. and Love Is Just Around the Corner romp with fresh splendor in these Cha-Cha settings.
A dynamic Latin rhythm section helps Jackie bring out all the color and excitement that have made the Cha-Cha so popular with dancers. And the always intriguing musical ideas and precision of the performances make "Hammond Gone Cha-Cha" a rare treat, not just for dancers, but for everyone within listening range.
By Marc taken from www.317x.com
Jackie Davis' Most Happy Hammond is a recording of the top tunes from hit Broadway Musicals.
Jackie Davis Takes his Most Happy Hammond to Broadway, playing the top tunes from musical comedy and when heard in Stereophonic Sound, the Jackie Davis Trio comes uo with the Happiest Sound around!
With Most Happy Hammond, Jackie Davis takes a new step, this time widening his instrument's repertoire. In stepping into the world of Broadway music, he fills a long vacant niche for Hammond fanciers. Going on record as an advocate of the audience-proved melody, Davis here sends such melodies as All of You, Jubilation T. Cornpone, and Feel Pretty into a joyful new world of sound.
Oldtime Davis fans won't be disappointed with the new Jackie. The impulsive beat, succulent tones, and tasteful touch are still there - all with the usual bounce. And with Jackie's knack for happy artistry, the Hammond never had it so good. Joining Jackie for this rally in Shubert Alley are Kenny Burrell, guitar; Burtell Knox, drums; and Eddie Costa, vibes. Their stellar support combined with Jackie's Broadway melodies add up to the most agreeable sounds since Hammond discoverd AC.
with Kenny Burrell, guitar, Burtell Knox, drums, Eddie Costa, vibes
About this record is not much info available. The back cover mentions only a few names and that’s it. Officially this release is titled Jackie Davis – Jackie Davis. Most people call it the ‘Heemstede 1980’ release, this because it was recorded by EMI in the Netherlands which was located the city Heemstede, also because it was not clear what the title was. The front says only Jackie Davis. Recording is dated from 1980. Unfortunately the producer of this album passed away many, many years ago and two of the sound engineers can’t remember this recording session. Your webmaster will try to contact the main recording engineer for info on this recording, but until now with no success. However drummer, Louis Debij, was contacted. And, strangely enough to your webmaster, he couldn’t remember this session. By telephone he told your webmaster that he should remember this because Jackie Davis was a famous personality so how could he forget about this? Louis Debij mentioned that he played a few times some tapes with rhythms and tracks, but it was not mentioned to him that it was or would be used for Jackie Davis. After sending him a copy of the ‘Heemstede’ record , Louis Debij confirmed that it was him who was playing. The brushes was his, his signature. He mentioned that a lot of ‘drums and percussion’ came from Jackie Davis himself.
By Wim, your webmaster
Do you know J. & J. … ! No. That is not the name of a secret organisation. What do you know about Jackie and Joe … ? No. They are not singing sportsman. Have you ever heard of Jackie Davis and Joe Bucci … ? No. That is not the name of a wurst-factory. The two men both with a “J” in front of their surnames, are musical, musicians, organists, Hammond-organ soloists! And if you do not believe it, just listen to this record. Then you will not be able to say that you have never heard of Jackie Davis and Joe Bucci. You would be telling a lie.
But we are altogether honest people, you and I. So we admit that we first met Jackie and Joe on this black disc. J & J, the two Anglo-saxon Hammond-organists. Yet, - cross your heart, aren’t they great? If I had as much swing in both my hands together as one of them has in the little finger of one hand, I would not work any more. Only play. Play the Hammond-organ. Like Jackie Davis and Joe Bucci.
Jackie, the elder, is a magician. With his music he van make the hearer laugh. Or cry. He spreads composure. Or sentimentality. His refined fingertips make for fireworks. Or shine through their ceremonious virtuosity.
Joe, the younger, is a jazzer. Even if he is completely hidden by his organ it is quite obvious. He sounds like Count Basie. Like a one-man big-band. No wonder: in 1961 he studied under the pastmaster, the count. Just as his dialect cannot hide that he comes from Massachusetts, so his music cannot conceal that Basie has left his stamp on him. This is no reason for we laymen to go on the dole. Rather, we should enjoy the musical offerings of the masters, J & J! We ought to hear BIG BEAT HAMMOND and be astonished.
Dieter Liffers (Translation by Michael Abbott).
The cage door is open, but don't "hold that tiger" — it's Jackie Davis on the loose again!
The kitten on the keys becomes a swinging cat as Jackie Davis hops aboard the
Hammond for a spectacular session at the organ. Jazz-infected, yet exciting for pop music fans as well, the round dozen selections on which Jackie sharpens his claws confirm once more that keys and pedals are his natural habitat.
Likening Jackie to a far-out feline is anything but far-fetched. His flashing footwork - stopping, starting and reversing his field on the pedals with cat-like dexterity - augments a brilliant keyboard technique. A flood of single notes and chords carry each song on a happy road where the familiar landmarks of the original melody always remain reassuringly in view.
Even if you were to personally pick and choose a diversified program for Jackie Davis, you'd have a hard time topping the fine list of standards that make up this album. Employing so many of the countless tonal effects which are possible on the versatile Hammond, he secures further his position as one of the country's foremost pop and jazz organists.
So here's your chance to catch a tiger that really swings! Listen as Jackie Davis once more earns his stripes.
Taken from the 'Tiger on the Hammond'
Here, for the first time on records, Jackie Davis adds his own distinctive vocal stylings to his already popular Hammond artistry. Jackie’s voice his husky, yet it has the quiet authority that a born musician must bring to vocalizing. Keyboard artists can often employ their voices with an uncommon sensitivity to the music they work with: Nat Cole, originally a pianist, does so; so does Mose Allison; Jackie Davis joins that elite group.
But this album is more than a ‘Jackie Davis Sings’ LP. Here too, a Hammond organ takes on an entirely new, and most persuasive sound. The Hammond usually is treated either as a burbling cocktail lounge instrument or as a swinging jazz instrument. Responding to the deft hands and toes of Jackie Davis, his Hammond purrs forth, smooth and sensuous. His touch is pure velvet.
Augmented by the full Sid Bass Chorus, the vocal and instrumental music pours out more romantic and dreamy than anything recorded … ever. For the most choice is lush background music – for dining, for drifting, for dancing, for dreaming – there could be no more soulful approach than his liquid journey down a street of dreams.
The history of the organ in popular music goes back a lot of more years than many people might imagine. In 1926, the unforgettable Thomas ‘Fats’ Waller recorded two numbers on pipe organ. And he recorded more work on electric organ. Fats Waller was followed by others., including bandleader Count Basie and ragtime pianist Willie ‘The Lion’ Smith. In the Fifties. Bill Evans made a big impression on the instrument, followed by musicians of the stature of Milt Buckner, Bill Doggett and Jimmy Smith. Halfway through the decade came Jackie Davis, the man who was to put unmistakeable stamp on swing organ and give the instrument the jazz magic that he is still weaving today.
Jackie Davis is still rated today as one of the top exponents in the world on the organ. Born in Jacksonville (Florida) on December 13, 1920, he began studying piano at seven. During the late 1940s he began to specialize in Hammond organ and created a whole trend among young jazz pianists: many whom followed the fashion he had started by doubling on organ.
Jackie Davis has a forceful, swinging style that earned him wide acceptance in pop as well as in jazz circles. He has a unique gift of astonishing improvisations at fast tempi, producing phantastic tone colors and showing phenomenal technique with both hands and feet.
In this ‘Jackie Davis Story’ Album you will find a lot of standards. Well-know tunes that have worn well through the years. And these evergreens are re-dressed, but charmingly. Lace-embroidered in a delightful way by Jackie Davis, delicate tones that beautiful component the melodies. Noticeable throughout are the trade-marks of Mr. Davis … the unexpected, subtle, accents. Jackie to keep you ‘up with us of this technique and is backed with a fine, swinging rhythm section.
Notice: this album is equals the Hi-Fi Hammond Vol. 2 release.
It isn't easy to describe the artistry of Jackie Davis, or to outline in so many words the elusive appeal he possesses on and off stage. Jackie is a thoroughly trained musician, a seasoned performer and it must be admitted, somewhat of a character, all of which is very apparent to the thousands of people who rush to see him wherever he appears. His impish sense of humour has pleased many and shocked a few, but regardless, the fact remains that the “S.R.O.” sign is generally displayed wherever he appears whether it be in the smart supper clubs of top-rated hotels or in concert.
The moods of this, his latest album, are varied ranging from moody “after midnight” music to driving instrumentals and sultry vocals. Like his close friend of long standing, Louis Armstrong, Jackie is no Caruso but nevertheless he does display an appeal which is all his own. Listen to this album and you’ll realize why there cab be only one Jackie Davis!
Producer S.B. Hains
Produse Notes: Let me explain the title of this album. Years ago when Lester Young toured with Jazz At The Philharmonic, it was part of speech pattern to preface – affectionately of course – different members of the group with Lady. (Yes, it was he who first called Billie Holiday Lay Day, as she told me.). Thus he would say Lady Roy, Lady Hawk, Lady Oscar, Lady Granz, and so on.
Ella was made an impact beginning from the Chick Webb days in 1937 o all singers and especially jazz singers, It has never diminished to this day. There is no sense in repeating what others have done better: how great are her phrasing, pitch, harmonic sense, sense of melody, and so on. But for me quality that typifies what Ella has going for her is her sense of time; in short, she swings, and she swings. I submit, better than any jazz singer in history. She ranks in that top level of artists who, apart from anything else always swing: Harry Edison, Basie, Eldridge, Freddie Green, Peterson and in the past, Armstrong and Nat King Cole.
Most musicians concede that Jackie Davis is by far the greatest swinger on organ today (as Basie puts it, “He’s a Bitch”), and Bellson’s time is equally impeccable and unflagging. Yes, I’m sure Lester would consider this album aptly titled, Lady Time.
Ella Fitzgerald vocals, Louie Bellson drums and Jackie Davis organ